G322/3 Key Media Concepts (TV/Radio
Drama) January 2009
The entry for the January session
was approximately 2,200 candidates for G322 and 9 candidates for G323. There
were no reported problems with either of the extracts, (for TV drama: Monarch
of the Glen, and Radio Drama: The Sensitive), nor with the question
set. These extracts enabled differentiation through the examination of the key
concept of the representation of age for question one, with the analysis of the
extracts technical features. Given the tiny number of entries for Radio drama
this report focuses on the unit G322 Television Drama, and reserves a paragraph
for the exam paper G323 (headed below), which shares question 2.
As indicated by the mark scheme for
this exam paper, the use of media vocabulary is a very important part of the
exam at AS level. The mark scheme allocates a number of marks for the use of
terminology. Good practice suggests that candidates should be keeping a
vocabulary list of technical language for both questions. At times, in question
one there was an absence of subject-specific vocabulary in some candidates’
responses and some common misconceptions like an ‘insert shot’. On page 18 of
the specification there is a list of the key terminology used in relation to
analysis of the technical features of television drama. It is advisable that
centres ensure coverage of these in preparation of the candidates in the exam,
likewise for students embarking on the analysis of radio drama this key
vocabulary list can be found on page 24 of the specification.
Question 1 – Television drama
Candidates structured their
responses in a number of ways; some began by addressing the concept of
representation in the extract and a discussion of the representational
differences between Amy McDougall the stereotypical teenager and contrasted
this with the Headteacher and the middle-aged character Paul Macdonald. Then
the candidates would address the technical areas one by one. Stronger
candidates could provide an integrated analysis of the extract through analysis
of key examples identified. These candidates explored how the technical
features could be applied using a combination of the technical features, for
example, in discussion of the argument between Paul Macdonald and Amy. They
could then place this sequence of conflict in it’s mise en scène (the stately
home), through the use of shot reverse shot (editing), shot types used and
through sound, both diegetic and non diegetic in discussion of how Paul’s anger
and authority, used as parental control, would order Amy (stereotyped as the
teenage tear away) back to school.
Either of these approaches to the
structure of question 1 is advisable and centres need to help structure the
candidates’ responses in the classroom. Candidates are advised against lengthy
introductions about what they are going to say and against theoretical
introductions and/ or historical contexts to television drama. Candidates are
advised to get straight on with their analysis.
It is also important that candidates
move from description of key technical areas to analysis of how representations
are constructed. This will enable candidates to achieve higher marks for their
responses. The mark scheme enables credit to be awarded to students at three
different levels Explanation, Analysis and Argument (20 Marks), Use of Examples
(20 Marks) and Use of Terminology (10 Marks). Centres are advised to make the
mark scheme available to candidates for the summer session so that they are
aware of how the work is assessed. This could also be used for the marking of
timed assignments in the classroom and for the marking of mock exam papers.
Camera Shot, Angle and Composition
This technical feature was well
addressed by the candidates.. Where candidates used the correct terminology and
could describe shot composition, this on the whole was well done. Weaker
candidates were able to describe key shots used in exemplification, but would
often lack explicit links to how these shots assisted in the construction of
the representation of age.
Mise en scène
There was plenty of evidence of
candidates’ discussion of clothing and props, visual iconography and character
Setting, although a little more problematic for some, was used well in
discussion of the range of representations of age used in the extract. More
able candidates would move beyond description and use the technical features of
mise en scène in order to discuss the signification of the representation of
age.
Sound
Candidates often discussed this
technical feature with some limitations, with some focusing solely on the use
of dialogue or accent. Candidates did also relate the use of non diegetic sound
to the emotional state of Amy whilst she was in her room and the contrast of
non diegetic music showing the adults to be happy in the work they performed.
The use of non-diegetic sound to emphasise Amy’s isolation was often commented
on, as was the diction of the middle- aged characters that spoke “properly”.
Other weaker candidates showed confusion with technical terminology, getting
diegetic and non-diegetic sound the wrong way round. It is advised that
centre’s do cover the technical features of sound thoroughly in order to give
candidates an opportunity to fully engage with the analysis of the extract.
Editing
This proved to be the most
problematic for candidates and the one technical area of analysis that was
often omitted in candidate’s answers. Most candidates who addressed editing
were able to address the type of transitions used and could comment on the pace
of the editing. Weaker candidates often omitted any discussion of editing or
offered quite simplistic accounts of how editing was used, for example in the
use of quick succession cuts and short takes when the community takes apart the
fishing hut at the end of the sequence. More able candidates could analyse
technical issues of editing by way of analysis of the ellipsis, accounting for
how the extract collapsed a series of events, for example, in explaining the
narrative to represent Amy as a ‘troubled’ teenager who had no option left but
to run away from school and then the home of Paul McDonald; then candidates
were then able to comment on pacing, the use of continuity, most often through
the shot reverse shot compositions in the extract and some through the use of
sound as well. These candidates cleverly discussed how soundbridges were
constructed through the use of non-diegetic music in the representation of age,
for example, the stringed mood music representing the gloomy prospect that Amy
faces, or the use of upbeat music to represent the happiness of the small rural
community.
Representation
This key media concept was either
addressed at the beginning of the candidates or at the end, but sometimes when
at the end, the analysis was all too cursory. Candidates were able to relate
the representation of a variety of age groups closely to the textual elements of
the extract. There was some solid analysis of age and how it can be stereotyped
in a variety of ways: teenage emotionality; adult authority; caring nature of
the older female adult and other sensibly reasoned representations. Weaker
candidates failed to focus on the representation of age, relating their
analysis to the region or the gender of the characters.
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