What is in the exam?
B322 Textual analysis and media studies topic (moving image)
Section A
1 Explain two ways the characters and/or events in the extract fit the action adventure genre. [10]
2 Explain how each of the following is used to create effects that fit the action adventure genre:
• soundtrack
• camerawork
• editing
• mise-en-scène. [20]
3 Discuss how people are represented in the extract. [20]
Section B
4. Answer this question using Television and/or Radio Comedy programmes you have studied
(a) Compare how and why two programmes were scheduled on different channels. [15]
(b) Discuss in detail how one (they may ask for two) comedy programme offers audience pleasures. [15]
Total marks for exam are out of 80.
72 + = A*
64 + = A
56 + = B
48 + = C
40 + = D
Section A
1 Explain two ways the characters and/or events in the extract fit the action adventure genre. [10]
2 Explain how each of the following is used to create effects that fit the action adventure genre:
• soundtrack
• camerawork
• editing
• mise-en-scène. [20]
3 Discuss how people are represented in the extract. [20]
Section B
4. Answer this question using Television and/or Radio Comedy programmes you have studied
(a) Compare how and why two programmes were scheduled on different channels. [15]
(b) Discuss in detail how one (they may ask for two) comedy programme offers audience pleasures. [15]
Total marks for exam are out of 80.
72 + = A*
64 + = A
56 + = B
48 + = C
40 + = D
EXAM FAQ'S
How long do candidates have to answer the questions? Is viewing time included in the 1 hour 45 minutes total? The viewing time is included in the 1 hour 45 minute examination time. Candidates have 1 hour and 15 minutes to answer all the questions once the extracts have finished.
What have the exam extracts been so far? June 2011 exam extract: Tomb Raider: The Cradle of Life (Widescreen Collector's Version). Paramount Entertainment UK) In point 8 mins 40 seconds Lara's Greek accomplish is standing in the underwater cave by a statue of a horse. Our point 12 mins 42 seconds The antagonist is running from the collapsing cave as a pillar crashes on top/next to him.
January 2011 exam extract: Master and Commander: The Far Side of the World (Director Peter Weir 2003, 20th Century Fox Home Entertainment) In point 5 mins 36 seconds of the DVD version of Master and Commander. On the line 'Two points off the starboard bow, in the fog bank'. Our point 9 mins 58 seconds 'And for God's sake don't drop anything' - extract finishes after the two men are blown to the floor.
June 2010 exam extract: The Bourne Identity (Director: Doug Liman, 2002, Universal Studios) In point: 38 mins 28 seconds into the DVD version of the The Bourne Identity. Jason and Marie are exploring his flat in Paris. 'Any clues?' Out point: 42 minutes 59 seconds. An assassin has burst through the window and fights Jason, while Marie looks on frightened. The assassin pulls out his knife. 'Jason!'
January 2010 exam extract: Serenity (Directed by Joss Whedon, 2005, Universal Studios) In point: 1 hour 26 mins 21 seconds of the DVD version of Serenity. On the line 'Wash, baby' as a spear/metal rod bursts through the ship's window. Out point: 1 hour 29 mins 31 seconds. Mal (the captain) finds blood and bends down to look.
Specimen Materials Extract: King Arthur (Directed by Antoine Fuqua, 2004, Touchstone Pictures No exact timings but the extract begins at the set-piece battle scene on the ice lake, just before the battle whilst the two sides posture. It then runs through for five minutes until the end of the battle when all the ice has broken and the antagonist looks down and sees his comrades floating under the ice.
How long do candidates have to answer the questions? Is viewing time included in the 1 hour 45 minutes total? The viewing time is included in the 1 hour 45 minute examination time. Candidates have 1 hour and 15 minutes to answer all the questions once the extracts have finished.
What have the exam extracts been so far? June 2011 exam extract: Tomb Raider: The Cradle of Life (Widescreen Collector's Version). Paramount Entertainment UK) In point 8 mins 40 seconds Lara's Greek accomplish is standing in the underwater cave by a statue of a horse. Our point 12 mins 42 seconds The antagonist is running from the collapsing cave as a pillar crashes on top/next to him.
January 2011 exam extract: Master and Commander: The Far Side of the World (Director Peter Weir 2003, 20th Century Fox Home Entertainment) In point 5 mins 36 seconds of the DVD version of Master and Commander. On the line 'Two points off the starboard bow, in the fog bank'. Our point 9 mins 58 seconds 'And for God's sake don't drop anything' - extract finishes after the two men are blown to the floor.
June 2010 exam extract: The Bourne Identity (Director: Doug Liman, 2002, Universal Studios) In point: 38 mins 28 seconds into the DVD version of the The Bourne Identity. Jason and Marie are exploring his flat in Paris. 'Any clues?' Out point: 42 minutes 59 seconds. An assassin has burst through the window and fights Jason, while Marie looks on frightened. The assassin pulls out his knife. 'Jason!'
January 2010 exam extract: Serenity (Directed by Joss Whedon, 2005, Universal Studios) In point: 1 hour 26 mins 21 seconds of the DVD version of Serenity. On the line 'Wash, baby' as a spear/metal rod bursts through the ship's window. Out point: 1 hour 29 mins 31 seconds. Mal (the captain) finds blood and bends down to look.
Specimen Materials Extract: King Arthur (Directed by Antoine Fuqua, 2004, Touchstone Pictures No exact timings but the extract begins at the set-piece battle scene on the ice lake, just before the battle whilst the two sides posture. It then runs through for five minutes until the end of the battle when all the ice has broken and the antagonist looks down and sees his comrades floating under the ice.
Time to revise -
use these resources to help you prepare
SECTION A
The knbs GCse revision guide
View the document below for key 'C' grade information. If you are looking for a PASS then this is 'NEED TO KNOW' information - remember to apply MECS, PCLS and NICS when analysing the film clip in Section A of the exam.
The whole thing ...
Follow this presentation to get the whole of Section A in a nutshell.
Does it all make sense? If not its time to hit up some of those links in the revision guide
Does it all make sense? If not its time to hit up some of those links in the revision guide
HERE'S SOME SITES I DIDN'T WRITE WITH LOADS OF INFO ON A/A FILMS --->
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Genre Narrative Representation | Mise-en-scene Editing Cinematography Sound
Genre:
What do we expect to see in A/A films?
Textual features of action/adventure films
What do we expect to see in A/A films?
Textual features of action/adventure films
- Combat and violence
- Spectacle and special effects
- Character and exposition
- Speed, motion and acceleration
- Realism and verisimilitude (similarities to real life)
- Technology and iconography
- Jeopardy and suspense
- Generic varieties and tone
An overview of the action/adventure genre by OCR
Action/adventure films have tremendous impact, continuous high energy, lots of stunts, possibly extended chase scenes, rescues, battles, fights, escapes, non-stop motion, spectacular rhythm and pacing, and adventurous heroes - all designed for pure audience escapism with the action/adventure sequences at the centre of the film. The cinematography and sound is directly structured to sustain this level of activity throughout. Within the genre these days, there can be said to be many genre-hybrids: sci-fi, thrillers, crime drama, kung-fu, westerns and war.
Always, however, they have a resourceful hero(ine) struggling against incredible odds or an evil villain, and/or trapped in various modes of transportation (bus, ship, train, plane etc.), with resolution achieved at the end of the movie, after two crisis points along the way. Action/adventure films have been traditionally been aimed at male audiences, aged 13 to mid-30s, although modern action/adventure films have featured strong female characters to attract a wider audience.
Among the most well-known and well defined modern day action/adventure-hero is James Bond. Beginning in the 60s, the slick Fond 'formula' appealed to large audiences with their exotic locations, tongue-in-cheek dialogue, high-tech gadgets, fast action suspense, impossible stunts and stunning women. The action hero battled unlikely and incredible criminals, usually without even staining their dinner suit.
The action/adventure film genre has been among the most successful genre in recent years. Raw, indestructible, powerful and muscular heroes of modern, ultra-violet action/adventure films are often unlike the swashbuckling heroes of the past. Each decade has tended to define its own heroes for the genre and this has defined the style of action/adventure film.
Arnold Schwarzenegger made a career out of starring in action films in the 80s and 90s, most notably in the action/adventure films Conan the Barbarian (1982), Commando(1986), Raw Deal (1986), Predator (1987), Red Heat (1988), and True Lies (1994), and also in the hybrid sci-fi/action/adventure films. His more recent films have been less successful - perhaps because he has attempted to move beyond the action/adventure genre?
To analyse the action/adventure genre is essentially the same as to analyse the technical codes for most mainstream Hollywood output. There are stock conventions used in action/adventure films but these should be familiar to you from many films that you have seen. The process of analysing will be more straightforward since you will have a more secure frame of reference than if you were researching a less populist genre.
Action/adventure films have tremendous impact, continuous high energy, lots of stunts, possibly extended chase scenes, rescues, battles, fights, escapes, non-stop motion, spectacular rhythm and pacing, and adventurous heroes - all designed for pure audience escapism with the action/adventure sequences at the centre of the film. The cinematography and sound is directly structured to sustain this level of activity throughout. Within the genre these days, there can be said to be many genre-hybrids: sci-fi, thrillers, crime drama, kung-fu, westerns and war.
Always, however, they have a resourceful hero(ine) struggling against incredible odds or an evil villain, and/or trapped in various modes of transportation (bus, ship, train, plane etc.), with resolution achieved at the end of the movie, after two crisis points along the way. Action/adventure films have been traditionally been aimed at male audiences, aged 13 to mid-30s, although modern action/adventure films have featured strong female characters to attract a wider audience.
Among the most well-known and well defined modern day action/adventure-hero is James Bond. Beginning in the 60s, the slick Fond 'formula' appealed to large audiences with their exotic locations, tongue-in-cheek dialogue, high-tech gadgets, fast action suspense, impossible stunts and stunning women. The action hero battled unlikely and incredible criminals, usually without even staining their dinner suit.
The action/adventure film genre has been among the most successful genre in recent years. Raw, indestructible, powerful and muscular heroes of modern, ultra-violet action/adventure films are often unlike the swashbuckling heroes of the past. Each decade has tended to define its own heroes for the genre and this has defined the style of action/adventure film.
Arnold Schwarzenegger made a career out of starring in action films in the 80s and 90s, most notably in the action/adventure films Conan the Barbarian (1982), Commando(1986), Raw Deal (1986), Predator (1987), Red Heat (1988), and True Lies (1994), and also in the hybrid sci-fi/action/adventure films. His more recent films have been less successful - perhaps because he has attempted to move beyond the action/adventure genre?
To analyse the action/adventure genre is essentially the same as to analyse the technical codes for most mainstream Hollywood output. There are stock conventions used in action/adventure films but these should be familiar to you from many films that you have seen. The process of analysing will be more straightforward since you will have a more secure frame of reference than if you were researching a less populist genre.
Typical Conventions of A/A
<click image to expand>
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There are many conventions that you would usually see in an action/adventure movie. Not all of the conventions tend to be in all movies, but tend to be in the majority of them.
Here are a list of examples of conventions that you would find in an action/adventure movie: - Usually involve straightforward story of good guy versus bad guy, where usually the disputes are resolved by physical force. -Usually heroes in Hollywood films are patriotic Americans.- Bad guys in Hollywood films tend to be drug lords, terrorists or some other sort of criminal rather than a Nazi or a Communist like in the past. - Usually requires big budget special effects and stunt work. - Damsel in distress tends to be used but in recent movies female characters have become stronger in action/adventure movies and even work alongside the strong male characters. - It is more than likely that a chase scene will feature somewhere in the movie, whether it is by foot, car, boat etc. - The good guys always win. |
How have A/A films evolved over time?
Watch the video from class to see the evolution of the codes and conventions. It should help you to see how certain NICS have become essential for A/A films and help you focus your answers in Section A >>>>>> If it appears down on youtube then view via VIMEO on https://vimeo.com/85658385 |
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Narrative:
in the description of the narrative structure of the action/adventure films there are distinctive patterns that are familiar to us.
- Oppositional forces of good and evil (Levi-Strauss)
- Stock characters of the hero, heroine, the villain (Vladimir Propp)
- An enigma created in the story to puzzle us (Rolande Barthes)
- The equilibrium that gets disrupted and tries to be resolved (Tzetvan Todorov)
in the description of the narrative structure of the action/adventure films there are distinctive patterns that are familiar to us.
- Oppositional forces of good and evil (Levi-Strauss)
- Stock characters of the hero, heroine, the villain (Vladimir Propp)
- An enigma created in the story to puzzle us (Rolande Barthes)
- The equilibrium that gets disrupted and tries to be resolved (Tzetvan Todorov)
Representation:
How do we know who is the hero and who is the villain in Action Adventure films?
Take a look at kick ass and make some notes on Representation >>>>>>>>>>>>>>>>>>>>>>>>> |
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How are women represented in Action Adventure films?
Take a look at this montage. Would you agree that even when shown as powerful and dominating these women still represent sexuality? <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
EDITING IN A/A FILMS
Action thriller movies shoot a lot of footage.
Look at the below trailer and consider the editing (click title of post for more info):
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SOUND IN A/A/ FILMS
In Action/Adventure movies, a mix of diegetic and non-diegetic sound is used to accompany or emphasise the action.
During an action scene, music (normally orchestral) is usually played throughout, which tends to be fast paced if in a chase scene. If anything significant happens, the music would change according to what has happened. If something jumps out, the orchestra would sound more hysterical. Music can also change to emphasise any big stunts that have just happened to make them look greater than they already are.
Sound that sound diegetic (sounds that are meant to be in the scen) may actually have been added later or amplified to sound greater. For example, gun shots that you hear in the scene may be added later as it is very rare that real loaded guns are used whilst filming.
Diegetic sound is usually included in the movie to make the scene sound more realistic to the audience. For example, the sound of cars passing by or smashing or the sound of a door opening are all good examples of diegetic sound. The audience wouldn't notice some of the diegetic sounds as they wouldn't stand out as there are sounds that you would hear normally, but if they weren't there, then the audience would notice that the diegetic sounds are missing.
During an action scene, music (normally orchestral) is usually played throughout, which tends to be fast paced if in a chase scene. If anything significant happens, the music would change according to what has happened. If something jumps out, the orchestra would sound more hysterical. Music can also change to emphasise any big stunts that have just happened to make them look greater than they already are.
Sound that sound diegetic (sounds that are meant to be in the scen) may actually have been added later or amplified to sound greater. For example, gun shots that you hear in the scene may be added later as it is very rare that real loaded guns are used whilst filming.
Diegetic sound is usually included in the movie to make the scene sound more realistic to the audience. For example, the sound of cars passing by or smashing or the sound of a door opening are all good examples of diegetic sound. The audience wouldn't notice some of the diegetic sounds as they wouldn't stand out as there are sounds that you would hear normally, but if they weren't there, then the audience would notice that the diegetic sounds are missing.
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Here is a prime example of the kind of clip you will see in your exam.
While watching think about how you would approach the exam questions. Use NICS & MECS <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
use these clips from class to PRACTICE your deconstruction techniques
SUccessful techniques for the exam....
TIMING - SPEND 1 MINUTE PER MARK ON EACH QUESTION.
SO IF IT'S A 10 MARK QUESTION SPEND ONLY 10 MINS
Q1 Explain two ways the characters and/or events in the extract fit the action adventure genre. [10]
THIS QUESTION NEVER CHANGES SO USE THIS TO YOUR ADVANTAGE - PRACTICE IT BEFORE THE EXAM...LOTS! The question might seem unclear but what they want you to talk about here is NARRATIVE and how it relates to the A/A genre
So think how the extract you have just seen fits the codes and conventions of action/adventure in general.
You are being asked about how the characters and/or events are conventional:
Technique:
You cannot make notes during the first viewing so use the viewing to do the following...
1 = Identify the sub-genre
2 = Observe the generic conventions seen in the extract
3 = Identify 2 specific examples of each feature (character/event)
4 = Once you are allowed to write, get them down as fast as possible in bullet point.
NB if you're going for the higher grade you need to relate these examples to how they create action and/or
adventure
REMEMBER – you need to use examples from the extract to support your point:
Common ones you may use are ...
- The protagonist is brave in the face of danger and will often (but not always) easily beat
the antagonists even when outnumbered.
- The protagonist is resourceful and clever
- The protagonists are attractive and youthful when compared with the antagonists.
- The antagonists are violent and intimidating (could be seen through their costumes or props).
- There is a clear theme of good vs. evil
- Conflict is resolved through violence.
- It is possible the extract may NOT be typical in places. This needs to be mentioned.
Q2 Explain how each of the following is used to create effects that fit the action adventure genre: • soundtrack • camerawork • editing • mise-en-scène. [20]
You are being asked to identify how the connotations of the micro elements creates the THRILL, SPECTACLE, TENSION, and DRAMA that are found in A/A films.
You should respond with an analysis of how the camera, editing, soundtrack and mise-en-scene are used in the extract to create a particular effect which fits the action/adventure genre. You will be expected to give direct examples from the extract and explain the connotative effect your examples have on the audience. You should also link back to action/adventure conventions.
Technique: During viewing #2 it is best to focus on Soundtrack, Camerawork and Editing. Then on viewing 3 focus on Mise and looking for examples for Q3.
1 =Select a range of examples that don't overlap. Best to write about two points for each to maximise mark potential.
2 = Use terminology CORRECTLY, it is better not to use it if you aren't 100% sure, PLEASE don't reference a diegetic sound as non-diegetic, you WILL lose marks.
3 = Analyse the connotations, do NOT simply describe the section
4 = Express ideas clearly, fluently, in short PEET paragraphs with focus on minimal grammar and spelling errors. Poor English will result in a lower mark.
5 = Try to write equally about all four points.
* DO NOT TALK ABOUT GENERIC CONVENTIONS!
* DO NOT LIST OBSERVATIONS WITH NO ANALYSIS
* DO NOT DEFINE KEY TERMS, THE EXAMINER KNOWS WHAT DIEGETIC SOUND IS!
Q3 Discuss how people are represented in the extract. [20]
Your focus here should be positive and negative stereotypes - Hyper-masculinity, stereotypical 'bad guys', weak women-roles.
Technique: You need to make sure you leave time in viewing 4 to do this 20 mark question justice. Do NOT get hung up on trying to find all of Propp's character types. ONLY identify and explain groups that are present in the clip, and refer to them in the context of how they are represented using micro-elements INCLUDING DIALOGUE!
IF YOU DON'T MENTION THE WORD STEREOTYPE IT IS UNLIKELY YOU WILL GET HIGHER THAN ' C' GRADE. Make it clear when you talk about women being 'weak' that you refer to 'stereotypical women in A/A films' so you don't offend the examiner!!
If you need further guidance then consider how the following are represented.
- Gender
- Ethnicity
- Sexuality
- Age
- Disability
- War
- Authority...
In your answer you should:
- identify your examples
- describe the representations of the named area (e.g. ethnicity)
- describe the messages and values in these representations
- Show your wider understanding of issues of representation in Action/Adventure films
SO IF IT'S A 10 MARK QUESTION SPEND ONLY 10 MINS
Q1 Explain two ways the characters and/or events in the extract fit the action adventure genre. [10]
THIS QUESTION NEVER CHANGES SO USE THIS TO YOUR ADVANTAGE - PRACTICE IT BEFORE THE EXAM...LOTS! The question might seem unclear but what they want you to talk about here is NARRATIVE and how it relates to the A/A genre
So think how the extract you have just seen fits the codes and conventions of action/adventure in general.
You are being asked about how the characters and/or events are conventional:
Technique:
You cannot make notes during the first viewing so use the viewing to do the following...
1 = Identify the sub-genre
2 = Observe the generic conventions seen in the extract
3 = Identify 2 specific examples of each feature (character/event)
4 = Once you are allowed to write, get them down as fast as possible in bullet point.
NB if you're going for the higher grade you need to relate these examples to how they create action and/or
adventure
REMEMBER – you need to use examples from the extract to support your point:
Common ones you may use are ...
- The protagonist is brave in the face of danger and will often (but not always) easily beat
the antagonists even when outnumbered.
- The protagonist is resourceful and clever
- The protagonists are attractive and youthful when compared with the antagonists.
- The antagonists are violent and intimidating (could be seen through their costumes or props).
- There is a clear theme of good vs. evil
- Conflict is resolved through violence.
- It is possible the extract may NOT be typical in places. This needs to be mentioned.
Q2 Explain how each of the following is used to create effects that fit the action adventure genre: • soundtrack • camerawork • editing • mise-en-scène. [20]
You are being asked to identify how the connotations of the micro elements creates the THRILL, SPECTACLE, TENSION, and DRAMA that are found in A/A films.
You should respond with an analysis of how the camera, editing, soundtrack and mise-en-scene are used in the extract to create a particular effect which fits the action/adventure genre. You will be expected to give direct examples from the extract and explain the connotative effect your examples have on the audience. You should also link back to action/adventure conventions.
Technique: During viewing #2 it is best to focus on Soundtrack, Camerawork and Editing. Then on viewing 3 focus on Mise and looking for examples for Q3.
1 =Select a range of examples that don't overlap. Best to write about two points for each to maximise mark potential.
2 = Use terminology CORRECTLY, it is better not to use it if you aren't 100% sure, PLEASE don't reference a diegetic sound as non-diegetic, you WILL lose marks.
3 = Analyse the connotations, do NOT simply describe the section
4 = Express ideas clearly, fluently, in short PEET paragraphs with focus on minimal grammar and spelling errors. Poor English will result in a lower mark.
5 = Try to write equally about all four points.
* DO NOT TALK ABOUT GENERIC CONVENTIONS!
* DO NOT LIST OBSERVATIONS WITH NO ANALYSIS
* DO NOT DEFINE KEY TERMS, THE EXAMINER KNOWS WHAT DIEGETIC SOUND IS!
Q3 Discuss how people are represented in the extract. [20]
Your focus here should be positive and negative stereotypes - Hyper-masculinity, stereotypical 'bad guys', weak women-roles.
Technique: You need to make sure you leave time in viewing 4 to do this 20 mark question justice. Do NOT get hung up on trying to find all of Propp's character types. ONLY identify and explain groups that are present in the clip, and refer to them in the context of how they are represented using micro-elements INCLUDING DIALOGUE!
IF YOU DON'T MENTION THE WORD STEREOTYPE IT IS UNLIKELY YOU WILL GET HIGHER THAN ' C' GRADE. Make it clear when you talk about women being 'weak' that you refer to 'stereotypical women in A/A films' so you don't offend the examiner!!
If you need further guidance then consider how the following are represented.
- Gender
- Ethnicity
- Sexuality
- Age
- Disability
- War
- Authority...
In your answer you should:
- identify your examples
- describe the representations of the named area (e.g. ethnicity)
- describe the messages and values in these representations
- Show your wider understanding of issues of representation in Action/Adventure films
What did the examiners say about the last exam?
How do I analyse representation and stereotyping in an unseen extract?
Candidates need a toolkit for spotting stereotypes and anti-stereotypes that will work with most texts, so their starting point should be social attributes that are always present and usually visible, such as gender, race or ethnicity, age, and ability/disability. They will needto spot at least one stereotype or anti-stereotype in any extract. Action adventure extracts will often feature heroes, so they should be practised at linking these social attributes to included and excluded groups for heroes. More confident candidates should be encouraged to analyse the values celebrated in the extract as a useful avenue for more sophisticated analysis.
EXAMINER REPORT for JUNE 2012
Many candidates still appeared confused about which key concepts are tested by which questions. Many discussed generic conventions in questions two and three, for example. Thus a number of small changes are proposed for future examinations to focus candidates on genre for question 1, media language for question two, and representation for question 3.
In question one the reference to ‘characters and events’ is to be phased out, as it often leads candidates to cover ‘events’ in one explanation and ‘characters’ in another. It will be replaced by the key concept ‘narrative’, which is what the ‘characters and events’ formulation was originally designed to suggest.
In question one the space for ‘explanation 1’ and ‘explanation 2’ is to be merged into one answer space, as the present split format does not seem to aid candidates.
In question two the requirement for effects ‘that fit the action adventure genre’ too often leads candidates into irrelevant discussion of generic conventions, so this requirement will be lost.
In question three there will be a list of suggested social groups and institutions whose representation and stereotyping the candidates might usefully analyse. This is designed to steer candidates away from what is essentially descriptive characterisation analysis (e.g. ‘the hero is big and strong’) or reproduction of generic conventions from question one (e.g. ‘there is a sidekick’). This list may be quite long as better answers usually explore the representation of a range of groups, but candidates will not be required or expected to cover every item in the list. Some items will be more challenging than others. The list for the current examination might have included, for example: ‘gender’, ‘nationality’, ‘ethnicity’, ‘class’, ‘the US army’, and ‘Iraq’. Sophisticated (level 4) answers might have explored the stereotyping of Iraq as exotic and threatening to an implied western audience. The majority of answers might not have explored much beyond gender and nationality.
Candidates will be expected to make notes on separate sheets of paper. These are to be destroyed at the end of the examination and are not to be sent off with the scripts.
Section A
Question 1
This was generally well answered with most candidates able to identify two conventions, such as the ‘race against time’, the ‘hero and villain’, the ‘violence and danger’, the ‘teamwork among the heroes’.
answers were characterised by accurate use of terminology, such as ‘protagonist’, antagonist’ and ‘generic conventions’. Some usefully mentioned how the war film is a sub-genre of action adventure. Theory is not required and can sometimes distract a candidate from answering the question.
Less successful answers often consisted of a long description of the extract which, in the case of level two and three answers, occasionally mentioned elements that happened to be generic. These answers appeared to cry out for the application of a ‘genre toolkit’. Candidates who had learned a set of generic conventions that they could apply to any extract appeared to be at a significant advantage over those who started from the fine detail of the extract and then, in the more successful version of these answers, tried to explain how this created action and/or adventure.
Question 2
Better answers discussed at least two or three examples for each bullet point, taking care to make these specific examples, and to discuss the connotative effect for each example (e.g. ‘the camera is hand held as Sanborn runs up the stairs connoting the rush he is in’, ‘there is fast paced editing after the car explodes connoting the panic caused’). Some less successful answers might discuss a media language element in general terms without quoting a specific example (e.g. ‘there is hand held camera’, ‘there is fast paced editing’). Other less successful answers might give a long list of specific examples but fail to discuss the connotative effect for any example.
Soundtrack was generally answered well, apart from much confusion over the difference between ‘diegetic’ and ‘non-diegetic’ sound (these concepts cause so much error that weaker answers might be better off without them). Many candidates discussed the use of music, the emphasis on gunshots, the fire and the shouting, James’s breathing, and the effect of the siren. Some less successful answers applied pre-learned ideas (e.g. that the music climaxes with the action) which did not apply in this case.
Editing was answered well, with many answers contrasting the slower pace of editing in the early part of the extract to the faster pace during the action. Many candidates noted the use of shot reverse shot in the bathroom scene and the use of cross-cutting as Sanborn runs up the building. The terms ‘eyeline match’ and ‘jump cut’, however, were very commonly misapplied and, like ‘diegetic sound’, might be concepts that typically lead to more confusion than clarity. Unusually, there was one small jump cut in the extract (two shots on Sanborn from the same angle), but it was very seldom spotted by candidates. Better answers showed a clear awareness of the distinction between camerawork and editing and were not distracted by analysing camera shots such as tracking under editing.
Mise en scene caused more difficulties than usual, perhaps because of the naturalistic setting and lighting. Many candidates listed props and costumes but fewer effectively discussed connotations, leading to often quite descriptive answers. Better answers linked the mise en scene to connotations of danger, realism and masculinity.
Camerawork was very often the strongest part of a candidate’s answer. There were many references to specific uses of hand held camera, point of view shots (surprisingly accurately, as this is often a very misapplied term), tracking, low angle and high angle shots, close ups, establishing shots, and zooms (again this is a term often misapplied but zooms were present in this extract). Better answers showed a clear awareness of the distinction between camerawork and editing and were not distracted by analysing editing techniques such as cross cutting under camerawork.
Question 3
This is the most challenging question on the paper. There were many good answers that discussed such representation issues as the stereotypical masculinity of the protagonists, the stereotypical vulnerability of the women running from the UN offices, the stereotypical equation of Arab with terrorist, the stereotypical representation of the US army as the men in charge and of the Iraqi police as inadequate, the positioning of the audience as American and thus the representation of Iraq and Iraqis as ‘foreign’, and the value placed on self-sacrifice and teamwork. Better answers often noted the contradictory and slightly difficult representation of Colonel Reed as a smug and heartless American.
Many weaker responses seemed very short, often less than a page. Some were very descriptive responses focusing on characterisation and/or generic conventions (what makes James a typical 'hero', Sanborn a ‘sidekick’, or the civilians the typical 'damsel in distress') with no attempt to consider the representation of social groups.
Some answers made no reference to the term 'stereotype'. This restricted their mark to level two even for those demonstrating understanding of the concept.
Again, candidates who had appeared to have learned to apply a ‘representation toolkit’ were usually at a significant advantage. Doggedly working through a list of social groups did not always succeed – many candidates struggled with sexuality in this extract, and to only analyse groups that were absent (such as people with disabilities) was a limited exercise – but at least demonstrated some understanding of representation issues.
Candidates should always demonstrate that they are discussing media stereotypes, not matters of fact. There were some discussions of the army’s masculinity that failed to make this distinction (e.g. ‘the army are all male as women wouldn’t be able to fight’) or for whom the distinction was unclear (e.g. ‘we wouldn’t expect women to fight’). Some of the comments on Sanborn’s anger may have been discussing racial stereotyping, or may just have been racial stereotypes themselves.
Candidates need a toolkit for spotting stereotypes and anti-stereotypes that will work with most texts, so their starting point should be social attributes that are always present and usually visible, such as gender, race or ethnicity, age, and ability/disability. They will needto spot at least one stereotype or anti-stereotype in any extract. Action adventure extracts will often feature heroes, so they should be practised at linking these social attributes to included and excluded groups for heroes. More confident candidates should be encouraged to analyse the values celebrated in the extract as a useful avenue for more sophisticated analysis.
EXAMINER REPORT for JUNE 2012
Many candidates still appeared confused about which key concepts are tested by which questions. Many discussed generic conventions in questions two and three, for example. Thus a number of small changes are proposed for future examinations to focus candidates on genre for question 1, media language for question two, and representation for question 3.
In question one the reference to ‘characters and events’ is to be phased out, as it often leads candidates to cover ‘events’ in one explanation and ‘characters’ in another. It will be replaced by the key concept ‘narrative’, which is what the ‘characters and events’ formulation was originally designed to suggest.
In question one the space for ‘explanation 1’ and ‘explanation 2’ is to be merged into one answer space, as the present split format does not seem to aid candidates.
In question two the requirement for effects ‘that fit the action adventure genre’ too often leads candidates into irrelevant discussion of generic conventions, so this requirement will be lost.
In question three there will be a list of suggested social groups and institutions whose representation and stereotyping the candidates might usefully analyse. This is designed to steer candidates away from what is essentially descriptive characterisation analysis (e.g. ‘the hero is big and strong’) or reproduction of generic conventions from question one (e.g. ‘there is a sidekick’). This list may be quite long as better answers usually explore the representation of a range of groups, but candidates will not be required or expected to cover every item in the list. Some items will be more challenging than others. The list for the current examination might have included, for example: ‘gender’, ‘nationality’, ‘ethnicity’, ‘class’, ‘the US army’, and ‘Iraq’. Sophisticated (level 4) answers might have explored the stereotyping of Iraq as exotic and threatening to an implied western audience. The majority of answers might not have explored much beyond gender and nationality.
Candidates will be expected to make notes on separate sheets of paper. These are to be destroyed at the end of the examination and are not to be sent off with the scripts.
Section A
Question 1
This was generally well answered with most candidates able to identify two conventions, such as the ‘race against time’, the ‘hero and villain’, the ‘violence and danger’, the ‘teamwork among the heroes’.
answers were characterised by accurate use of terminology, such as ‘protagonist’, antagonist’ and ‘generic conventions’. Some usefully mentioned how the war film is a sub-genre of action adventure. Theory is not required and can sometimes distract a candidate from answering the question.
Less successful answers often consisted of a long description of the extract which, in the case of level two and three answers, occasionally mentioned elements that happened to be generic. These answers appeared to cry out for the application of a ‘genre toolkit’. Candidates who had learned a set of generic conventions that they could apply to any extract appeared to be at a significant advantage over those who started from the fine detail of the extract and then, in the more successful version of these answers, tried to explain how this created action and/or adventure.
Question 2
Better answers discussed at least two or three examples for each bullet point, taking care to make these specific examples, and to discuss the connotative effect for each example (e.g. ‘the camera is hand held as Sanborn runs up the stairs connoting the rush he is in’, ‘there is fast paced editing after the car explodes connoting the panic caused’). Some less successful answers might discuss a media language element in general terms without quoting a specific example (e.g. ‘there is hand held camera’, ‘there is fast paced editing’). Other less successful answers might give a long list of specific examples but fail to discuss the connotative effect for any example.
Soundtrack was generally answered well, apart from much confusion over the difference between ‘diegetic’ and ‘non-diegetic’ sound (these concepts cause so much error that weaker answers might be better off without them). Many candidates discussed the use of music, the emphasis on gunshots, the fire and the shouting, James’s breathing, and the effect of the siren. Some less successful answers applied pre-learned ideas (e.g. that the music climaxes with the action) which did not apply in this case.
Editing was answered well, with many answers contrasting the slower pace of editing in the early part of the extract to the faster pace during the action. Many candidates noted the use of shot reverse shot in the bathroom scene and the use of cross-cutting as Sanborn runs up the building. The terms ‘eyeline match’ and ‘jump cut’, however, were very commonly misapplied and, like ‘diegetic sound’, might be concepts that typically lead to more confusion than clarity. Unusually, there was one small jump cut in the extract (two shots on Sanborn from the same angle), but it was very seldom spotted by candidates. Better answers showed a clear awareness of the distinction between camerawork and editing and were not distracted by analysing camera shots such as tracking under editing.
Mise en scene caused more difficulties than usual, perhaps because of the naturalistic setting and lighting. Many candidates listed props and costumes but fewer effectively discussed connotations, leading to often quite descriptive answers. Better answers linked the mise en scene to connotations of danger, realism and masculinity.
Camerawork was very often the strongest part of a candidate’s answer. There were many references to specific uses of hand held camera, point of view shots (surprisingly accurately, as this is often a very misapplied term), tracking, low angle and high angle shots, close ups, establishing shots, and zooms (again this is a term often misapplied but zooms were present in this extract). Better answers showed a clear awareness of the distinction between camerawork and editing and were not distracted by analysing editing techniques such as cross cutting under camerawork.
Question 3
This is the most challenging question on the paper. There were many good answers that discussed such representation issues as the stereotypical masculinity of the protagonists, the stereotypical vulnerability of the women running from the UN offices, the stereotypical equation of Arab with terrorist, the stereotypical representation of the US army as the men in charge and of the Iraqi police as inadequate, the positioning of the audience as American and thus the representation of Iraq and Iraqis as ‘foreign’, and the value placed on self-sacrifice and teamwork. Better answers often noted the contradictory and slightly difficult representation of Colonel Reed as a smug and heartless American.
Many weaker responses seemed very short, often less than a page. Some were very descriptive responses focusing on characterisation and/or generic conventions (what makes James a typical 'hero', Sanborn a ‘sidekick’, or the civilians the typical 'damsel in distress') with no attempt to consider the representation of social groups.
Some answers made no reference to the term 'stereotype'. This restricted their mark to level two even for those demonstrating understanding of the concept.
Again, candidates who had appeared to have learned to apply a ‘representation toolkit’ were usually at a significant advantage. Doggedly working through a list of social groups did not always succeed – many candidates struggled with sexuality in this extract, and to only analyse groups that were absent (such as people with disabilities) was a limited exercise – but at least demonstrated some understanding of representation issues.
Candidates should always demonstrate that they are discussing media stereotypes, not matters of fact. There were some discussions of the army’s masculinity that failed to make this distinction (e.g. ‘the army are all male as women wouldn’t be able to fight’) or for whom the distinction was unclear (e.g. ‘we wouldn’t expect women to fight’). Some of the comments on Sanborn’s anger may have been discussing racial stereotyping, or may just have been racial stereotypes themselves.
Action/Adventure Conventions Revision Activities
The activities below should help remind you of the conventions used in the action/adventure genre to help you revise for your GCSE exam.
1. Write a bullet point list or create a spider-diagram to show what characteristics you think each of the following character types have:
a) The protagonist (main character)
b) The antagonist (villain)
c) The side-kick
d) The female lead
You should focus: what they wear, how they speak, their personality, their appearance (their looks), their role in the film (what do they typically want/do?)
2. Look at the different technical elements below. Explain how each of the follow elements is used to create a particular effect in action/adventure films. For example: An arc shot could be used to create tension and signify something bad is going to happen, which would build adrenaline for the audience.
You should try to think of an example from an action/adventure film to support your ideas.
The activities below should help remind you of the conventions used in the action/adventure genre to help you revise for your GCSE exam.
1. Write a bullet point list or create a spider-diagram to show what characteristics you think each of the following character types have:
a) The protagonist (main character)
b) The antagonist (villain)
c) The side-kick
d) The female lead
You should focus: what they wear, how they speak, their personality, their appearance (their looks), their role in the film (what do they typically want/do?)
2. Look at the different technical elements below. Explain how each of the follow elements is used to create a particular effect in action/adventure films. For example: An arc shot could be used to create tension and signify something bad is going to happen, which would build adrenaline for the audience.
You should try to think of an example from an action/adventure film to support your ideas.
Camera
a) Close-up b) Tracking shot c) Low angle d) Dolly Zoom Editing a) Fast-paced editing b) Cross-cutting c) Jump cuts d) CGI e) Slow motion |
Sound
a) Diegetic sound b) Non-diegetic sound c) Sound effects d) Asynchronous sound Mise-en-scene a) Costume b) Sets and location c) Casting choices d) Props e) Lighting |
Now try the other technical elements listed in your glossary. How could they be used?
[Structured example] Superman Returns...Again!
Look at the screenshots below and think about how the technical elements in the questions below were used to create a particular effect on the audience..
Look at the screenshots below and think about how the technical elements in the questions below were used to create a particular effect on the audience..
A CGI image of Superman in space (why have they used CGI? How does it make Superman appear to the audience?).
Effect: CGI is used as the makers of Superman could not really film in space. Therefore the effect is used to excite the audience as the impossible is made possible. It also shows that Superman can go into space and survive which signifies he is super-human and could connote to the audience he is powerful and strong. |
SECTION B
- 1. TV Comedy There are 2 questions – 4a & 4b and both are worth 15 marks each.
- 2. Candidates should discuss: whether the texts are scheduled on mass audience or niche audience channels/stations the channels’ brand identity and marketing and programme mix the days and times of transmission for the texts how these time slots would attract the target audiences (preferably using evidence from the schedules, not unsubstantiated assertions)
- 3. Candidates might touch on factors such as: regulatory requirements (e.g. Public Service Broadcasting) channel ethos and history (where relevant, e.g. the distinctiveness of the BBC or Channel 4)
- 4. Show detailed knowledge of audience pleasures. Thorough understanding of how one programme offers audience pleasures. Detailed and appropriate exemplification with Ideas expressed clearly and fluently in well structured sentences with few, if any, errors of spelling, punctuation and grammar
Use the revision guide below alongside your class notes to revise your casestudy essay in Section B.
Unit B322 - Section B Answer to specimen exam question
4a) Pick two TV or radio comedies you have studied. Discuss why they were scheduled:
- on the channels that chose them
- on the days and times they were transmitted. (15)
My two comedies are Have I Got News For You and Scrubs.
Have I Got News For You is scheduled on BBC 1 at 9pm on Thursday nights and is repeated with extra bits on Saturdays on BBC2. It fits BBC 1 as it is a mainstream programme that will appeal to a wide audience because it is funny. It is also educational as it covers serious subjects like politics, so this makes it fit public service broadcasting. It is essential the BBC fits public service broadcasting because it is funded by the licence fee
and so has to have some reason for charging everyone to watch it.
Thursday night is good for comedy as it is a wind-down time of the week, so BBC 1 always shows comedy at this time. The BBC runs its comedy zone on Thursday nights. After 9pm is good as it is after the watershed and therefore the programme can contain swearing and adult content. The programme that follows (Reggie Perrin) is a comedy as well, this is so it can inherit Have I Got News For You’s audience. The programme can also be watched on the BBC iPlayer.
Scrubs is shown on E4. It shows six episodes a day at 13:05, 13:35, 6:00, 6:30, 00:40, and 01:10 on every weekday, but not at weekends. Scrubs fits E4 because it is a channel aimed at young people – the same target audience as the programme. It is fits because E4 shows a lot of comedy shows, ‘cool’ shows from America. E4
can do this as it is a niche channel that is not covered by PSB regulations as it is not a terrestrial channel. This means that it can have stripped schedules and repeat programmes over and over again that are aimed at young people. This makes it easier for young people to know what is going to be on E4.
Scrubs is shown at the moment at lunchtimes, early evenings and late at night because these are repeated episodes and not considered important enough for prime time. It can also be watched on 4oD.
The BBC does not show lots of imported programmes such as Scrubs because it is supposed to make its own programmes. E4 would not show Have I Got News For You because most of its audience will be older than the E4 audience.
Examiner’s comments
- Covers the BBC 1 audience
- Covers the BBC as an institution
- Explains why Thursday night and explains why after 9pm, but not in much detail
- Covers E4 as an institution and how it targets its audience
- Explains times, but not in much detail
- Explains how programmes fit their channels
This answer does what the mark scheme asks for, so it just needs more detail for a higher mark
4b) Show how these two programmes offer their audiences different pleasures. (15)
Have I Got News For You is very different to Scrubs as it is almost live comedy about recent events in the world, whereas Scrubs is a sitcom where the comedy is based on characters and everyday situations.
Have I Got News For You is ‘infotainment’ as it offers some education on the events of that week, whereas
Scrubs episodes are simply for entertainment. Have I Got News For You has regular stars – Paul Merton and Ian Hislop – that the audience can tune in to see sparing with each other every week. This is similar to the regular characters in Scrubs, such as JD and Turk, who are in some ways like a family that the audience can drop in on regularly. One big difference is that Have I Got News For You is presented by different people
every week and has different guests, and the audience can tune in to see who is presenting this week and how well they will do. Scrubs, on the other hand, usually has more or less the same cast in every episode, but different storylines for the audience to follow.
Scrubs is a drama, so it has episodes with narratives that are resolved at the end of the episode. This gives the audience the pleasure of a story being told. Have I Got News For You follows a similar pattern every week, but there is little sense of narrative resolution – one team will win the competition, but this is really a throwaway ending. The quiz is an excuse for people to be funny.
Scrubs will have situations where we can sympathise with characters as well as laugh at them or with them. For example, when JD is unlucky in love. Have I Got News For You is more about people performing for TV as themselves, so we tend to judge them on how well they have performed instead of feeling for them.
Examiner’s comments
- Understands the differences between the programmes
- Shows understanding of how the programmes offer different pleasures, but where are examples?
- Develops this understanding further, but still no detailed examples from the programmes
- This answer does what the top level mark brand asks for, except for detailed and appropriate
exemplification. The student needs to study some episodes in detail
This students has done pretty well. They only had just under half an hour to write these answers. However, they must learn to give more examples from the programmes. They could have used examples of panelists in Have I Got News For You being funny, an example of a storyline in Scrubs that is resolved, and perhaps an example of an everyday situation that is explored in one episode of Scrubs.
4a) Pick two TV or radio comedies you have studied. Discuss why they were scheduled:
- on the channels that chose them
- on the days and times they were transmitted. (15)
My two comedies are Have I Got News For You and Scrubs.
Have I Got News For You is scheduled on BBC 1 at 9pm on Thursday nights and is repeated with extra bits on Saturdays on BBC2. It fits BBC 1 as it is a mainstream programme that will appeal to a wide audience because it is funny. It is also educational as it covers serious subjects like politics, so this makes it fit public service broadcasting. It is essential the BBC fits public service broadcasting because it is funded by the licence fee
and so has to have some reason for charging everyone to watch it.
Thursday night is good for comedy as it is a wind-down time of the week, so BBC 1 always shows comedy at this time. The BBC runs its comedy zone on Thursday nights. After 9pm is good as it is after the watershed and therefore the programme can contain swearing and adult content. The programme that follows (Reggie Perrin) is a comedy as well, this is so it can inherit Have I Got News For You’s audience. The programme can also be watched on the BBC iPlayer.
Scrubs is shown on E4. It shows six episodes a day at 13:05, 13:35, 6:00, 6:30, 00:40, and 01:10 on every weekday, but not at weekends. Scrubs fits E4 because it is a channel aimed at young people – the same target audience as the programme. It is fits because E4 shows a lot of comedy shows, ‘cool’ shows from America. E4
can do this as it is a niche channel that is not covered by PSB regulations as it is not a terrestrial channel. This means that it can have stripped schedules and repeat programmes over and over again that are aimed at young people. This makes it easier for young people to know what is going to be on E4.
Scrubs is shown at the moment at lunchtimes, early evenings and late at night because these are repeated episodes and not considered important enough for prime time. It can also be watched on 4oD.
The BBC does not show lots of imported programmes such as Scrubs because it is supposed to make its own programmes. E4 would not show Have I Got News For You because most of its audience will be older than the E4 audience.
Examiner’s comments
- Covers the BBC 1 audience
- Covers the BBC as an institution
- Explains why Thursday night and explains why after 9pm, but not in much detail
- Covers E4 as an institution and how it targets its audience
- Explains times, but not in much detail
- Explains how programmes fit their channels
This answer does what the mark scheme asks for, so it just needs more detail for a higher mark
4b) Show how these two programmes offer their audiences different pleasures. (15)
Have I Got News For You is very different to Scrubs as it is almost live comedy about recent events in the world, whereas Scrubs is a sitcom where the comedy is based on characters and everyday situations.
Have I Got News For You is ‘infotainment’ as it offers some education on the events of that week, whereas
Scrubs episodes are simply for entertainment. Have I Got News For You has regular stars – Paul Merton and Ian Hislop – that the audience can tune in to see sparing with each other every week. This is similar to the regular characters in Scrubs, such as JD and Turk, who are in some ways like a family that the audience can drop in on regularly. One big difference is that Have I Got News For You is presented by different people
every week and has different guests, and the audience can tune in to see who is presenting this week and how well they will do. Scrubs, on the other hand, usually has more or less the same cast in every episode, but different storylines for the audience to follow.
Scrubs is a drama, so it has episodes with narratives that are resolved at the end of the episode. This gives the audience the pleasure of a story being told. Have I Got News For You follows a similar pattern every week, but there is little sense of narrative resolution – one team will win the competition, but this is really a throwaway ending. The quiz is an excuse for people to be funny.
Scrubs will have situations where we can sympathise with characters as well as laugh at them or with them. For example, when JD is unlucky in love. Have I Got News For You is more about people performing for TV as themselves, so we tend to judge them on how well they have performed instead of feeling for them.
Examiner’s comments
- Understands the differences between the programmes
- Shows understanding of how the programmes offer different pleasures, but where are examples?
- Develops this understanding further, but still no detailed examples from the programmes
- This answer does what the top level mark brand asks for, except for detailed and appropriate
exemplification. The student needs to study some episodes in detail
This students has done pretty well. They only had just under half an hour to write these answers. However, they must learn to give more examples from the programmes. They could have used examples of panelists in Have I Got News For You being funny, an example of a storyline in Scrubs that is resolved, and perhaps an example of an everyday situation that is explored in one episode of Scrubs.