Answer the question below, with detailed reference to specific examples from the extract only.
Extract: Ordinary Lies written by Danny Brocklehurst. Episode 2. First screened 24 March 2015.
Receptionists Tracy and Viv tell everyone at work that they are both going to Ibiza on holiday, when actually they are actually running an errand for Tracy's boyfriend Jimmy. When they discover that the errand involves heading to the Dominican Republic to smuggle drugs back into the country, the pair immediately try to back out, but Jimmy isn't having any of it. Whilst Tracy makes it back without being caught, Viv is arrested by local customs officials.
PREP Complete for prep by Friday 6 December and email to JM.
Discuss the ways in which the extract constructs representation using the following:
• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scène
Candidates
will be assessed on their ability to understand how meaning is constructed in a
media text through the analysis of different technical areas. Marks are awarded
for three different criteria:
Terminology
(max 10)
Use
of examples (max 20)
Explanation/argument/analysis
(max 20)
OCR Report to Centres – June 2017 G322/3 Key Media Concepts
ReplyDeleteA successful examination series which yielded a broad range of responses from candidates in
address of the questions set. The Question 1 extract was an excellent choice, with plenty of textual evidence for all the candidates to engage with. Ordinary Lies was a dramatic and polysemantic text which candidates analysed, and evaluated well. The extract provided a plethora of opportunities for a sophisticated analysis of gender that could go beyond a traditional patriarchal consideration, with some positive representations of women. There was also a general recognition of the stereotypical representations of the stronger males and the weaker females, for example, with some of the more able candidates looking to discuss a hierarchy of the genders. Good coverage of the technical codes was exhibited by most of the candidates, and higher achieving candidates were able to bring this out in their answers in a sustained and detailed response. Lesser achieving candidates responses tended to focus on ideas of character and confirmation of stereotype presented through specific micro elements, and these were basic in response. These candidates would often provide a narrative of the extract and would not include comment on all technical aspects. In contrast higher achieving responses often approached the text in a more conceptualised way, exploring the relationship and interplay between micro-features and the subversion of some aspects of gender representation. Nonetheless, on the whole candidates engaged well with the extract.
In previous sessions, the technical area that has been answered least well has been editing, but for this series the extract allowed for a detailed examination of editing, particularly with regard to shot/reverse shot, match on action, and eye line matches, which candidates clearly engaged with. Candidates also made good mention of mise-en-scene, particularly costume, and setting/location to some success, for example in the use of shot reverse shots in the scene taken
from the car, and the airport interrogation room - which seemed to reap the most benefits in terms of camera and mise-en-scene. Arguably the sound and editing aspect was considerably improved this year, the clip very clearly facilitating candidates’ analysis and explanation of the extract. Sound analysis seemed to work quite well in terms of candidates understanding how sound, through the use of non-diegetic and diegetic devices, associated with the actions of
different genders. Many candidates incorrectly described straight cuts as jump-cuts, and often did not recognise
the use of cutaways. The description of camera position as high and low were liberally applied at times where candidates describe the camera looking up or looking down, rather than discussing camera angle or movement. There is still a major misunderstanding about what a jump cut is. This is not a jump cut, merely a transition via the use of a cut. Another misnomer is in the use of hand held shots. There were several instances of this, for example ‘was shot on handicam’ when it should have been termed a Steadicam.
There were a lot of theoretical approaches applied to the extract including Laura Mulvey, LeviStrauss, Propp, Stuart Hall, Gauntlett and many others. These were often of little relevance and were not needed to provide an excellent Level 4 response.