How to answer the TV Drama section of the exam

1. What is the examiner looking for in your answer

2. The Big Three
 Explanation/Analysis/Argument (20 marks)
 Use of Examples (20 marks)
 Use of Terminology (10 marks)
 Camera shots, Angle, Movement, and
Composition
 Editing
 Sound
 Mise en Scene

3. We are better than this
 Level One 17/50
 EAA 0 - 7 marks
 EG 0 - 7 marks
 T 0 - 3 marks
 Level Two 27/50
 EAA 8 -11 marks
 EG 8 -11 marks
 T 4 -5 marks
“ Some simple ideas have been
expressed in an appropriate
context. There are likely to be
some errors of spelling,
punctuation and grammar of
which some may be noticeable
and intrusive”
“Some simple ideas have
been expressed. There will be
some errors of spelling,
punctuation and grammar,
which will be noticeable and
intrusive. Writing may also lack
legibility”

4. Level Three
 “Straightforward ideas have been
expressed with some clarity and fluency.
Arguments are generally relevant,
though may stray from the point of the
question. There will be some errors of
spelling, punctuation and grammar, but
these are unlike to be intrusive or
obscure meaning”

5. Level Three
 EAA 12 – 15 marks
 Show proficient understanding of task
 Proficient understanding of how technical aspects
construct representation
 Mostly relevant to set question
 EG 12 – 15 marks
 Offers consistent textual evidence
 Offers a range of examples (at least 3 areas covered)
 Examples mostly relevant to set question
 T 4 -5 marks
 Use of terminology is mostly accurate

6. Level Four
 “Complex issues have been expressed
clearly and fluently. Sentences and
paragraphs, consistently relevant, have
been well structured, using appropriate
technical terminology. There may be
few, if any, errors of spelling,
punctuation and grammar”

7. Level Four
 EAA 16 – 20 marks
 Excellent understanding of task
 Excellent knowledge/ understanding of how technical
aspects construct representation
 Clearly relevant to set question
 EG 16 – 20 marks
 Offers frequent textual analysis from extract – range
and appropriateness
 Offers full range of examples from each area
 Examples clearly relevant to the set question
 T 8 – 10 marks
 Use of terminology is relevant and accurate

8. How do we give the examiner
what they want?
 Two approaches to writing up your ideas
 1. Technical Areas – deal with each area
separately ( at least 2 paragraphs each area)
 State the area and specific technique, give the example
(denotative), make the link to representation
(connotative) and explain how technique and example
create the representation
 2. Stereotypes – describe how the stereotypes are
presented though combined technical areas (2
paragraphs for each stereotype – about 2- 3)
 State the stereotype, give examples of how the
stereotype is shown through denotative and connotative
readings

9. How do we give the examiner
what they want?
 Whatever approach you choose use a good
paragraph structure (PEE)
 Point – Topic sentence where you clearly state either
the technique you are going to talk about or the key
representation you are focusing on
 Example – denotative description of element or
stereotype as seen in the extract
 Explanation/Analysis – how meaning is generated,
why it is done, how the audience responses, issues, a
bit of theory, linking it back to the area of represenation
etc
Don’t write an introduction or conclusion

10. Primeval Example
 In the final scene from the extract, a high angle
shot is used to overlook Jenny from the man’s
point of view. Jenny is lying down on the
ground after the man has pushed her. This
emphasizes her vulnerability and his physical
dominance over the situation as he is placed
over her, looking down. This confronts to the
typical stereotype that women are weaker that
men. Jenny needs to be rescued by West, one
of the male members of the team. When he
arrives West is shown to be stood above Jenny
in a low-angle shot highlights his powerful
presence and is in stark contrast to the
helplessness of Jenny.

11. Primeval Example
 In the final scene from the extract, a high angle
shot is used to overlook Jenny from the man’s
point of view. Jenny is lying down on the
ground after the man has pushed her. This
emphasizes her vulnerability and his physical
dominance over the situation as he is placed
over her, looking down. This confronts to the
typical stereotype that women are weaker that
men. Jenny needs to be rescued by West, one
of the male members of the team. When he
arrives West is shown to be stood above Jenny
in a low-angle shot highlights his powerful
presence and is in stark contrast to the
helplessness of Jenny.

12. Representation Theories
 Laura Mulvey – argues that cinema
positions the audience as male. The
camera gazes at the female object on
screen. It also frames the male character
watching the female.
 We watch the girl; we see the male watching the
girl; we position ourselves within the text as a
male objectively gazing at the female.
 Can be applied to other media forms also.

13. Hegemony (dominant
ideology) – Richard Dyer
A key concern in the study of representation is
with the way in which representations are made
to seem ‘natural’.
All texts, however 'realistic' they may seem to
be, are constructed representations
Richard Dyer posed questions that force people to
challenge or question the dominant ideology
Dyer said: ‘How we are seen determines how we are
treated, how we treat others is based on how we see
them. How we see them comes from representation.’

14. Subculture – Dick Hebdidge
 In his book, Subculture and The Meaning of Style,
Hebdidge said that a subculture is a group of like
minded individuals who feel neglected by societal
standards and who develop a sense of identity which
differs to the dominant on to which they belong.
 Ken Gelder lists 6 ways in which a subculture can be
recognised: 1) Often have negative relationship to
work 2) Negative or ambivalent relationship to class
3) Through their associations with territory ( The
street, the hood, the club) rather than property 4)
Through their stylistic ties to excess 5) Through their
movement out of home into non-domestic forms of
belonging (social groups as opposed to family) 6)
Through their refusal to engage with they might see
as the ‘banalities’ of life.