2.
Answering
question
1:
Textual
Analysis
Part
1:
What
to
make
notes
about.
Before
starting
the
exam
you
will
be
shown
a
Moving
Image
clip.
You
will
be
shown
the
clip
a
few
times
and
given
an
opportunity
to
make
thorough
notes.
MAKE
GOOD
USE
OF
THIS
TIME!
To
help
you
decide
what
to
make
notes
on
look
at
the
question
in
the
exam
paper,
you
will
be
prompted
as
to
what
areas
you
should
make
notes
on.
This
guide
is
to
help
you
know
what
to
write
notes
on
whilst
the
clips
are
shown
and
provide
tips
on
how
to
answer
the
question
fully
and
effectively.
There
are
several
issues
to
address.
Firstly,
what
will
you
be
shown
in
the
clip?
The
answer
could
be
anything
from
the
following:
• An
extract
or
trailer
from
a
film
or
television
programme
• An
extract
or
trailer
from
a
video
game
• An
opening
sequence
of
a
film
or
TV
programme
• One
or
more
TV
advertisements
• A
music
video
Secondly,
what
will
you
be
asked
to
do?
The
answer
is
very
simple:
Analyse
the
clip!
Obviously
this
gives
you
an
almost
endless
amount
of
things
to
look
at
and
analyse
–
therefore
the
exam
paper
will
ask
you
to
write
about
specific
areas
and
analyse
particular
codes.
There
will
usually
be
two
or
three
from
this
list:
• Generic
codes
• Narrative
codes
• Visual
codes
• Audio
codes
• Technical
codes
Although
there
are
distinct
elements
that
fall
within
each
category
it
is
important
to
remember
that
your
analysis
within
each
category
is
likely
to
overlap
with
another.
However
whichever
codes
you
see
in
the
exam
paper
-­‐before
you
watch
the
clip-­‐
should
influence
what
you
make
your
notes
about.

3. Let’s
look
at
each
set
of
codes
in
a
little
more
detail...
Technical
Codes
This
is
the
way
a
text
is
constructed
and
suggests
the
production
values
of
the
text-­‐
they
can
generally
be
divided
into
the
following
areas:
1. Camera
Shots
&
Camera
Angles
–
make
notes
on
what
different
types
of
camera
shots
and
angles
have
been
used
and
start
to
think
about
why
they
have
been
used.
2. Editing
–
look
at
the
order
in
which
shots
have
been
constructed,
make
notes
on
the
type
of
edits
used
and
think
about
the
length
of
each
shot
–
i.e.
the
pace
of
the
editing.
Again
make
notes
on
editing
that
stands
out
and
think
about
why
a
particular
technique
has
been
used.
Audio
Codes
The
sounds
in
a
text
can
be
just
as
important
or
evocative
as
the
sights
so
remember
to
listen
just
as
carefully
as
you
watch.
If
you
are
asked
to
analyse
the
audio
codes
then
you
can
divide
your
notes
into
three
different
areas.
Diegetic
sound
–
sound
that
comes
from
within
the
narrative,
sounds
that
the
characters
can
hear
whether
it
be
dialogue,
music
or
explosions!
1. Sound
effects
–
Think
about
the
sound
effects
you
expect
to
hear
in
certain
genres
of
texts.
Make
notes
on
how
sound
effects
serve
the
narrative
and
think
about
why
they
have
been
used.
2. Dialogue
–
listen
to
what
is
said
and
its
importance
to
the
plot.
Also
think
about
the
style
of
the
dialogue
and
the
way
it
is
delivered.
Think
about
whether
this
serves
the
genre
or
develops
the
characters.
You
need
to
say
why
certain
choices
have
been
made
by
actors,
writers
and
directors.
Non-­‐digetic
sound
–
sound
which
is
outside
the
narrative.
Sound
which
can’t
be
heard
by
characters
or
inside
the
world
of
the
text
can
include:
3. Musical
scores,
sound
tracks,
voice-­‐overs,
canned
laughter.
Be
sure
to
make
notes
on
anything
you
hear
–
but
importantly
write
down
why
that
particular
style
of
music
or
non-­‐diegetic
device
has
been
used.

4. Visual
Codes
This
might
seem
like
the
easiest
set
of
codes
to
be
asked
to
analyse
–
however
there
are
lots
to
choose
from.
To
analyse
visual
codes
effectively
you
must
be
organised
in
the
way
you
make
notes
on
what
you
see,
and
never
forget
that
you
are
looking
for
meaning
in
any
visual
code
you
pick
out.
1. Mise
en
scene
–
this
essentially
refers
to
everything
that
is
in
front
of
the
camera
and
therefore
covers
a
lot
of
different
elements
but
can
be
broken
down
into:
a. Lighting
–
look
for
high
key/low
key,
use
of
shadows,
natural
etc
b. Props
–
are
they
important
to
the
plot,
are
they
symbolic
etc
c. Costume
(and
make
up)
–
What
does
it
say
about
the
character,
what
does
it
tell
the
audience
about
the
narrative
,
and
so
on.
d. Setting
–
what
does
the
environment
the
narrative
takes
place
in
tell
the
audience?
Does
the
audience
learn
more
about
the
characters
by
the
world
they
inhabit
In
all
these
instances
you
are
looking
for
elements
that
are
suitable
for
analysis
–
which
means
you
must
be
thinking
about
why
they
are
there.
2. Technique
–
the
way
in
which
the
image
is
presented
carries
meaning,
for
example,
black
&
white,
soft
focus.
As
you
can
see
this
has
potential
to
overlap
with
your
analysis
of
technical
codes.
What
you
must
remember
is
that
any
techniques
you
recognise
must
also
be
accompanied
by
reasons
why
those
techniques
have
been
used.
3. Gesture/Expression
–
Body
language
and
facial
expressions
communicate
messages
that
can
be
analysed
as
important
to
plot
or
to
develop
characters.
Narrative
Codes
The
narrative
of
any
text
can
be
read
and
analysed
using
various
different
theories
developed
over
the
years
which
highlight
certain
key
elements
of
any
text’s
narrative.
1. Structure
–
how
is
the
narrative
organised?
Are
there
any
of
Todorov’s
Stages
of
Narrative
recognisable.
2. Characters
–
Are
the
characters
recognisable
or
archetypical
of
the
genre?
Also
consider
Propp’s
theory
of
character
functions.
Do
any
of
the
characters
in
the
clip
fulfil
any
of
the
roles
Propp
identifies
in
his
theory,
and
how
do
you
know?
3. Themes
–
What
themes
are
evident
from
the
text,
and
what
does
it
tell
us
about
the
Genre
and
the
Narrative?
To
help
you
do
this,
consider
Levi
Strauss’
theory
of

5. Binary
Oppositions.
What
elements
of
the
text
show
the
audience
opposing
themes
and
how
are
they
typical
of
the
genre?
For
example;
identify
the
ways
in
which
the
opposing
themes
of
Technology
and
Nature
are
presented
in
the
trailer
of
a
science
fiction
movie.
4. Narrative
Techniques
–
How
does
the
narrative
involve
an
audience
in
the
text?
Roland
Barthes
identified
Enigma
codes
which
encourage
the
audience
to
ask
questions
and
make
them
curious
to
continue
watching/listening,
and
Action
codes
which
advance
the
story
and
signify
to
an
audience
that
an
event
will
take
place.
5. Audience
positioning
–
Through
a
variety
of
technical
codes
a
text
can
give
meaning
to
a
story
by
positioning
the
audience
in
different
ways.
Examples
include
POV
shots,
Flashbacks,
Parallel
Narratives,
putting
the
camera
in
apparently
impossible
positions
and
in
privileged
positions.
Generic
Codes
Generic
conventions
can
be
grouped
under
the
following
headings:
1. Characters
2. Narrative
3. Setting
4. Technical
and
Audio
codes
All
of
which
we
have
looked
at
in
one
way
or
another
in
this
guide.
If
you
are
asked
to
analyse
the
generic
codes
of
a
text
then
choose
a
variety
of
the
conventions
above
making
sure
that
you
can
justify
why
you
are
analysing
them.
They
should
be
codes
that
either
conform
to
or
break
an
audience’s
expectations
of
the
given
genre.
The
final
element
you
should
look
at
when
analysing
genre
is:
5. Iconography
–
these
are
the
elements
that
are
always
associated
with
the
genre.
These
could
be
a
character,
a
prop
a
setting
or
even
a
camera
shot
that
is
always
linked
with
that
specific
genre.

6.
So
if
you
didn’t
realise
already
–
there
are
loads
of
things
for
you
to
make
notes
on
whilst
the
clip
is
being
shown
and
during
the
time
you
are
given
specifically
for
note
making.
What
should
also
be
obvious
is
how
the
areas
outlined
above
can
actually
overlap.
Hopefully
now
you
should
have
a
better
idea
of
how
to
organise
your
notes,
and
to
make
sure
you
are
making
them
on
the
correct
areas.
If
any
of
the
phrases,
media
terminology,
or
theories
used
above
are
unfamiliar
then
go
back
to
your
notes
and
revise
them!
If
you
can’t
find
them
anywhere
then
compile
a
list
of
all
the
things
you
are
unsure
about
and
ask
you
r
teacher
to
talk
through
them
with
you.
Part
2:
How
to
organise
my
answer.
There
is
no
definitive
right
or
wrong
answer
to
this
question.
However
there
are
ways
that
can
make
your
life
easier
and
your
response
seem
more
sophisticated.
The
most
common
way
that
students
will
attempt
to
analyse
a
clip
is
not
the
most
organised.
The
temptation
to
analyse
a
clip
chronologically
is
too
much
for
many
students
and
they
will
often
find
themselves
talking
through
the
extract
or
trailer
from
start
to
finish.
This
has
several
drawbacks:
• You
often
have
to
rely
on
your
memory
as
to
what
order
elements
occur
• It
is
easy
to
repeat
analyses
of
certain
elements
(for
example,
shot
type)
whilst
ignoring
others
(for
example,
editing)
• Jumping
from
an
analysis
of
one
set
of
codes
to
another
can
seem
a
little
disorganised.
• Once
you
have
gone
from
the
start
of
a
text
to
the
end
you
may
feel
that
there
is
nothing
left
to
analyse
when
there
is
plenty
still
to
be
done...
• ...The
flipside
of
this
is
that
you
could
quite
easily
run
out
of
time
and
accidentally
neglect
codes
that
you
were
supposed
to
analyse.

7. How
to
organise
your
answer
If
you
have
organised
your
notes
according
to
the
codes
the
question
has
asked
you
for
then
you
can
repeat
this
same
order
when
answering
the
question.
This
shows
the
examiner
you
have
approached
the
text
logically.
It
also
makes
it
easier
for
you
to
accrue
maximum
marks.
Spend
an
equal
amount
of
time
on
each
of
the
codes
you
have
been
asked
to
analyse.
You
have
approx.
45
minutes
after
the
clip
has
been
shown
several
times
and
you
have
made
your
notes.
If
the
exam
has
asked
you
to
focus
on
two
types
of
code
e.g.
Visual
&
Narrative
then
spend
just
over
twenty
minutes
on
each.
If
you
have
to
analyse
three
types
of
code
spend
roughly
quarter
of
an
hour
on
each.
Simples!
Part
3:
How
to
write
your
analysis.
There’s
no
point
having
made
notes
on
all
of
the
different
elements
you
have
been
asked
to
analyse
if
you
do
nothing
but
describe
exactly
what
you
saw
in
the
clip.
Analysis
is
NOT
simply
retelling
the
examiner
what
happened
in
the
extract.
The
emboldened:
Why.
More
observant
readers
will
have
noticed
that
Part
1
of
this
guide
put
a
particular
emphasis
on
one
word
that
is
key
to
your
analysis:
Why.
Once
you
have
recognised
a
technique,
described
where
it
appears
in
the
extract
and
explained
its
relevance
you
MUST
say
why
it
is
important.
Remember
that
you
are
looking
for
secondary
levels
of
meaning
from
what
you
see,
reasons
why
techniques
have
been
selected.
A
good
(and
simple)
way
of
structuring
each
of
your
paragraphs
is
to:

8. 1. Write
down
what
is
denoted
–
what
you
actually
see/hear,
recognise
the
technique
or
device
used.
2. Write
down
the
connotations
–
what
is
associated
with
or
signified
by
the
technique/device
used
3. Explain
what
impact
this
will
have
on
the
audience
If
followed,
these
steps
are
simple
and
will
help
you
avoid
falling
into
the
classic
trap
of
simply
describing
what
you
see.
Key
phrases
to
use.
You
want
to
impress
the
examiners
so
use
the
sort
of
words
they
love
to
hear!
• connotes
• signifies
• implies
• suggests
• symbolises
Part
4:
An
example
analysis.
In
order
to
provide
an
analysis
of
a
Moving
Image
text
it
is
best
to
choose
a
text
that
everyone
knows.
Based
on
the
principle
that
everyone
has
seen
(even
if
they
don’t
like)
The
Simpsons,
the
sample
analysis
will
be
based
on
the
opening
sequence.
If
you
really
haven’t
seen
it
before
then:
1)
I
don’t
believe
you
and:
2)
watch
any
week
day
on
Channel
4
at
six
in
the
evening.
Based
on
my
3
part
structure
to
writing
an
analytical
paragraph
I
will
provide
a
thorough
example
of
analysis
for
a
selection
of
different
codes.
Pictures
have
been
provided
as
a
reminder
of
the
clips
being
analysed
but
remember
this
analysis
is
of
the
text
as
a
moving
image
sequence.

9. Example
A
–
Analysis
of
the
Generic
codes
Although
The
Simpsons
is
quite
clearly
an
animated
TV
series,
it
should
not
be
considered
just
a
cartoon.
The
opening
sequence
presents
to
the
audience
many
of
the
conventions
associated
with
the
sit-­‐com.
Sit-­‐coms
are
usually
set
in
surroundings
that
are
familiar
to
an
audience
and
revolve
around
situations
that
an
audience
may
be
able
to
identify
with.
Often
this
is
a
domestic
setting
where
the
characters
are
a
family
and
The
Simpsons
is
no
exception
to
this.
The
mise-­‐en-­‐scene
of
the
last
shot
of
the
opening
sequence
is
in
a
traditionally
decorated
living
room,
with
all
the
members
of
a
traditional
family.
There
is
much
to
tell
from
this
final
shot
of
the
sequence.
Firstly
the
prominence
of
the
television
in
the
foreground
of
the
shot
implies
that
the
TV
plays
an
important
role
in
this
family’s
life.
The
picture
on
the
wall
denotes
a
conventional
living
room,
but
the
fact
that
it
is
crooked
connotes
that
perhaps
this
family
leads
a
hectic
life.
Finally
it
is
obvious
that
the
sofa
is
missing,
this
signifies
to
the
audience
that
this
TV
series
may
be
a
little
more
surreal
than
your
average
sit-­‐com.
However
it
is
also
an
intertextual
reference
for
those
who
watch
the
show
regularly
as
they
will
know
that
the
opening
sequence
always
ends
with
a
visual
joke
based
around
the
sofa.
This
recurring
joke
rewards
regular
audiences
as
it
is
one
of
the
expectations
of
the
show.
Example
B
–
Analysis
of
the
Technical
&
Audio
codes
Throughout
the
opening
sequence
there
is
a
hectic
fast
pace
to
the
action,
the
music
and
the
editing.
The
camera
zooms
and
pans
quickly
from
one
scene
to
the
next
and
the
edits
quickly
cut
in
time
with
the
music
as
it
jumps
between
characters
and
locations.
An
example
of
this
is
when
Marge
puts
her
shopping
through
the
checkout
at
the
supermarket.
The
cashier
picks
up
baby
Maggie
by
mistake
and
swipes
her
through
the
scanner.
The
fast
paced
editing,
music
and
camera
movements
symbolise
The
Simpson’s
hectic
life.
Marge
is
depicted
as
a
mother
who
is
always
on
the
go,
busy
and
responsible
for
the

10. welfare
of
her
children.
Maggie’s
adventure
at
the
supermarket
connotes
that
Marge
cannot
take
her
eye
from
her
children
without
them
getting
into
trouble.
At
the
moment
Maggie
is
scanned
a
sound
effect
of
the
cash
register
beeping
can
be
heard
over
the
opening
music.
This
introduction
of
a
recognisable
diegetic
sound
over
the
non-­‐diegetic
musical
score
signifies
the
absurd
crossover
between
reality
and
fantasy
and
reminds
the
audience
that
this
is
set
in
a
world
they
know
but
with
bizarre
possibilities.
Example
C
–
Analysis
of
the
Narrative
codes
In
any
sit-­‐com
or
cartoon
that
is
centred
on
family
life,
the
audience
will
expect
to
see
the
‘naughty
boy’
character.
In
The
Simpsons
this
character
is
Bart.
The
opening
sequence
makes
his
role
in
the
series
clear
from
the
first
shot
he
is
seen
in;
as
the
camera
swoops
down
from
an
establishing
shot
of
the
school
and
through
a
classroom
window
where
the
audience
can
see
Bart
writing
out
lines
on
the
blackboard
as
a
punishment.
To
the
audience
Bart’s
actions
clearly
denote
that
he
is
a
naughty
school
boy,
his
angry
facial
expression
and
spiky
hair
also
imply
that
he
is
a
typically
wayward
student.
The
line
he
is
writing
over
and
over
also
suggests
that
he
has
been
rude
in
class
towards
his
country’s
Pledge
of
Allegiance,
all
factors
which
contribute
to
his
archetypical
character.
Bart’s
subversive
attitude
towards
school
and
his
own
nation
reveal
that
the
narrative
of
The
Simpsons
itself
may
take
a
subversive
and
satirical
look
at
society.
The
sequence
provides
examples
of
Levi
Strauss’
binary
oppositions
as
we
see
the
conflict
between
authority
and
lawlessness.
The
way
that
the
shot
is
framed;
cropped
by
the
window
may
also
connote
Bart’s
feelings
of
being
trapped
and
again
may
represent
the
binary
oppositions
of
individualism
versus
conformity.

11. Part
5:
What
to
do
next.
OK
so
now
you
know
what’s
going
to
happen
and
how
to
do
it
right
you’re
probably
wondering
what
to
do
next
To
make
sure
that
you
are
revising
as
thoroughly
as
possible.
I
could
set
an
endless
amount
of
Textual
Analysis
questions
for
you
to
complete
and
indeed,
we
will
be
completing
some
as
we
approach
the
exam,
however,
you
can
do
them
yourself.
Here
is
a
step
by
step
guide
of
how
to
revise
for
Question
1
efficiently.
1. Actually
write
answers
rather
than
reading
over
notes
or
just
making
plans
–
both
off
these
are
a
poor
substitute
for
doing
what
you
are
actually
going
to
be
asked
to
do
in
the
exam.
I
can’t
stress
this
enough!
2. Pick
a
medium
that
you
would
like
to
practice
writing
an
analysis
for.
3. Pick
two
or
three
codes
that
you
could
be
asked
to
analyse
(pick
appropriate
codes
rather
than
codes
at
random
–
i.e.
you
don’t
really
want
to
be
analysing
generic
codes
for
TV
advertising
etc)
4. Find
a
suitable
clip
on
the
internet
that
is
approximately
2-­‐3
minutes
long.
Use
youtube
or
the
Apple
trailers
website
or
Google
videos.
Be
sensible
–
you
will
never
be
asked
to
analyse
a
viral
or
a
video
of
someone’s
cat
playing
the
violin
or
any
of
the
other
trivial
(but
funny)
rubbish
that
you
can
find
online.
WARNING:
Don’t
spend
ages
doing
this
–
that
would
be
a
waste
of
time,
if
you
have
problems
then
see
me.
5. Go
through
the
note
taking
process
–
just
watch
the
sequence
once,
then
watch
it
again
whilst
making
notes,
then
just
make
notes
for
ten
minutes,
remember
the
notes
should
be
based
on
the
set
of
codes
that
you
gave
yourself
in
step
3.
6. Then
write!
You
should
write
about
a
variety
of
codes
in
your
answer
and
probably
spend
about
40-­‐45
minutes
writing
your
analysis.
Remember
that
the
more
points
you
make
–
the
more
marks
you
are
likely
to
get.
7. If
you
want
you
can
bring
your
completed
answer
to
me
and
together
we
can
look
over
it,
give
it
a
grade
and
see
how
you
can
improve
for
next
time.

12. Revision Plan for Question 1: Textual Analysis
This is the mantra: Revise by doing!
If note taking is a concern for you then practice this over and over again. You can use any clips
available on YouTube or other video sites, choose two or three from
Audio/Visual/Technical/Narrative/Genre codes. Then:
1. Watch the sequence once – just watch!
2. Watch it again – begin to make notes.
3. Make notes for ten minutes – keep making notes. If you find it difficult after a while then just
write sown anything you remember seeing in the sequence.
4. Watch it a final time catching any last bits you couldn’t quite remember
5. Look at the notes, make a quick essay plan – in the 45 minutes you have to answer, which
codes would you analyse?
If you are not confident with writing the analysis, then practice. That is the only way to
guarantee improvement.
Look at the sample answers given for other questions to ensure that you are analysing enough and
not just describing.
Remember to include lots of theories – and use the mark scheme provided to get the highest mark
possible. Email them to me once you have done them. I will mark them to see how you have got on.
These are the different types of Audio Visual material that could be given to you in the exam:
• Film trailer or film extract
• TV extract (any genre)
• Music Video
• TV News
• TV adverts
• Video Game extract
• Radio Sequence
All of these things can be easily found on You Tube – but also keep an eye on the revision page on…
www.sssfcmediastudies.blogspot.co.uk
…there
will
be
examples
for
you
to
do.
If
you
find
any
clipsor
videos
online
that
you
think
would
be
appropriate
then
email
me
a
link
or
post
them
on
the
blog
yourself!
Once
you’ve
had
a
go
then
give
it
to
me
and
I
can
give
you
either
written
or
verbal
feedback!

13.
...and
finally...
A
few
last
wise
words.
Revise
by
DOING
Always
use
MEDIA
LANGUAGE
Don’t
just
describe-­‐
ANALYSE
but
most
of
all...
DON’T
PANIC!
When
you’ve
done
your
exam
you
can
celebrate
in
any
way
you
feel
is
appropriate.