Examiners Comments Hotel Babylon

Comments on candidates’ responses to Question 1 – Television drama 

There were a number of different interpretations written; most of these were entirely valid. There was a wealth of technical examples to analyse. 

It is also important that you move from description of key technical areas to analysis of how representations are constructed. This will enable you to achieve higher marks for responses. 

Responses which did not link technical analysis to representation often lacked focus in their answers on how ethnicity was constructed through the technical features of the extract. 

Responses were structured in a one of two ways for question one. 

1. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between the white authority of the police in contrast to the representation of the ethnicity and status of the illegal migrant workers. Candidates would then analyse chosen examples of representation in a chronological address of the extract, whilst integrating different technical aspects, for example, combining the analysis of camera composition with sound. 

2. A slightly more popular approach, would see the candidates address the technical areas one by one. Stronger essays provide an integrated analysis of the extract through analysis of key examples identified. These explored how the technical features could be applied to ethnicity in combination. 

Weaker essays list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of ethnicity. 

Both of these approaches to the structure of question 1 are valid  

Terminology

On the whole the use of media vocabulary was very good, but please note that there are up to 10 marks available for the use of media terminology –  good advice is to encourage candidates to keep vocabulary lists. 

There were a significant number of essays with an overly simplistic approach in terms of media vocabulary.  Encourage appropriate technical language for precision in analysis and to make sure you avoid superficial terms like cameras 'switching' or 'jumping', know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'. 

Finally it is important that you address a balance in your responses to all the technical features used in the extract to construct meaning.

Representation 

The sequence offered plenty of opportunities to discuss the representations of ethnicity. Most were able to discuss differences in the status of various ethnicities within the sequence, a few were able to develop their answer further by showing how the audience were positioned in relation to these representations. For example, the police clearly have more status than the immigrant workers, but the audience are encouraged to identify with the workers by putting more emphasis on their points of view. 

More confident answers analysed the ways in which the extract attempted to position the audience in relation to the immigration officials and the immigrants. Many identified the construction of the lead immigration officer as antagonist and argued that the extract positioned the audience to be sympathetic to the plight of the immigrants. Best responses went further by exploring either the apparent contradiction of an antagonist acting within the law or commenting on the way that the extract challenged typical representations of illegal immigrants in the media. 

Camera Shot, Angle and Composition 

This technical feature was overall, well addressed. Most had a media vocabulary, which used the correct terminology and could describe shot composition, this on the whole, was well done. Stronger responses considered a wide range of shots as well as camera movement and the use of framing and composition to further reinforce representation, for example, the framing of all the characters together in hiding and later through panning in the canteen creating a sense of community. Some confused the meaning of low and high angles and are reminded to be careful when discussing the connotations of these shot types. 

Weaker answers 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 ethnicity. These would also tend to focus on just identifying the narrative flow of the extract through the naming of the shots. As with the past two exam series, please be aware that ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary.

It would be useful to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations, for example very few were able to recognise the focus pull, for example, when Ibrahim was arrested, or could recognise how it reflected his sudden awareness of danger. 

Mise en scène 

The majority of discussed this area with confidence. The extract itself was rich in mise en scène that contributed to representation. The contrast of the luxury hotel with the cramped storage room in which the immigrants were hiding was mentioned by many, as were the costume of suits for some characters and cleaners and maid uniforms for others. It was pleasing to see many making reference to lighting with confidence in using terms such as high key, artificial and low key. The use of colour with the white suit of the receptionist juxtaposed with the dark suit of other the female character was also well linked to representation. Most were able to talk about the contrasting uniforms and the messages and values implied. Most focused on the clothing as denoting power and where they fitted into the hierarchy. 

More able answers contrasted the ethnic representation of different characters through the mise en scène and how power and status is defined by ethnic relations, the most able could reflect on the cleaner who used to be a doctor and explore the nuances of ethnicity and status through the use of the character of Jackie as a supervisor and carer of the immigrant workers. It is advised to look for the range of representations within the extract commenting on the characters of ethnic minority that held some status within the scene, for example the well dressed black male employee Ben and in the final scenes the wealthy African couple with the female in traditional dress at the reception. 

Weaker answers are used simplistic colour analysis and ignore all contradictory evidence to claim that characters dressed in white must be 'pure and innocent' while characters dressed in red are either 'passionate' or 'in danger'. This ‘binary’ approach needs refining by centres in relation to debating how meaning is constructed 

In addition, too many candidates are still being encouraged to consider the acting/body language/non-verbal communication as part of the mise-en-scène. This leads to candidates spending far too long discussing the acting at the expense of the technical elements, which are constructing representations. 

Weaker responses could identify key aspects of the mise en scène but not always explicitly link this to ethnicity and tended to ‘demonise’ the white characters and over simplify the portrayal of the immigrants. 

Sound 

Those that could offer a balanced approach to the analysis of the extract did so with a degree of proficiency in relation to identifying the use of diegetic and non-diegetic sound (as opposed to televisual terminology of synchronous and asynchronous sound). Again the analysis of sound was used in contrast to the characters’ different roles in the drama, steering away from a reliance of an examination of the dialogue used in the drama; an analysis of the dialogue in the drama is not sufficient technical analysis. 

Most were able to use terminology confidently and could describe the tempo and use of music in relation to the representation of characters. Most made reference to the use of foreign languages and accents to reinforce representation of the characters as different or other. Key dialogue was also referred to such as the line 'I wasn’t always a cleaner' and many candidates examined the significance of this statement. 

Often weaker answers showed confusion with technical terminology, referring to ambient sound where there was none in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker responses may interpret the soundtrack/ use of music in too general analysis. 

Editing 

Only a few of those that did cover it were able to make meaningful links to representations by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between characters in the sequence.

Most made reference to the pace of editing to reflect the frantic situation and emotions of the immigrant characters. The use of shot reverse shot and cuts to aid continuity were mentioned by many candidates, as was the use of cross cutting between the two situations to enhance tension. More able answers demonstrated the ability to link the use of editing to the representation of characters, such as the use of long and short takes to represent power and the use of eye line matches to reinforce a sense of dominance. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. There was evidence on occasion where students engaged with the rule of thirds and juxtaposition of characters in the narrative using editing devices, which is very encouraging. 

Many responses seem to be very limited in address of the issues of editing which does not enable candidates to reach a level four on the marking criteria for the use of examples. Weaker answers offered quite simplistic accounts of how editing was used, for example in the use the shot reverse shot sequence between characters. A common error in the terminology of editing continues to be with the use of jump cuts. 

With the right preparation, you can engage with the nuances of editing under exam conditions, with evidence that they could discuss crosscutting, eye line match and ellipsis in the extract. 

Advice offered for the summer’s exam series: 

Link analysis of the technical features to the key representation being examined 

Ensure that all the technical elements are covered and that a discussion of the key representation takes place 

Provide plenty of discussion and application of analysis to sound and editing 

Avoid lengthy introductions