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G322 - Section A - Practice exemplar - using Broadchurch extract:

This clip is a third of the length of a typical extract you would get in OCR's G322 exam, however, look at how much is in here.  Below is an exemplar of the type of things you could write about.  And remember, you can develop this and write at least double in an exam.

The sequence begins with some grainy home footage of males playing football, a stereotypical activity enjoyed by men.  The sequence cuts to a medium two shot of men watching the footage, signifying to the audience that they are reflecting on fond memories of playing sport, this is supported by their dialogue.  The men look very out of place, wearing smart black suits and holding cans of lager as though they were at a pub.  These reinforcements of male gender roles, and the ‘lager lout’, is enhanced further by their mumbled dialect exchange.  However, because of the gentle use of piano music, it soon becomes clear to the viewer that the men are trying to show their softer side at a funeral wake, and as the sequence progresses we see that they are the only men stood together, with other men and women in nuptial pairings. 

The scene cuts to a wide shot of more people wearing smart but toned down clothes, with women in long dresses and men in suits, confirming to the gender roles expected of each at such an event.  The setting of a family home also suggests that gender roles will be more obvious.

A medium shot of a young man talking to an older woman ensues through a variety of medium shot/reverse shots.  What follows during this exchange is an enforcement of gender roles: the smartly dressed, aspiring man, possibly a son or nephew, and the elderly, more cautious woman who represents the maternal figure.  This is highlighted by her facial expressions in the over the shoulder shots when he says he might leave – throughout this interchange he remains dominant within the frame, is given more screen time and remains in control by taking important career decisions.  However, this inequality of power is broken down when he agrees to stay, which is highlighted by the careful use of a handheld two shot of man and woman embracing.  Incidentally, the use of handheld camera work also adds more realism to the scene and supports the natural pace of continuity editing and making representations of gender more believable within the clip.

Whilst the wake continues, our attention is drawn towards the gaze of two lead characters, the journalist and David Tennant’s detective character, through a carefully crafted eyeline match and careful shot composition.  Such a technique would not be uncommon to show two strangers, man and woman, seeing each other for the first time and falling in love, enforcing stereotypical gender roles that single men and women often meet partners at weddings and funerals.  However, because of their body language and the fact that the music has ceased, the audience are positioned to believe that these characters have a history and are, somewhat, of equal importance to the story.  Furthermore, David Tennant’s character is unshaven and holding a cup of tea, juxtaposing the representations of smart men at the beginning of the sequence who drink lager. Likewise, the woman is not drinking any wine or tea and looks out of place, not showing her emotions as much – this challenges the gender stereotype of grieving woman, replaced by a tough female. 

The dialogue acts as a natural sound bridge to show a passing of time and we are dropped into a conversation between the two characters.  Despite the journalist being framed in a high angle shot with David Tennant’s chest occupying the screen, this contrasts against her direct mode of address and strong body language of folded arms.  She is also given more screen time, showing her importance.  The reverse, over the shoulder medium shot gives the audience more focus on Tennant’s character who is represented as a troubled individual because of his erratic head turning and unkempt appearance.  By filming from a low angle, Tennant is shown to be the more dominant of the two characters.  However, as the scene progresses we see his body language weaken as he reflects on a decision he made and the power shifts back to the journalist, who remains assertive.  Seeing an opportunity, she tries to use her feminine charm to woo him into giving her information.  However, this backfires at the end of the scene, as Tennant regains his composure and asserts his masculinity, saying he doesn’t talk to the press and exiting the frame, leaving the female alone and isolated.  

G322 exemplar
- how to model a response quickly without dithering (games used but can be adapted for most industries) also, see the film exemplar under AS Media, Year 12, Film.


MS1 A grade from WJEC

Nearer to exam time, exam scripts and practice papers/exemplars will be provided for various exam boards.  If you cannot wait, then please visit the specifications page and click on the links to your exam board where you will be able to access past papers and exam schemes.  Alternatively, if you want exam hints and good preparation, click on A2 Media exam preparation.



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