Level 2 Media Studies

Level 2 Media Studies
91249 | 2.2 Narrative
Demonstrate understanding of narrative in
media texts
Case Study: “Being Human”
Approach to assessment
When considering how to teach this standard, what you want to students to produce by the end of it, which texts
to use, what skills you want students to develop and what concepts they need to learn, there are some key things
to look at.
The Media Studies curriculum
Yes, there actually is one. Media Studies falls under the Social Sciences umbrella of the NZ Curriculum. However,
there is little clarification of what is exactly expected. In place of this official learning objectives have been
developed and are available at:
http://seniorsecondary.tki.org.nz/Social-sciences/Media-studies/Learning-objectives
It’s important to note that Level 2 NCEA is equivalent to Level 7 of the New Zealand curriculum. This is outlined as
such:
Students will gain knowledge, skills, and experience to:
7.1 Media in society
o Examine media contexts.
7.2 Reading media texts
o Examine meaning in media texts.
7.3 Media production
o Apply knowledge of media conventions and technology to create media.
With regard to 91249 and Narrative, the most applicable is the second point (7.2) of reading media texts where
students examine meaning – in this case how narrative conventions are used in media texts and how the usage of
these conventions contribute to the texts’ narrative(s). The meaning with regard to narrative is the development
of story or character, specifically within the chosen medium and how this is achieved through the use of narrative
conventions.
This could include ideas such as:
•
•
•
how the inverted pyramid structure contributes to the engagement and development of the narrative of a
news story
how indirect and direct quotes alter the position of an interview subject within the narrative of a magazine
feature article
how a flashback breaking away from the main narrative contributes to development of the overall narrative
It is also important to apply the first point (7.1) regarding media in society where students examine media
contexts. Here it is important to consider the media text in relationship to other media texts, its audience, its
medium and its genre. At the same time also considering the use of narrative conventions with where these may
have been used elsewhere in other media texts, genres and how the audience understand the conventions and its
use.
The Standard itself – AS 91249
It is often easy to lose sight of the standard and mark assessments against the resource. This is not to say that the
resource is wrong, yet there are occasions where students misinterpret questions or take a different approach to
the assessment task. In this instance, it’s good to know the standard in order to gauge those situations.
This is also relevant for writing assessments, and it’s in this area where teachers have the greatest amount of
control within assessment. By looking at Explanatory Note 2 (EN2) of the standard, there is a phrase at each grade
boundary which is pretty much the NCEA equivalent of Greyskull.
o
o
o
Demonstrate understanding involves describing how selected narrative features contribute to
narrative in media texts.
Demonstrate in-depth understanding involves explaining how selected narrative features contribute
to narrative in media texts.
Demonstrate critical understanding involves examining the implications of the contribution of
selected narrative features to narrative in media texts.
Selected narrative features allow teachers to craft assessment questions around chosen texts. While the available
resources are great starting points for assessment with an awareness of the standard they are designed to be
generic and usable with any medium and/or context. However, the intention of them is to be a starting point for
teachers to develop their own assessments which best suit their practice, interests and students. Moderation will
provide guidance as to whether the assessment meets the national standard, yet when writing a task it’s good to
have the standard on hand.
Using selected narrative features provides students with a scaffolded focus when approaching the assessment
and the task. It helps them know what to look out for and invest more time and effort in the discussion. Some
students find that having a specific convention in the question can allow them to far better grasp the wider impact
or effect of the convention on the narrative.
Example | Voiceover
The generic option:
•
Identify a narrative convention used in the second to last episode (Grey’s Anatomy S01 E08) and discuss the
purpose of it and impact on the narrative. Use specific examples to support your answer.
The scaffolded option:
•
Grey’s Anatomy constantly uses voice-over at the opening and closing of every episode.
“See, once in a while, once in a blue moon, people will surprise you. Once in a while people may even take your
breath away. That's what you have to believe.” Discuss the significance you think this has for the narrative,
how it relates often to what is being said and what occurs in the episode. Use specific examples to support
your answer.
While the scaffolded option does provide a quote, this is not the focus of the question. Rather students would link
the narrative thread in the episode which relates to the quote – and being Grey’s it’s not going to be that hard to
find – and discuss that scene as the evidence. The response should consider how the voiceover sums up the
episode, link it to the opening voiceover, unpack the quote with regard to the specific narrative thread and
consider the conversational tone as an in-point and out-point for the audience.
Sufficiency
Due to the pluralisation of the words convention and text in the standard, there is a requirement for multiple
responses in order to meet the standard.
According to the clarifications document, the grade boundaries are met as follows:
•
•
•
Achieved = describes how two narrative features contribute to narrative in two media texts
Merit
= explains how two narrative features contribute to narrative in two media texts
Excellence = examines the implications of the contribution of two narrative features to narrative in two
media texts
How this is handled depends on the assessment being written. For example, one way would be to write a
comparison of the use of voiceover in Grey’s Anatomy and Felicity, then write a comparison of external conflict in
Grey’s Anatomy and Felicity. This works out as two responses across two texts covering two conventions. This
could be broken up into individual responses pre convention and per text which would end up being four
response, though obviously shorter than the first option.
This second option would also work with different conventions which would not necessarily need to crossover
between texts. For example, discussing flashbacks and narrative enigma in Lost and then discussing external
conflict and rites of passage in Freaks and Geeks.
The Grade Boundaries
Achieved
•
Demonstrate understanding involves describing how selected narrative features contribute to narrative in
media texts.
A description at Level 7 of the curriculum goes beyond identifying the convention and an example of its use from
a text. This would possibly be an achieved at Level 1 (if narrative was a factor of close reading) as it identifies the
convention, defines it and provides a description of scenes where it is used. The level of detail in the example is
sufficient using correct character names, placing the scene in context (without re-hashing the entire plot) and
most importantly using relevant quotes. Where it does not meet Level 7 of the curriculum is that it does not
describe the contribution to the narrative in detail. The effect/contribution statement is tagged on at the end and
does not add much to the discussion.
An important narrative convention in serial dramas is external conflict. This is conflict which happens between two
or more people and creates interest in the story. In episode 5 of the TV series ‘Being Human’, there is external
conflict between Annie and Owen, he has found himself a new girlfriend and Annie has found out that Owen killed
her. Annie then seeks revenge on Owen and she does this by standing up to him in hope that threatening him will
resolve their conflict. Annie threatens Owen by saying, “I am diamonds and bones, sapphire and….steel.” This was
how Annie attempted to threaten Owen, as you can see she stutters and it wasn’t threatening at all. “Even death
couldn’t stop one of your sulks.” Owen simply stands up to Annie and bristly walks off without any worries. This
conflict is important as the audience has wanted to see Annie get back at Owen, and are frustrated that he wasn’t
scared.
Below is an example of the same response which would meet Level 7 of the curriculum. While there is an attempt
at explanation of the use of the convention, the explanation is generic and does not explain the use of the
convention within this media text.
An important narrative convention in serial dramas is external conflict. This is conflict which happens between two
or more people and creates tension in the story for the audience. Tension is important in any story as it gives the
narrative momentum. In episode 5 of the TV series ‘Being Human’, there is external conflict between Annie and
Owen, he has found himself a new girlfriend and Annie has found out that Owen killed her. Annie then seeks
revenge on Owen and she does this by standing up to him in hope that threatening him will resolve their conflict.
Annie threatens Owen by saying, “I am diamonds and bones, sapphire and….steel.” This was how Annie attempted
to threaten Owen, as you can see she stutters and it wasn’t threatening at all. “Even death couldn’t stop one of
your sulks.” Owen simply stands up to Annie and bristly walks off without any worries. This conflict is important as
the audience likes Annie and has wanted her to find a way of betting back at Owen, when this confrontation fizzles
out it means Owen has won the conflict and the audience are eager to see if anything happens next.
•
Demonstrate in-depth understanding involves explaining how selected narrative features contribute to
narrative in media texts.
In-depth or explanation is not unpacked within the standard of 91249, yet looking at its neighbour standard
91250, it states in-depth understanding involves providing reasoned explanations. 91250 also states ‘a reasoned
explanation involves a logical argument supported by specific evidence’. This suggests what was said earlier about
why that second response is only descriptive. A reasoned explanation should not just simply explain why the
convention is used but rather how and the convention was used in this text and for what purpose. Below is the
same example from before however using a reasoned explanation.
An important narrative convention in serial dramas is external conflict. This is conflict which happens between two
or more people and creates tension in the story for the audience. Tension is important in any story as it gives the
narrative momentum. In episode 5 of the TV series ‘Being Human’, there is external conflict between Annie and
Owen, he has found himself a new girlfriend and Annie has found out that Owen killed her. Annie then seeks
revenge on Owen and she does this by standing up to him in hope that threatening him will resolve their conflict.
Annie threatens Owen by saying, “I am diamonds and bones, sapphire and….steel.” This was how Annie attempted
to threaten Owen, as you can see she stutters and it wasn’t threatening at all. “Even death couldn’t stop one of
your sulks.” Owen simply stands up to Annie and bristly walks off without any worries. This conflict is important
because Annie is a ghost, having died ‘falling down the stairs’ and she has not crossed over to the afterlife yet. In
episode 3 she discovered that Owen had actually killed her and that in order to cross over she needs to resolve her
death which she thinks is confronting Owen. The conflict has been simmering for two episodes and finally Annie
has the courage to confront Owen, however she loses her nerve part way through and he accuses her of sulking.
While the result comes out in Owen’s favour of frightening Annie, it proves to the audience how much of a
‘monster’ Owen really is.
•
Demonstrate critical understanding involves examining the implications of the contribution of selected
narrative features to narrative in media texts.
As for the merit criteria, critical understanding or examining are not unpacked within the standard of 91249,
however the word implications signals that a discussion would cover the effect or impact of this convention and
its use on the overall narrative. Implications, effects or impacts within narrative could include how a character
develops, how a narrative arc is resolved, how the audience relates to the story or use of the convention in that
scene and whether it affects their understanding or engagement with the rest of the narrative. Examine and
critical also implies the discussion considering the effectiveness of the convention’s usage within the narrative.
Students should support this kind of discussion with further evidence such as examples of where the convention
was used differently within the text or linking to other texts. Below is the same example from before however
using a reasoned explanation and examining the implications of contribution of the conventions to the narrative.
An important narrative convention in serial dramas is external conflict. This is conflict which happens between two
or more people and creates tension in the story for the audience. Tension is important in any story as it gives the
narrative momentum. In episode 5 of the TV series ‘Being Human’, there is external conflict between Annie and
Owen, he has found himself a new girlfriend and Annie has found out that Owen killed her. Annie then seeks
revenge on Owen and she does this by standing up to him in hope that threatening him will resolve their conflict.
Annie threatens Owen by saying, “I am diamonds and bones, sapphire and….steel.” This was how Annie attempted
to threaten Owen, as you can see she stutters and it wasn’t threatening at all. “Even death couldn’t stop one of
your sulks.” Owen simply stands up to Annie and bristly walks off without any worries. This conflict is important
because Annie is a ghost, having died ‘falling down the stairs’ and she has not crossed over to the afterlife yet. In
episode 3 she discovered that Owen had actually killed her and that in order to cross over she needs to resolve her
death which she thinks is confronting Owen. The conflict has been simmering for two episodes and finally Annie
has the courage to confront Owen, however she loses her nerve part way through and he accuses her of sulking.
While the result comes out in Owen’s favour of frightening Annie, it proves to the audience how much of a
‘monster’ Owen really is. The implications of this conflict are significant. With Owen winning, the audience are
unsatisfied as Annie is an audience favourite and therefore the tension is unresolved and has only been increased
by this confrontation. This would be what would be considered a low-point in Annie’s narrative which happens
toward the end of a character’s journey. As this is episode 5 of a 6 episode season, the audience would expect
Annie to make a final push to triumph in the conflict over Owen thus satisfactorily resolving her narrative and the
conflict for the audience. This occurs toward the end of the episode when Owen arrogantly walks into the flat and
sees Annie, George and Owen. “Look at you, so pleased with your grubby little murder, fact is when it comes to
pure naked evil, you're an amateur.” It took the failed confrontation with Owen to allow Annie to find her own
strength, and the support of her friends, to properly resolve the conflict and become a stronger more confident
character moving into the season finale.
Choosing a text
Serial dramas have a strong sense of both character and narrative. These shows have always been on TV but have
had a tremendous resurgence since around 2005 when the episodic nature of police procedurals failed to attract
female audiences. The serial drama is often a more acceptable form of the soap opera with definitive end points
at mid-season and season finales. There is a fundamental understanding of not just character and story but the
many narrative conventions which help shape stories and engage audiences. Particularly with audiences today
being media savvy, having numerous and varied media choices, the serial drama has to be constructed well.
The problem for this assessment is that most serial dramas have long seasons of approximately 22 episodes. Midseason shows may work better with 10-13 episodes yet timing-wise can be tricky within a school environment.
Options regarding this would be to look for shows that started with shorter seasons and build from there. Shows
that fit this format of teaching narrative through the early episodes and assessing on the last two, include:
•
•
•
•
•
Grey’s Anatomy Season 1 – (9 episodes)
Being Human Season 1 – (6 episodes)
Breaking Bad Season 1 – (7 episodes)
Scandal Season 1 – (7 episodes)
The Walking Dead Season 1 – (6 episodes)
If these shows do not suit, then other options would be to select key episodes from a larger season, focus on
those and then provide episode synopses for the unseen episodes. Students will often go away and seek out the
episodes they don’t view in class if they have become engaged with the show.
Programme of study | Being Human
Being Human is a British serial drama about a ghost (Annie), a werewolf (George) and a vampire (Mitchell) who
share a flat in a quest to re-connect humanity. The NZ DVD rating is M and the content, for the most part, is
reasonable. There are some the occasional sex-scene, some swearing, some scenes involving blood, yet no nudity.
The tone of the show swings between light and dark with a sense of humour running throughout. The first season
is 6 episodes, the pilot is an introductory episode, then the next three are character specific (respectively George,
Annie and Mitchell) before the two episode season finale.
The show ran for 5 seasons in the UK, developed a huge fan following and spawned a webisode series and a US
remake on the SyFy channel.
LESSON TOPIC
Intro to Narrative
1-3
4-6
7-9
10-12
13-20
Narrative Structure
 The Set-up
 Parts of structure
Fundamental factors
 Binaries
 Conflict




Audience and
narrative
Manipulation of time
Maintaining
momentum
Other devices
Assessment
TEACHING ACTIVITY
 What is narrative?
 Why is it important?
 The premise – influences,
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
adaptations, reinventions
 Is there anything original
anymore?
Binaries/Oppositions
Internal conflict
External conflict
Momentum
Verisimilitude
Retardation
Expectation
Satisfaction
Montage
Flashback/Flashforward
Makeover
Rites of passage
Foreshadowing
Plot twist/red herring
Voice Over
Cliffhanger
Setting as metaphor
MacGuffin
Quest
Deus ex Machina
Being Human exam
TEXT
Being Human S01E01
“Flotsam and Jetsam”
Play over two periods
Being Human S01E02
“Tully”
Play over two periods
Being Human S01E03
“Ghost Town”
Play over two periods
Being Human S01E04
“Another Fine Mess”
Play over two periods
Being Human S01E05
“Where the Wild Things Are”
Play over two periods
Being Human S01E06
“Bad Moon Rising”
Play over two periods
Buffy the Vampire Slayer (season 2) – Unit plan
An example where choosing a longer season has worked in the past was with Buffy the Vampire Slayer season 2.
All up the season was 22 episodes, yet only key episodes were shown. Below is an example of how the unit was
successfully structured for Buffy S2.
LESSON
1
2-3
4-5
TOPIC
Intro to Narrative
Narrative Structure 1
 The Set-up
Narrative Structure 2
 Parts of structure
Fundamental factors 1
 Binaries
 Balance
6-7
Fundamental factors 2
 Characters
8-9
Fundamental factors 3
 Conflict
10-11
12-13
14-15
16
17-23
Narrative Conventions 1
 Maintaining
momentum
Narrative Conventions 2
 Manipulation of
time
Narrative Conventions 3
 Other devices
Audience and narrative
Assessment
TEACHING ACTIVITY
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TEXT
What is narrative?
Why is it important?
The premise – influences, adaptations, reinventions
Is there anything original anymore?
Introduction
Buffy S02E01
Catalyst
“When she was bad”
Exposition
Homework:
Climax
Read Episode 2
Denouement
Buffy S02E03
Binaries/Oppostions
“School hard”
Homework:
Balance
Read Episodes 4-8
Protagonist
Buffy S02E09
Nemesis/Antagonist
“What’s my line part 1”
Stock characters
Buffy S02E10
Internal conflict
“What’s my line part 2”
External conflict
Homework:
Momentum
Read Episodes 11-12
Foreshadowing
Plot twist/red herring
Buffy S02E13
“Surprise”
Voice Over
Cliffhanger
Montage
Buffy S02E14
“Innocence”
Flashback/Flashforward
Homework:
Makeover
Read Episodes 15-16
Rites of passage
Setting as metaphor
MacGuffin
Quest
Deus ex Machina
Buffy S02E17
“Passion”
Verisimilitude
Retardation
Expectation
Satisfaction
Homework:
Read Episodes 18-20
Buffy exam
Buffy S02E21
“Becoming part 1”
Buffy S02E22
“Becoming part 2”
Media 2.2 / (YEAR)
Achievement Standard 91249 / 2.2 v.1
Demonstrate understanding of narrative in media texts
Credits: 4
“Being Human Season 1”
Student Instructions Sheet
In this activity, you will show that you understand narrative conventions in visual media, and explain and examine
the links between narrative conventions and audience and purpose.
You will have made notes in the course of viewing four television episodes, and two unseen episodes. You will
have six periods of class time to use these notes to view and write your final responses to the questions as well as
time outside class to complete this assessment.
Note: You will need to provide evidence from each of the assessed episodes 1.05 and 1.06 as the standard calls
for an understanding of narrative in media texts. Careful selection in Conventions and Conflict section will help.
For achievement, you will need to describe (give a detailed account) how the filmmaker’s use of narrative
conventions contributes to the narrative, and make links to audience and purpose. You will need to do this
successfully for at least one question from each section (four essay length responses in total).
For merit, you will need to explain how the filmmaker’s use of narrative conventions contributes to the narrative.
An explanation involves you supporting your comments with reasons and/or justification, and make links to
audience and purpose. You will need to do this successfully for at least one question from each section (four essay
length responses in total).
For excellence, you will need to examine how the filmmaker’s use of narrative conventions contributes to the
narrative. Examining the text involves you analysing the broader implications of conventions usage within the
media texts, and make sophisticated links to audience and purpose. You will need to do this successfully for at
least one question from each section (four essay length responses in total).
Opportunity will be given to you to view selected scenes again.
Achievement
Achievement with Merit
Achievement with Excellence
•
• Demonstrate in-depth
understanding of narrative in
media texts.
• Demonstrate critical
understanding of narrative in
media texts.
Demonstrate understanding of
narrative in media texts.
CONVENTIONS
CHARACTER
CONFLICT
STRUCTURE
I state here that ALL work presented for this assessment is my own work;
Signed:
Date
CONVENTIONS
2.2 | Narrative exam
Being Human – S01E05 and S01E06
1. Explain/examine the purpose of the cliffhanger at the end of Episode 5 and consider its impact and
effectiveness on the broader narrative and the audience. Use specific examples to support your answer.
2.
Explain/examine the purpose of the flashback at the start of Episode 6 between George and Mitchell and
consider its impact and effectiveness on the broader narrative and the audience. Use specific examples to
support your answer.
3. Select a narrative convention used in these final two episodes from the list below and explain/examine the
purpose of it and impact on the narrative. Use specific examples to support your answer.
• Voice over
• Plot voucher
• Plot twist/red herring
• Deus ex machina
CONFLICT
4.
Focusing on the Annie vs. Owen external conflict which culminates in the confrontation scene at the end of
Episode 5, explain/examine the importance of this conflict and the effectiveness of the resolution is for the
audience. Use supporting evidence from the episodes in your answer.
5. Focusing on Mitchell’s internal conflict between being human and his vampire nature, explain/examine how
this has been inevitable because of events that have previously taken place. Use supporting evidence from the
episodes in your answer.
CHARACTER
6. The 3 main characters are very different at the end of the season than they are when we first meet them.
Choosing either Mitchell, George or Annie explain/examine how narrative and technical conventions (listed
below) have been used to develop or change your chosen character throughout the season as revealed in the
final episode (1.06). Use supporting evidence from the episodes of Being Human in your answer.
7. The focus of the show is the struggle these three main characters have with wanting to be human despite
their supernatural affliction. Explain/examine which of the three characters is ‘more’ human by the end of
the season. Use conventions and supporting evidence from the episodes of Being Human in your answer.
•
•
Costume
Performance
•
•
Lighting/Colour
Composition/Framing
STRUCTURE
8. Explain/examine how the rising tension throughout the whole season culminates in the final episode.
Consider its overall impact and effectiveness at maintaining audience interest. Use supporting evidence from
the episodes in your answer.
9. Narrative resolution is supposed to leave the audience satisfied – especially at the end of a season.
Explain/examine the effectiveness of the season resolution and denouement for the audience at the end of
the final episode. Use supporting evidence from the episodes in your answer.
How this assessment meets the standard
link back to previous episodes so can
Discuss might be
better, though pushing
students to the top
band is an option.
As per the note on the front page, students would need to actively
consider their choices so that they can demonstrate understanding
across two texts. This choice would be clear in the first two sections,
however in the latter sections, they would able to apply knowledge
and show evidence from multiple episodes.
Selected features is
part of the standard
and helps get more
directed responses.
These are
somewhat single
text specific yet they
work as warm-up
responses. And
often students link
back to previous
episodes so can
meet the criteria.
Same here. If you
provide some aspect
of the text –
however broad –
they can elaborate
on it.
Student-choice responses work well as often they spot something in the text you didn’t see.
These questions are episode specific yet require a discussion and understanding of the conflict occurring across
the previous episodes. This allows the students to understand that conflict in narratives is not just one-off events.
#7 is a somewhat
more directed
version of #6 as it
gives students
something more
concrete to build
towards. It’s
almost more
comfortable in
that sense.
Interestingly students
do massive compare/
contrast responses
about all three and
almost cover the
whole assessment in
one question. Which is
not advisable.
These questions have technical close-reading components yet are narratively-driven in that the focus is
regarding the character developing.
Again these two questions guide them to specific conventions while allowing them the freedom to answer on
multiple episodes. Hopefully, it’s apparent that the components of this assessment move from a narrow
convention/text focus up to a much broader/multiple text view.
Exemplar A – Low Achieved
Convention (A3)
OVERALL STATEMENT:
This student has made a poor choice by answering on Episode 1.05 for the
first two sections yet uses 1.06 for a later response. Overall the responses
are merely descriptive and just sufficiently show an understanding of
narrative features in media texts.
In the closing moments of Episode 5 we see a narrative convention presented
in the form of a cliffhanger to attract the audience to watch the next episode.
In this episode, the cliffhanger involves Mitchell being stabbed by Herrick in
an attempt to remove him as a threat and Annie being offered her closure in
the form of the door to go to her death, having completed her confrontation
with Owen, whilst Mitchell is dying. The purpose of the cliffhanger is to offer
the highest level of tension as well as building audience intrigue leading up to
the final episode; this ties in with the rising tension that is present within a
generic narrative structure. As the second to last episode of the first season,
the cliffhanger ensures that the audience will return for the finale in order to
see the outcome of Herrick stabbing Mitchell and Annie’s ‘door’ appearing.
The effect of the cliffhanger used in the episode is to provide a temporary
break in the normal pace of the narrative.
Conflict (A3)
An important narrative convention in serial dramas is external conflict. This
is conflict which happens between two or more people and creates tension in
the story for the audience. Tension is important in any story as it gives the
narrative momentum. In episode 5 of the TV series ‘Being Human’, there is
external conflict between Annie and Owen, he has found himself a new
girlfriend and Annie has found out that Owen killed her. Annie then seeks
revenge on Owen and she does this by standing up to him in hope that
threatening him will resolve their conflict. Annie threatens Owen by saying, “I
am diamonds and bones, sapphire and….steel.” This was how Annie
attempted to threaten Owen, as you can see she stutters and it wasn’t
threatening at all. “Even death couldn’t stop one of your sulks.” Owen simply
stands up to Annie and briskly walks off without any worries. This conflict is
important as the audience likes Annie and has wanted her to find a way of
getting back at Owen, when this confrontation fizzles out it means Owen has
won the conflict and the audience are eager to see if anything happens next.
Character (A3)
A character that has developed throughout the episodes is George. During the
end of the season we see that George has finally accepted his being of a
Werewolf. This is important to the plot because it shows that George is finally
accepting himself in the world for what he is. A main example of this
narrative character development is shown through George’s statement to
Herrick, who claims that George embracing the beast in order to defeat him
The student has identified
and defined the narrative
feature of the cliffhanger.
This is a description of the
example. To achieve more
securely the student
should have used a
relevant quote.
This statement describes
the purpose of the
convention and links to
the context of the
episode.
The student has identified
and defined the narrative
feature of the external
conflict.
The example is more
detailed with a quote and
does establish context yet
is very plot heavy.
This statement describes
the purpose of the
convention and links to
the audience.
The student has loosely
covered the importance
of character development
to the overall narrative.
The example is more
detailed with a quote and
does establish context yet
is very plot heavy.
will show him losing the last bit of humanity he has, to which George replies,
“Haven’t you worked it out yet? Humanity is about love, and sacrifice. This
doesn't rob me of my humanity. It proves it.” George is presented as being
unstable due to Mitchell’s self-inflicted sacrifice that he intends to achieve by
going up against Herrick, whilst Annie is saying that she has to move on and
this leaves him in an emotional state, and through this performance we can
see that he develops his independence and understanding of self and goes
against Mitchell whom he often treated as his superior, and instead organizes
to face Herrick himself. The use of costuming is recognized when the
showdown with George and Herrick arises, George abandoned his clothes
which is normal for him before transforming, this is important to the plot as
it shows that he has accepted who is naturally is.
Structure (A3)
A technique that was used throughout the season of Being Human was rising
tension. Rising tension is the gradual rise of suspense, this tension is a result
of the basic conflict that exists and makes the story interesting. In this case,
we see rising tension in the disequilibrium of their own existence. When
George, Anne and Mitchell all first meet, everything is fine, but that is thrown
away by the actions and personal connections of the three of them. All of
them clash together with conflict and binary; Annie being her conflict with
Owen. Mitchell being his conflict with the vampires and Lauren, and finally,
George with accepting of himself, acceptance of his curse. These conflicts
result in a rise of tension which helps to maintain audience interest. Herrick
says, “So, a werewolf, a ghost and a vampire decide to live like humans do.
They get jobs, a house and a TV license. They make friends they will lie to,
take lovers they will infect; In fact, the only part of humanity they
successfully adopt is its ability to deceive and destroy.” This shows us that no
matter what George, Mitchell and Anne do, they will always infect or harm
the civilians around them despite their attempts. Rising tension is seen
during the vampire plot, which threatens the group. Each character learns
something about themselves which aids the defeat of Herrick. This rising
tension comes to a halt as Herrick has died and it has left the audience with
satisfaction of the completion.
The student weakly
describes the use of
performance in relation to
character development.
This doesn’t really add
anything to the discussion
and follows a shot-gun
approach.
The student has defined
the narrative feature of
rising tension.
The student tries to apply
the feature to the text,
but is very general. This
gets muddled when they
mention conflict and
binary without clarity.
However, the quote is
well-chosen and brings
the discussion back into
line.
The student links the
quote to the contribution
to the narrative in a good
description yet lacks any
substantive attempt to
explain the contribution.
Exemplar B - Merit
CONVENTIONS RESPONSE (M6)
OVERALL STATEMENT:
This student shows potential for Excellence yet does not support the
implications with wider evidence which undermines the impact of their
discussion. Brings in narrative theory yet the discussion is superficial and
lacks conviction to demonstrate critical understanding.
A narrative convention used in the 5th episode of ‘Being Human’ was a
cliffhanger, which was used to end the episode. A cliffhanger is a plot device
where a movie/show suddenly ends, often leaving the main character(s) in a
precarious situation. An ideal cliffhanger should leave the audience in suspense
and anxious to see the next episode to see how things turn out. Episode 5 ends
with a very effective cliffhanger. The tension throughout the whole episode is
slowly building up to this moment. Just as Annie is about to enter a mysterious
door symbolizing death, there is a knock at the main door of the flat; Mitchell
answers it, only to be suddenly stabbed by Herrick. The episode then ends with
George holding Mitchell on the floor and Annie contemplating whether she
should take her opportunity and leave or whether to stay and try to help save
Mitchells life. The writer’s purpose with this cliffhanger is to leave the audience
in suspense, to leave them wanting to know what is going to happen next. This
means that the audience will be forced to watch the next and final episode in
the season. The cliffhanger is always either at the end of an episode, or just
before an ad break, making sure the audience will always return to see how
things pan out. The purpose of the cliffhanger is to end a scene without actually
resolving the tension. The natural narrative course is broken and the story cuts.
At the end of episode 5, the tension is its very highest. After being assisted by
the sudden plot twist of Mitchell spontaneously being stabbed, the tension
jumps up once again. This puts the audience on the edge of their seat even
more only to be left there when the episode ends. The audience will then return
to watch the 6th episode to see how things are resolved. At the start of the 6th
episode, the tension is not immediately resolved, a flashback is shown at the
start, showing the audience as to how this all started; how Mitchell and George
met. This makes the audience wait even longer to find out what happened after
the last episode ended. Cliffhangers are a convention that have been around for
years, and are used in nearly every television show to date. Therefore, us as an
audience are very used to the concept of having to wait for the next episode in a
series to answer our long awaited questions and concepts of what exactly is
going to happen. Even though sometimes cliffhangers can often frustrate the
audience, it will always serve its purpose and we will always come back to
watch the next installment. Often shows will have a cliffhanger at the end of
every single episode, trying to get people to keep coming back. Then we go
back to find out how they get out of the mess, we end up watching the whole
episode and it happens again, we are left with another cliffhanger and we just
keep falling into this trap that modern day narratives repetitively use. It’s like
it’s feeding our addiction. Although there are not always cliffhangers at the end
of the episodes, there are commonly little mini ones just before the ad breaks,
helping the tension to rise throughout the episodes. During the 6 episodes,
The student has identified
and defined the narrative
feature of the cliffhanger.
A quote would have been
to round off this example
yet is still detailed and is
discussed in reference to
the structure and tension.
The student explains the
contribution of the
cliffhanger with evidence
to the narrative of the
episode making a link
between episodes.
The student touches on
the implications of
cliffhangers in general for
audiences which shows
wider knowledge yet is
not supported with
evidence either from
Being Human or another
serial drama.
every episode ends with the tension being resolved just before the show ends,
apart from episode 5, which is the only one that ends with a cliffhanger. This
cliffhanger in particular is placed strategically and is very effective for the
audience. At episode 5 in a 6 episode series, it is arguably the highest point of
tension in the whole season, which forces us to come back and watch the
season finale.
The student explains the
contribution of the
cliffhanger to the tension
and structure of the
whole season.
CONFLICT RESPONSE (M6)
In the series ‘Being Human’ the convention of internal conflict can be seen
through the character Mitchell as he decides whether to be a vampire or a
human. Internal conflict involves the internal decisions, problems or challenges
a character must overcome in order for the story to advance. The internal
conflict that Mitchell finds himself in was due to the events leading up to it
meaning that he must inevitable face the decision of whether to stay in Human
form and continue to try lead a normal life, or let the vampire inside of him
shine through. One of the first events that lead to him facing this decision can
be seen in one of the first episodes when Mitchell is seen speaking to a lady that
fancies him and is trying to ask him back to her place whilst they are at a pub
together. The difficulty Mitchell is having deciding whether he wants to or not
can be seen in his dialogue, he responds to her request to go back to her
apartment; “I want to, I really do, it’s just well, I can’t, it’s not me it’s you”.
Despite Mitchell wanting to go out with his fellow work colleague Becca, he
knows that if he lets his vampire side take over; things will go bad, like it did
with his last date Lauren, who he turns into a vampire. Later in the series, in
episode 4, Mitchell’s indecision of whether he wants to be human or vampire
(his internal conflict) results in his identity as a vampire being uprooted by the
human world when a DVD of some of his ‘vampire porn’ falls into the hands of a
young boy, resulting in an uproar from his local community. Lauren reacts; “
But everything you said about moving on from that vampire life, it was all a lie”
The indecision that Mitchell experiences is the main cause of this incident as his
refusal to dispose of this DVD causes it to fall into the wrong hands. This
internal conflict can be heard by the audience in Mitchell’s voice over “Where
do I belong? Where do I fit? Who are MY people? Where do my loyalties lie?”
According to theorist Levi Strauss conflict is the binary of all narratives, this
can be seen in the series being human as it is the external and internal conflicts
shared between characters that creates the story line. The purpose of internal
conflict in the narrative is that it gives the viewer a deeper understanding of
the character as it portrays their view points that they may not express
externally. It also gives the narrative momentum as all conflict must be
resolved. These small examples of internal conflict build up to a greater
internal conflict in Mitchell, whether he helps the vampires, or completely go
against them to continue to pursue a normal human life. Without these small
internal conflicts the greater decision would not be as important and may not
The student has identified
the narrative feature of
internal conflict.
The student takes a big
picture look at the
internal conflict the
character is facing.
The quote is a good
choice to support the idea
of internal conflict as it
features stammering,
incomplete thoughts.
Here the student explains
the context of the internal
conflict and contribution
to the narrative, linking to
narrative theory. Evidence
is cited which supports
this , however, the
discussion is not sustained
throughout.
The student touches on
examining the
implications of the
contribution to the
narrative.
even eventuate as in the context of the story would not be effective. The
internal conflict of Mitchell gives the audience a deeper understanding of the
character as it gives them a dimension of understanding that they may not
observe without it. It also makes the character more relatable as everyone has
internal conflicts and by giving a character the same characteristics of the
audience makes the audience connect deeper with them.
Here the audience is
considered which can
further support the
explanation and lend
itself to discussing
implications.
CHARACTER RESPONSE (E7)
In ‘Being Human’ there are numerous narrative conventions throughout the
season. Two main conventions were Internal Conflict and Rite of Passage.
Internal conflict involves the internal decisions or problems a character must
overcome within their own mentality to advance in the narrative. A rite of
passage is a turning point in a narrative where a character must overcome a
challenge or complete a task to prove themselves. This is often used in male
characters to show them proving themselves as men, in female characters a
makeover is often used similarly. In ‘Being Human’ George is continuously in
denial about being a werewolf. He tries to separate this secret life from his
normal day to day life because he can’t bear to see them mix together as he
fears that they will eventually become one. As the season goes on however,
George finally starts to realize that it is part of him and there is nothing he can
do about it apart from trying to accept it. His internal conflict is trying to keep
this big secret from his girlfriend Nina, as he doesn’t want to hurt her –
emotionally or physically. The purpose of the rite of passage in ‘Being Human’
is to indicate to the audience that George is beginning to move further away
from denial of his secret life while the purpose of the internal conflict is to
show the inner battles he must go through to finally get to the stage of full
acceptance. The effect of having this internal conflict is to see George’s more
personal, affectionate side and creating a closer connection between him and
the audience. George is trying to decide whether he should stay with Nina and
be happy even though she’s at risk of being hurt, or whether he should end it
now before something bad happens later on. We see this play out in the 5th
episode when George: says to Nina, “You think I'm having a down day, I'm not.
Trust me. There is stuff you don't know about me. Really dark, dangerous, nasty
stuff and when you do know it, you'll walk. So I’m only cutting to the chase.“
This quote demonstrates the conflict he is battling with, although he wants to
be with Nina, he knows something bad will happen if he doesn’t stop it
immediately. George’s rite of passage of accepting he is a werewolf is easily
understood by the audience as everyone has had to accept something and move
on before. George’s werewolf occurrence can be linked to real life issues like
deaths of loved ones or being in a serious injury and getting paralyzed etc.
Although it is very sad, nothing can be done and the only thing to do is accept it,
move on and just try to live with it. His internal conflict he faces obviously
comes under the same umbrella as most people can relate to the inner battles
Two narrative features
are identified, defined
and clearly linked to
character development
within the narrative.
Here, the example is
descriptive and details the
character throughout the
season.
This statement explains
the purpose of the
convention and links to
the context of the
episode.
At this point the evidence
is more detailed and
supported by a good
quote which supports the
discussion.
Here, the student links
the narrative feature to
the audience, and places
the usage into context.
that he faces on his way to acceptance. The internal conflict also helps develop
a character and lets the audience watch how they grow and change over time,
making it a more personal experience for the audience. As they change over
time, the audience will start to feel a connection with each character as they
feel like they personally know them.
Here the implications of
the contribution are
considered in detail with
supporting evidence. This
lifts this response to a
solid Excellence
In the series ‘Being Human’ the rising tension throughout the series culminates
up to the final episode is caused by events such as external conflict between
characters. The convention of rising tension is caused by different turning
points in the narrative as well as conflict between characters it builds up the
storyline towards the climax. One of the first instances of this conflict can be
seen between Mitchell and Lauren. It arises over Lauren ‘egging’ Mitchell on to
kill his date for the night, Becca. Mitchell refuses to kill her and attempts to
convince Lauren to leave the vampires and try to live and normal life like he is
trying to do himself. After a small row, Lauren ignores Mitchell’s advice and
kills Becca, Mitchell in his anger asks why she did it, she responds, “You did
this! You made me this, Mitchell! This is all your fault” according to Todorov’s
theory, this can be seen as the disequilibrium as the presence of Lauren has
caused the equilibrium to be disturbed as conflict has arisen from a
disagreement over what’s right. It can also be more commonly observed in the
more known structure of narratives as the first crossing or passing through an
obstacle as Lauren offers resistance to Mitchell journey. Later in the series
external conflict can be seen again when Mitchell’s DVD containing vampire
porn accidently slips into a young boys hands and his mother finds out. The
boy’s mother then makes it her mission to ensure that the 3 are labeled as
freaks and conflict is inevitably created between them. “Why would you keep
the DVD?” “I didn’t keep it, just didn’t throw it out” “but what about all those
things you said about moving on, putting that vampire lifestyle behind you was
all a lie” Mitchell feels that the rising tension is mainly attributed to his foolish
actions, he knows that his fight with the Head Vampire Herrick will lead to the
death of him or his one of his friends, he then sets the date of the fight with
Herrick to ensure that George doesn’t get hurt “Tomorrow? Why tomorrow?
That's when I transform; I won't be able to be there” “BECAUSE it's when you
transform and you won't be able to be there.” External conflict was used
throughout the narrative as the individual instances of conflict can be seen as
turning points. These turning points are what create this rising tension as
without these things that need to overcome the narrative would not be able to
keep audiences watching. These acts of external conflict were effective in
foreshadowing a much greater act of conflict to come in the narrative. They are
effective as rising tension is created and developed as more instances of
conflict occur throughout the story line. Without these acts of conflict the story
would not gain momentum and therefore audience interest would be non-
The structural device of
rising tension is placed
within the context of the
series and linked to other
narrative features.
STRUCTURE RESPONSE (M6)
An early example is used
and linked to narrative
theory signaling the start
of rising tension.
Rising tension is linked to
The Hero’s Journey just
not explicitly.
Rising tension is
progressed through
examples across the
season and linked to the
high stakes of the season.
Rising tension is explained
using the external conflict
as a contributing narrative
feature, with some
attempt at evaluation.
This is insufficient for
Excellence as it is
discussed in broad,
general terms.
existent. Rising tension is essential in the narrative mainly for the purpose of
keeping the audience hooked. Rising tension makes the narrative interesting
but most of all gripping, ensuring that viewers will remain hooked to the series
so they can see how characters are affected when this rising tension finally
over boils to the climax and then to the Denouement
Here, the student links
the narrative feature to
the audience, and places
the usage into context.
Exemplar C – Excellence
CONVENTIONS (E8)
OVERALL STATEMENT:
This student weaves evidence throughout explanation and examination
and considers the implications on the narrative as well as audience and the
broader serial drama genre. Student has a thorough understanding of
narrative theory, applying it well.
Flashbacks are a narrative convention used to give the audience insight into a
characters past at essential moments in the text. Where information may not
have been so relevant if done in chronological order, a flashback allows the
director to feed the audience information where it is necessary and most
effective. Flashbacks can also bring context or meaning to the narrative
where it would have otherwise seemed shallow. A flashback is usually
indicated by either a change in lighting, style of cinematography, voice overs,
on screen text or a combination of these.
The use of a flashback is seen at the start of episode six when George and
Mitchell meet for the first time. A group of vampires have come to the café
George is working at and after discovering his supernatural abilities, proceed
to physically abuse him. The vampires are intent on killing him, and it is only
because of Mitchell that George escapes with his life. Mitchell then tells him,
“You’re going to have to leave. They’ll come back, they always do. I’m sorry.”
It is at this next point that we gain more insight into George’s character when
he replies, “And then what?! I can’t keep… I’ve lost everything. I’ve had this
for six months, and now there are vampires? And they want to kill me, so I
have to leave… again. And then what?!” This scene provides vital information
into the history of George and Mitchell’s relationship and allows the audience
to relate and feel more invested into George’s situation.
The purpose of a flashback is predominantly to provide extra information to
a text where it is most vital. Also, by changing the time periods within a
narrative and avoiding straight line, chronologically ordered events, audience
interest can be heightened. A flashback can change the way a story is told by
using post-structuralism. This can add depth to the story and so improve the
complexity of the narrative. As outline by Shklovsky, a narrative construction
can be referred to in two ways, the fabula and syuzhet. The fabula is the raw
material of a story, and syuzhet, the way a story is organized. This means
that while the fabula is always in chronological order as it refers to what
actually happened, the syuzet can be in mixed time frames as it refers to the
way in which the story is told. This includes the use of flashbacks and flashforwards.
The effect Mitchell and George’s flashback has on the episode is to create a
sense of understanding for the audience about Mitchell and George’s
relationship. This jump backwards in time gives the audience insight into a
small but vital fragment of the bond between these ‘two souls, united by fear
and solitude’. In an episode that will test their friendship and commitment to
each other, the flashback served as a great basis on which to start. It also
brought in a reference point to which George reminded Mitchell of, “Do you
The student has identified
and defined the narrative
feature of the flashback.
There is a sophisticated
understanding of the
purpose and construction
of a flashback.
This is a detailed example
which combines action
and quote to provide
context without retelling
the whole plot.
A brief explanation of the
example in context with
the rest of the narrative.
The explanation is
developed here with a
link to narrative theory. It
would have been good for
the student to link back to
the example yet
holistically this is covered
in the response.
The student examines the
implications of the
flashback’s contribution
to the narrative within the
context of the example
and the episode, with
supporting evidence.
remember when we met? I was being attacked but you saved me and you told
me I had to get away and then I said, and then what? I have this thing hanging
about me that I can’t leave behind so my life will always be, and then what?”
This is the moment at which we think their friendship is coming to an end,
and so having it link to the start of the episode so strongly gives the audience
a feeling of sad, yet complete fulfillment. In terms of the broader narrative,
this use conventions makes the next plot twist and in turn the final resolution
so much more enjoyable.
Manipulation of time, such as the use of flashbacks, is an effective way of
holding audience attention, if done well. Today’s audiences have come to
expect complex media texts and are much better at comprehending narrative
structures than audiences of the past. Due to this many narratives are played
out in post-structuralist formats. By manipulating time and avoiding linear
narratives, the director is able to create clever links between past and
present, convincing the audience to feel as though the entire story was
predetermined and fits perfectly in place. As in episode six of Being Human,
the flashback serves as a reminder of how strong the bond between Mitchell
and George has become and how important the root of their coming together
is. And so when in the final scene George proves his love and ‘humanity’
towards Mitchell by fighting Heric himself, it is received by the audience with
far greater warmth and meaning than if the flashback had not preceded it.
The flashback also provides contrast and gives the audience a feeling of
contentment and resolution as we can see where George once was, compared
to where he is in the final scene – at home with his family.
The student examines the
implications of the
flashback on the
audience.
The student examines the
implications of the
feature’s contribution to
the narrative within the
context of the example.
CONFLICT (E8)
Conflict is a convention used in almost all media texts. It provides interest,
tension and usually the base of a text’s plot. Binary oppositions are how most
conflicts arise and it is the quest of one side of the binary that forces the other
to respond. Conflict can be either external or internal, in the case of Annie
and Owen it is an external conflict with a good vs. evil / male vs. female /
victim vs. victimiser binary.
An example of this conflict can be seen in episode 5 when the tension
culminates in a confrontation scene at the house. Owen walks in and begins
saying, “to kill someone and get away with it… Your bullet proof, you’re a
god.” Annie then replies, “You think you’re the big bad wolf… Look at you, so
pleased with your grubby little murder. The fact is, when it comes to pure
naked evil you’re an amateur… This is where the wild things are and we’ve
got your scent now. We can find you at the edge of the earth and create
unimaginable tortures.” It is here that she finally dominates, pushing Owen
into a state of paranoid schizophrenia so that he admits to her murder in the
The student has identified
and defined the narrative
feature of external
conflict, and made a link
to the concept of binary
opposition.
While this paragraph is
basically the whole quote,
it is a good choice that
resolves the conflict and
develops the character.
hope of being protected by the police. This twist in the narrative allows some
level of resolution for Annie as her murder has finally been accounted for.
The purpose of this external conflict between Annie and Owen is to help
Annie develop as a character. At the start of the series Annie is still in love
with Owen. She grieves for the life with him that she has lost and tries to be
his ‘guardian angel’. In episode three Annie finds out that Owen pushed her
down the stairs and is therefore her murderer. This initiates their conflict as
Annie seeks revenge and some sort of closure to her death. From here on the
conflict is a source of rising tension and is used to create drama in the text.
The final confrontation brings about an ending to the conflict and allows
Annie to move on in her (after) life. She has changed and developed as a
character and is strengthened by her newly acquired knowledge and
confidence.
The effect this conflict, and finally its resolution, has on the audience is to
create interest and drama around Annie’s character. It is the main theme of
her ‘story’ and while the series develops, extracts of her life and movement
with Owen are included and advanced. As the tension builds and the
audience realises just how evil and sadistic Owen is, we come to fear that she
may never find a resolution to her death. The audience is able to become
involved with Annie and her predicament through the power shifts between
her and Owen. Finally, in the confrontation scene, they come face to face for
the last time. Annie is able to attain a rare confidence and fight back. This
binary opposition of male vs. female and victim vs. victimiser reaches a peak.
While there is a sense that Annie is the underdog, historically the weaker
binary as the female victim, she is still able to dominate. Levi-Strauss
theorised that one binary cannot exist without the other, as they are
opposites and the meaning of one becomes irrelevant if the other does not
exist. He says that conflict arises when these two binaries meet and society
will usually favour one over the other, depending on the culture. In our
culture, the most common assumption is that females are as victimised by
males. Therefore it feels natural for the audience to invest themselves in the
wellbeing of Annie. So when she finally beats Owen, despite having put him in
a terrible state, the audience feels relieved and pleased by this new
resolution, making it an effective way of deepening the bond between
character and audience.
Conflict is extremely unsettling for the audience if no resolution is reached or
can be anticipated in the future. This means that the resolution is just as
important as the conflict itself, as it brings closure and finality for both the
characters within the narrative and the audience. In Being Human, Annie and
Owen’s conflict is a major theme and plot devise. Not only does it provide a
narrative arc for Annie’s story, from which she can prove herself and
overcome narrative trials, it also creates situations where her character is
The explanation is
simplistic yet considers
the purpose of the
external conflict with
regard to character
development and
discusses it in relation to
other conventions.
The student examines the
implications of the
conflict’s contribution to
the narrative and
character within the
context of the example.
There is a substantial link
to the theory of binary
opposition. There is
critical understanding of
the audience within the
use and execution of the
convention in this
narrative.
The student examines the
implications of the
conflict on the audience
and the audience’s
engagement with the
character.
able progress and open up to the audience. Without some sort of trial or
challenge her character would seem weak and there would be no sense of a
growing relationship between Annie and the audience. This is needed if her
resolution is to have the desired impact. Because we become so involved with
Annie and almost live through her struggles, when she finally overcomes the
main source of conflict and unhappiness in her life there is a great sense of
relief and resolve attached to her triumph. The effectiveness of this
resolution is only so, due to the prior build of conflict, tension and drama
before the final confrontation. Because we become so involved with Annie,
her triumph almost feels like a personal victory, and so we know that the
audience has become truly invested in her character.
The student continues to
examine the implications
of the conflict’s
contribution to the
narrative and character
development within the
context of the example.
CHARACTER (E7)
A huge development is seen throughout the series with George’s character.
This is achieved through both a change in Russell Tovey’s performance and
the use of technical conventions such as lighting/colour. The way a set is lit,
or the tint that is used, helps to create the mise en scène of a shot and so can
be used to symbolize developments within a character.
An example of this is seen in episode six. The opening scene, where George is
working in a café, is shot with a definite blue tint and in partial darkness. This
indicates to the audience that George is going through a dark, miserable time
in his life. These conventions are used to create a mood with which the
audience can relate to, as we have been conditioned to associate certain
colours with different moods. This contrasts with a scene further on in the
episode when George is regaining a connection with his religious side and it
is shot in a warm soft light. The continuous use of colour and lighting helps
aid the audience in recognizing George’s progression throughout the episode.
The purpose of these conventions is to create moods and vibes with which
the audience can relate. By changing the lighting or colour of a scene the
director can easily set the tone and give hints to the audience about the
nature of the scene. This can be very useful in building tension and giving
away information without using dialogue. As seen in the flashback at the
beginning of episode six, the use of a blue tint immediately forewarns us that
something grave is going to take place. Not only does this enhance the scene
itself as the mise en scène is improved, it also creates tension because danger
is being foreshadowed.
The effect this has on the scene is to also manipulate the audience’s view of a
character’s performance. Because the lighting and colour has forewarned us
of the intention of the scene, it is much easier to imagine that the character is
acting to fit this roll. It changes the way we interpret the character’s actions
and so can be used to maximize their development. As with George, there is a
noticeable shift away from dark, shadowy and sketchy lighting into stronger,
The student has identified
two technical features as
being significant to the
narrative development of
the character George.
This is a detailed example
which combines technical
close reading with
character discussion to
support the rest of the
response.
The explanation of the
purpose of the lighting
and colour is direct and
makes a link to example.
The student examines the
implications of the
performance and lighting/
colour to the character
development and makes
links to media theory.
brighter and warmer lighting systems as his character develops into a strong,
secure, trustworthy friend and lover. As discussed by Andre Bazin, the mise
en scène of a visual text is extremely important in creating aesthetics and
emphasizing movement within the scene. This includes colour and lighting
which have a huge effect in determining how the audience will decipher a
scene.
For the audience to enjoy a character and feel that the levels of verisimilitude
are high enough to create a believable persona, characters must develop and
change throughout a narrative. It is extremely boring and unsatisfying for a
character to begin the narrative a certain way and then after completing
many tasks and trials end the story as much the same person. Development
and change is key to a successful and audience enthralling character. This is
most often seen through a change in performance but can also be capitalized
on by the use of appropriate colour and lighting. George’s character changes
in many ways from the beginning to the end of the series. Where at first he
could barely acknowledge his condition without becoming defensive, by the
end of the season he has learnt to control his werewolf and use it as a
positive side of his identity. These changes are fully revealed in the final
episode and it is through the director’s careful use of colour and lighting that
we can fully understand what George is going through and the emotions
related to his changes. Audiences of western culture have learnt to associate
certain connotations with different colours and lights, this can and is used to
the advantage of the film maker to help transfer information to the audience.
Because of this the director must be very aware of their choices in colour and
lighting when filming a scene. This was seen all through season one of Being
Human, where colour and lighting continually helped to build our
understanding of George and progress his development until in the last scene
he is shot under a clear bright light within the warm colored walls of his
home. Both representative of his happiness and security.
The student examines the
implications of the
character development to
the narrative within the
context of the text.
The student examines the
implications on the
audience and their
engagement with the
character.
STRUCTURE (E7)
Rising tension is a narrative convention used with great care and importance
in all episodes of Being Human. While each episode individually has a sense
of rising tension before a climax and then the final denouement/resolution,
overall the entire season also follows this pattern. This is seen in culmination
of tension and apprehension in the final episode. Without continually rising
levels of tension a narrative would seem dull and boring, the audience must
feel like the story is heading towards a final climatic moment for the
narrative to hook and hold their attention, as was seen throughout Being
Human.
An example of this rising tension throughout the season and its culmination
in the final episode is that of the inevitable conflict between Mitchell and
The student identifies
rising tension within the
seasonal narrative, and
discusses its significance
within general terms.
Heric, a good vs. evil binary. Every episode plays a vital part in building the
tension, background and storyline to the final climatic moment in episode six.
But the culmination and height of this tension is seen throughout the final
episode. For example, the use of quick cut editing between Mitchell and Heric
as they prepare for the battle on the rooftop, has the effect of a clock counting
down the seconds. This builds tension and increases audience interest.
Rising tension builds momentum throughout a narrative and is the most
useful and used tool in enhancing audience interest. Without a sense of
heightening tension and pressure most narrative twists or turning points lack
believability and affect. Conflict, whether internal or external, need some
level of rising tension to precede it as a way to involve the audience and
create a feeling that the hero is risking themselves or something they love.
There must be a sense of personal loss or risk attached to the conflict for it to
have the desired effect on the audience; this is most easily achieved by
increasing tension. Again this can apply to each episode individually and/or
the entire season as a whole.
As Gustav Freytag outlined, a narrative must have a series of turning points
all with increasing levels of importance and fatal consequence. The tension of
the narrative must also rise until the final push, which then results in the
climax. After this final conflict the tension will drop and the new equilibrium
will be found, it is this resolution that allows the audience some reward for
their involvement within the text and their rising levels of anxiety. The effect
rising tension has on the audience is to build a sense of unease and insecurity
about the characters fate. As seen in the final episode, the audience is lead to
believe that Mitchell is extremely unlikely to win his fight against Heric and is
therefore making the ultimate sacrifice so as to save his friends. While the
scene cuts between Heric preparing, and Mitchell waiting on the roof top, the
levels of tension rise and the reality of Mitchell’s situation sink in. It is this
anxiety and apprehension that makes the next plot twist so much more
satisfying for the audience. When we find out George has sabotaged fight and
is taking on Heric himself the audience involvement is much greater and so
the text is improved as a whole.
The overall effectiveness of rising tension on increasing audience interest is
dependent upon its structure. While a text will be dull and boring if there is
no sense of increased tension, it can also have negative effects on the
audience if tension rises too quickly or seems to be ever increasing without
pause. For the audience to be most involved they must feel as though the
hero/heroine accomplishes task and is then rewarded for them before
moving onto the next challenge, in other words tension must drop slightly
after each turning point before peaking at an even higher point for the next
plot twist. Today’s audience have come to expect complex narrative
structures and clever plot twists, so, as seen in Being Human, a text is most
This is simply a described
example which combines
technical close reading
with narrative tension.
Thankfully the example is
discussed further in the
rest of the response.
Here the student explains
rising tension in a very
general sense and links
easily to other
conventions considering
the purpose overall,
though without a direct
link to the studied text.
The student examines the
implications of the
narrative structure and
rising tension with strong
links to the text and
narrative theory.
The student evaluates the
implications of the
structure of the episode
and overall season’s
narrative on the audience
and their engagement
with the show.
relevant and fulfilling when multiple storylines overlap and intertwine. In
Being Human each episode has a narrative arc which could stand alone by
itself but also plays a role in the arc of the entire season. The levels of tension
rise with each episode, until finally tension is culminated in episode six
where consequences are most fatal and all characters risk great personal
loss. It is because of this continuity between episodes and links between
characters that the rising tension is so effective and so successfully enthrals
the audience. Conflict between both Heric and Mitchell and Heric and George
is foreshadowed continuously throughout the series and so the levels of
rising tension very effectively insure audience interest. The overall impact of
rising tension in the narrative is to create a link between characters and
audience, while the character must go through stressful and high tension
situations, so must the watcher. This creates a link between audience and
character, which is the basis on which a good narrative stands.
The student examines the
implications of the
feature’s contribution to
the narrative within the
context of the example.
It’s the second half of this
paragraph which pushes it
comfortably to
Excellence.