English Extension 2 2016 HSC exam pack (archive)

Short stories

Candidates showed strength in these areas:

• formulating narratives around conceptually complex ideas and values
• manipulating  the short story form to support concepts through choices in structure, subversion of genre or narrative perspective
• awareness of narrative structure to engage the  reader by establishing clarity of purpose  with sophisticated concepts that were nuanced and underpinned by extensive independent research
• constructing realistic dialogue and a constant voice, subtle imagery and judicious description
• creating a sense of narrative purpose without being didactic nor predictable
• mastering seamless transitions in time/perspective/events.

Candidates need to improve in these areas:

• familiarity with the conventions of the short story form
• ensuring the work is not driven by dialogue, clichés and one-dimensional characters
• controlling grammar, tense, word choice
• establishing a sense of context, for example, time and place, that is authentic
• using minimal footnotes  which distract from the flow of the narrative
• developing distinct, authentic and emotionally realistic characters
• formulating responses around conceptually complex ideas that are adequately investigated
• sustaining core ideas without the need for unnecessary details that do not enhance narrative meaning
• avoiding overly didactic stories, heavy-handed descriptions and obvious inter-textual references that do little to enhance the narrative.

Critical responses

Candidates showed strength in these areas:

• selecting a specific, narrow focus and then developing and consistently supporting the thesis throughout
• engaging with textual devices to explore the construction of meaning
• synthesising the analysis of the chosen texts
• utilising structure to clearly and logically sustain the thesis with conclusions that were evaluative and highly developed
• referencing footnotes appropriately
• showing awareness of the audience in the way meaning is shaped, and articulating this within the Reflection Statement
• forming consistent, cohesive arguments that are logically structured with an authentic voice that demonstrates purposeful control
• making judicious selections and combinations of texts.

Candidates need to improve in these areas:

• establishing broad, conceptually sound thesis statements
• avoiding the examination of too many texts which often prevents deep textual analysis
• structuring the work so that there are no lapses and disconnections that suggest unpolished or uncontrolled editing  
• avoiding a loss of focus and direction by exploring tangential or unrelated ideas and research
• avoiding repetition and the revisiting of the same point rather than building and developing a thesis
• avoiding indiscriminate, inappropriate and unnecessary footnoting
• using terminology which does not come at the expense of the clarity of meaning
• providing relevant information in the Reflection Statement which evaluates the shaping of meaning, rather than listing.

Poems

Candidates showed strength in these areas:

• manipulating poetic language such as motifs, figurative imagery, rhetorical devices and word choice to engage the reader
• experimenting ambitiously and successfully with well-researched forms, such as sonnets and prose poetry, grounded in a genuine feel for poetry and with a close consideration of metre, voice, lineation
• carefully selecting and justifying form, especially when experimenting across genres
• articulating an original, well-developed concept with a clear sense of purpose that matches the chosen form or style
• constructing an authentic voice and exhibiting a strong sense of knowledge, passion and insight into the concept.

Candidates need to improve in these areas:

• researching into the breadth and complexity of poetry
• manipulating form and language for effect
• ensuring the Reflection Statement reveals the ways research into form has shaped choices
• creating a conceptual or narrative thread that unifies suites of poems
• understanding the crucial difference between poetry, including prose poetry, and expression that is merely prosaic and lacks metre and voice
• ensuring the work reflects extensive investigation of the concept and is not merely based on personal experience.

Scripts

Candidates showed strength in these areas:

• attempting unorthodox modes and conventions which were effectively, purposefully and precisely crafted, demonstrating a strong control of the medium, appropriate to the specific intended audience
• creating dialogue which enhanced the development of distinct, original characters
• establishing an authentic sense of place and character, which heightened engagement
• mastering inter-textual inclusion, parody, satire or appropriation that is clearly understood in the Reflection Statement and purposeful in the work
• manipulating the conventions of drama, film, radio drama or television scripts.

Candidates need to improve in these areas:

• sustaining their ideas/characters/narrative
• ensuring scripts are succinct in the progression of events –understanding the features of the particular type of script chosen
• awareness of the number of  characters – too many detract from meaning and create confusion
• avoiding longwinded directions in terms of the setting and movement and integrating action with dialogue
• affecting quick dynamic exchanges of scenes creating distinct voices for different characters.

Speeches

Candidates showed strength in these areas:

• establishing a clear and effective sense of purpose, audience and context in authentic ways
• achieving a seamless synthesis of meaning through the crafting of form, often by creating works that explored different eras and contexts
• communicating a sense of extensive research
• manipulating genre and form by delivering speeches through a successful crafting of voice, including modulation, timing, volume and pitch and other elements of sound
• experimenting with voice to deliver persuasive speeches that engaged the intended audience, rather than merely reading during the recording
• showing conceptual depth, with a clear correlation between research into form, concepts and ideas and both the Advanced and Extension 1 English courses
• adopting a ‘creative’ persona who connected with the intended audience.

Candidates need to improve in these areas:

• exploring one or two central ideas competently and with originality, rather than in a predictable manner
• delivering a coherent exploration of ideas, while demonstrating substantial insights through extensive investigation
• constructing a dynamic delivery through manipulating sound elements authentically and effectively
• ensuring elements of composition, including structure, voice and language are fluent and do not  lead to a confused exploration of ideas
• focusing on form and not delivering a spoken essay
• understanding the intended context, purpose and audience
• ensuring the principal voice in the speech is the candidate’s own ensuring the clarity of the audio.

Performance poetry

Candidates showed strength in these areas:

• combining form and unique ideas in a seamless manner
• consistency in the use of voice for the specific purpose and audience
• experimenting with a range of conventions, enabling a strong delivery of the messages/ideas/values embedded in the compositions
• showing evidence of careful planning and construction using the resources of the form; particularly employing poetic features such as alliteration, assonance, rhythm, rhyme, consonance, dissonance, repetition and other devices
• developing concepts and subject matter relevant to the form.

Candidates need to improve in these areas:

• ensuring that there is not an over-reliance on sound effects
• recognising and understanding the possibilities of the form and exploiting the performance aspects
• examining the intended purpose of the Major Work in the Reflection Statement using language and rhythm to communicate energy, passion and emotion.

Radio drama

Candidates showed strength in these areas:

• demonstrating  an understanding of how sound can convey a strong sense of place and atmosphere, as well as the purposeful use of layers of sound
• clear correlation between choice of concept and the chosen form
• demonstrating evidence of effective post and pre-production elements through script writing and editing that ensured crisp delivery.

Candidates need to improve in these areas:

• differentiation of character voices; tone, pitch and pace
• ensuring  there is a clear plot that explores the concept
• balancing  between dialogue and sound effects
• having a clear sense of audience.

Video

Candidates showed strength in these areas:

• establishing a clear and effective sense of genre, style and context to convey meaning
• using skilled camera work and effective integration of sound to develop meaning and enhance engagement
• making judicious choices in sound, lighting, cinematography, and script writing to create layers of meaning
• including carefully selected dialogue
• demonstrating effective editing throughout, highlighting the importance of post-production as an integral part of the process.

Candidates need to improve in these areas:

• developing ideas to tell the story rather than an over-reliance on montage
• editing; ensuring all chosen shots contribute to the development of meaning and do not labour points
• enhancing meaning and development by not repeating  similar shots avoiding  didactic voice-overs used to explain the images rather than develop meaning.

Candidates showed strengths in these areas:

• purposeful or logical and seamless transitions between screens, including a clear understanding of how the audience will navigate through the work and the impact this has upon meaning
• making the purpose of the project evident throughout the work
• exhibiting a strong sense of independent investigation into the possibilities and variety of approaches open to this form, such as voice, SFX, music, animation, video, links and technical variety.

Candidates need to improve in these areas:

• ensuring a clear correlation between the chosen concept and choice of form, as well as adhering to the parameters of the form
• creating intuitive navigation that enhances engagement
• moving beyond a narrative or blog piece with little or no attempt to engage with the possibilities the form offers.