English Extension 2 2018 HSC exam pack (archive)

Short stories

Students should:

• investigate the form to ensure their chosen concept is best suited to it.

Trends included:

• historical, speculative and crime fiction were common genres:
  • Dystopian - Sci-fi. Oppressive regimes
  • Vietnam diaspora post-Vietnam War
  • Gender - women/feminism
• hybrid texts including different forms, such as a script or a poem. When the hybrid was purposeful and added to the meaning of the work, the Major Work was successful. However, when it was used as a gimmick the work tended to have a lack of coherence
• starting sections with allusions to other texts.

In better short stories, students were able to:

• manipulate form and structure
• demonstrate that they had engaged in thoughtful and thorough research into the purpose, possibilities and limitations of the genre, as well as a critical understanding of what their conventions contribute to the genre overall.
• show knowledge of literary style
• incorporate a variety of textual forms to engage the reader and deepen the exploration of their chosen concept
• develop their character’s history and motivations, through their reactions, thoughts and choices, rather than through more obvious plot devices like flashbacks or first person narration
• construct authentic, well-rounded characters
• create a realistic setting
• immerse the reader into the world and concerns of the characters
• construct an imaginative, engaging plot
• develop a balance between action, reflection, description and dialogue to keep an audience engaged
• include a self-reflexive or meta-fictive element, enabling the author to fruitfully explore the process of representation and its implications
• develop inter-textual connections in authentic ways.

Areas for students to improve include:

• when using meta-textual devices and allusions, students need to consider how it serves their purpose and ensure that it contributes to the overall meaning of their work. When starting sections with allusions, it should be clear to the reader why this was done
• narration: avoid an overreliance on first person narration to build understanding of a character’s psychology. When employing the ‘unreliable narrator’, students need to be aware that this can impact upon audience engagement as narrative and tone may be sacrificed
• editing and control of language: students need to edit their work for accurate syntax, spelling and grammar, and eliminate the use of clichéd language or nonsensical descriptions
• using realistic plots and character responses
• attending to the number of characters: in a 6000-word story, there is a limit to how many characters can successfully contribute to a coherent narrative
• showing genre awareness: less successful responses draw on only superficial elements of the genre, such as historical setting, stock characters, technological advancements
• using dialogue
• demonstrating voice: having a distinctive and engaging narrative voice differentiated the best responses from others. When employing multiple voices, students must ensure they are differentiated and used in a purposeful way
• developing concepts and using them in a considered way rather than just musings on a theme.

Critical responses

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form.

Trends included:

• specific composer, literary movement, or genre focus
• specific textual focus with a basis in literary theory.

In better critical responses, students were able to:

• present highly original and engaging concepts or new perspectives on familiar ideas. These should always be underpinned by research or theory pertinent to the construction and crafting of sophisticated arguments
• concentrate on fewer texts and analyse these in depth
• show seamless integration of content and theory/supporting evidence which was skilfully sustained throughout
• demonstrate an engaging ability to craft argument with an authentic voice for example, power/use of language, gender fluidity/ideas of self-identity, exploration into postmodernist texts, relationship dynamics, representation, perspective
• demonstrate a literary quality and sophisticated use of language. These responses seemed effortless, with apt language choices throughout the response. The response had an authentic voice, and had been edited in a careful manner.  

Areas for students to improve include:

• using original ideas and personal perspectives. Less effective responses were characterised by unsophisticated ideas or a lack of maturity/subtlety in the treatment of concepts. Often they were relentless or repetitive throughout, with a lack of depth to their argument or actual development of their own argument
• considering quality over quantity. Those students who chose to analyse a broad range of texts tended to produce a superficial and often fragmented response
• fictocritical. When investigating fictocritical responses, students must be very clear about whether the balance they have struck places their work in the short story critical response categories. Students should also ensure there is thorough research and apt justification for the form given the purpose and audience.

Poems

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form.

Trends included:

• familial experiences
• cultural observations.

In better poems, students were able to:

• confidently and with control, manipulate poetic forms and features in order to construct meaning
• construct an authentic voice and exhibit a strong sense of knowledge, passion and insight into the concept.

Areas for students to improve include considering:

• rhythm. Poetry needs to have rhythm and is not simply imagery or a series of words
• rhyme. Rhyme often limited students as they were forced into word choices that they wouldn't normally use and didn't quite make sense. This led to a lack of flow, fluency and cohesion
• punctuation. Students need to remember that poetry doesn't mean that words don't need to connect or be in sentences.

Scripts

Students should:

• investigate the short script form (30-minute film or play). This is essential in order to realise how a script of this length makes meaning. They are not traditional, full-length scripts and thus students need to employ the conventions is a different way. This is pertinent when considering number of characters, scope of plot, etcetera.

Trends include:

• students tended to compose substantial and coherent works which centred around a theme or style
• absurdist drama; this can be very difficult to do well
• reliance on stock or underdeveloped characters.

In better scripts, students were able to:

• use parody to deliver insightful perspectives and are subtle in their connections
• engage imaginatively and intellectually. Focus is evident in the judicious choice of form suited to the idea/approach. Many of these are literary in the sense that they are nuanced and go beyond a simple, literal discussion of a theme, by rendering character through clever dialogue and perspective, or working with setting and script features to provide mood and atmosphere.

Areas for students to improve include attending to:

• stage/scene directions. Students should be careful with stage directions/scene descriptions. When these are long and descriptive, it is sometimes unclear how this detail could legitimately be communicated on screen/stage by actors
• stereotypes. Should be used judiciously. When subverting stereotypes ensure it does not adversely impact on script development and engagement
• length. Students need to time scripts in real time. Consider the impact of spacing, font etc.
• consider audience authentically. Has it been tested by peers etcetera? Has it been read for interest and engagement?
• consider form authentically. Research into form may need to extend beyond viewing film(s) or reading film script(s)
• understand absurdism. This does not mean strange or being obtuse in character/form. It has a strong form/tropes/conventions and the work is required to reflect these
• existential concepts. These scripts still need to have control over form and language.

Speeches

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form
• be conscious of the internal and external audience.

Trends included:

• most speakers spoke artificially slowly and students are encouraged to speak in a natural manner
• speeches expand from persuasive polemics into more artistic experimentation with the form
• political speeches.

In better speeches, students were able to:

• use a connecting motif or frame that allows the concept to be communicated on a deeper level. This is preferable to predictable references to well-known orators. This takes the listener on a journey with the speaker so that they consider the material in a new way
• use fictocritical elements to create more interest and entertainment, as long as they support the speech's purpose and have a clear sense of audience
• provide a clear sense of the speaker themselves; there may be 'layers of meaning' in the speech so that it is evident how different audiences would interpret the speech differently.  

Areas for students to improve include considering:

• that concept is key. Vocal delivery of an engaging and significant concept is really important as is ensuring that different contexts/purposes are differentiated
• moral instruction. Overly didactic speeches that only rely on one perspective of research come across as one dimensional. Students should aim for a balance of research to come up with speech/es based on a solid foundation
• voice. Delivery is integral to this medium. and must convey emotion. Students should bring the text alive vocally and engage the audience. They should feel the words appropriately and evoke a targeted purpose
• sound effects. Students should support, not overwhelm the vocal delivery. When judiciously used, they can enhance the piece, but the assessment emphasis remains with the substance of the speech and the delivery
• transitions and variation in delivery. This is important to sustaining the engagement of the listener for 20 minutes
• consistent quality across a suite. When creating a series of speeches, they must all be of the same quality in terms of concept and control
• sound quality. The quality of the recording contributes to a sense of unity and consistency. Sudden stops, fade outs or ill-timed cuts detract from the overall polish of the piece
• research. Maturity is gained through research which garners a broad and deep perspective of the topic.

Performance poetry

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form.

Trends include:

• there seemed to be a regurgitation of ideas in the current discourse around sexual exploitation and sexual violence
• the assimilation of American culture led to a focus on particularly American ideas- gun violence, gun control, ‘Trumpism’, etcetera - which has a similarly derivative feel
• use of multiple sections in the work.

In better performance poetries, students were able to:

• deliver a clear but subtle concept that is synthesised within and throughout the work supported by engaging lyrical vocal delivery of a carefully crafted poetic form
• use sound effects to complement the piece but recognised voice was the most engaging part of this form
• research their concept through wide reading and their delivery through rehearsal and reflection
• practise to pinpoint and deliver the moments of impact within the piece. Employ purposeful pace, rhythm, metre and figurative and evocative language to complement poetry
• use a leitmotif, repetition, or a clear narrative arc/framework to hold sections together
• create more than just a clear, emotive reading; they used dramatic techniques to make the voice powerful and engaging. Use of different 'voices' could be effective at adding depth/variety
• use language in a way that was witty, playful and creative.

Areas for students to improve include considering:

• to rhyme or not to rhyme? Students should be wary of rhyme driving the work too much. Meaning is more important than continual rhyming and internal rhyme or half-rhyme are useful devices. Poems with substantial insights are more likely to do well. Writing in verse is not an excuse for not having something to say
• dramatic monologue. The dramatic monologue is a useful form for performance poets to study, both in its use of character voices and in its address to a speaker
• variation in voice. Students are reminded to write poetry to be read aloud and to use their voices in a varied and engaging manner. Poetry that does not benefit by being read aloud should be submitted in print form
• controlling the form. Sound effects could be very effective but also tended to 'drown out' the reading, especially as they were sometimes edited into the poem in a jarring way (abrupt cuts).

Radio drama

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form.

Trends include:

• students generally had good control over the quality of the recordings and aural sound scapes. Use of diegetic/non-diegetic sound was well used.

In better radio drama, students were able to:

• use a ‘frame’ for their responses as this creates a clear context for the Radio Drama and this helps with clarity, substance and effectiveness
• create dialogue and voices that are authentic and embody the feel of the particular time period that the story is set within
• focus on a historical event or personality or they employ a literary frame, for example, an author. This allows a sophisticated exploration of event, character, genre or literary composition/composer.

Areas for students to improve include considering:

• authentic voices. It is important to use voices that are authentic for the time/place and that record’ well. Inappropriate voices/poor voice modulation etcetera detract from the authenticity/engagement of the piece
• varying the cast. Avoid using an actor for more than one part. This will ensure that voices are distinct, and improve clarity. Accents need to be authentic and maintained throughout the piece
• rehearsed voices that act rather than read. Radio drama needs to sound like a performance or a window into reality. Rehearsed voices sound more authentic
• dialogue. Students should take care to avoid over-writing at all costs. This is also true of the clarity of the speaking voice
• depth through research. Highly personal/ family narratives are not highly successful due to the lack of research and depth in the narrative. Often, the recorded voices of actual family members lack control. Similarly, the unscripted nature of some of these Major Works affected the fluidity of the Radio Drama.

Video

Students should:

• utilise the form, and their manipulation of the form that is clearly underpinned by extensive independent investigation into short film (not just feature film)
• use both visuals and sound (other than narration) to play a role in the construction of meaning. The most successful videos made judicious and subtle use of a variety of film techniques.

Trends include:

• concepts: Feminism, the #MeToo campaign, psychological concepts/psychoanalysis, mental health, identity
• documentary style
• opening sequences that feature alarm clocks waking people up, and characters undertaking routine activities of daily life – sleeping, showering, teeth cleaning, having breakfast, drinking coffee.

In better videos, students were able to:

• consciously construct images, demonstrating clear thinking about each shot and sequence and its relationship to the video as a whole
• go beyond ‘talking heads’ and also include some other original footage to help build on their conceptual focus when working in the documentary style
• show a strong control of a defined and well executed narrative arc
• demonstrate thoughtful and successful manipulation of film techniques. They have the ability to show a range of features, a range of ‘tricks’ which are effective when purposeful and if the narrative was also strong.

Areas for students to improve include:

• having a clear conceptual focus. This needs to go beyond having a story, and beyond introducing some thematic concerns. Like any creative endeavour, there needs to be a conscious exploration and development of a concept throughout the work
• linking form and meaning. Students should think about their manipulation of the form and how this is shaping meaning in their work. There needs to be a conscious construction of image, editing, sound etcetera
• balancing style with substance. It is important that the film has meaning beyond the visual and that it achieves textual integrity
• attending to depth of concept. Some videos relied heavily on personal, and often teen/young adult concepts. Students should ensure that the narrative and concept are strong and meaningful
• when creating a documentary:
  • Students should ensure that research has gone into the specific form of short documentary. There is still value to be had in constructing characters, narrative, concept, establishing setting/context etcetera. The filmmaker’s job is to construct a cohesive film
  • Students should ensure that subjects are not doing all the work that is, relying solely on what they are saying, this is not using the medium to its full potential
• considering visual cohesiveness. As a 6-8-minute piece, there should be some sense of stylistic unity in the work. If there are variations in visual quality, these need to be deliberate and contribute to the construction of meaning. Building a significant portion of the video from ‘found footage’ whether it be home videos or excerpts from online videos can lead to a Major Work that is not unified stylistically, or raises questions about originality/authenticity
• no time to waste. This is a short video form. Every shot, montage and editing choice is important. Videos that feature long sequences of any one activity, for example, walking, sitting, sleeping, can disengage the viewer and limit development
• soundtracks. Sound should be employed thoughtfully and shape meaning. There should be variation in the soundtrack over the 6-8-minute duration. The sound needs to be controlled in the editing process, and not vary greatly in volume without purpose. Sound recording quality must be clear
• voiceovers. Greater impact can often be achieved with less words. 6-8 minutes of continual voiceover bombards the viewer with too much information when paired with visuals
• visuals and sound that enhance each other. Avoid literal construction of image, for example, matching narration to the visuals, as this tends to lack subtlety
• rehearsed performances. All actors need to prepare for their roles through rehearsal in order to deliver better performances although professional actors are not required.

Students should:

• investigate the form to ensure their chosen concept is best suited to be developed within the form.

Trends include:

• due to the small number of students completing this option it’s not possible to identify trends.

In better digital media works, students were able to:

• develop a clear correlation between form and concept
• demonstrate highly developed technical skills
• ensure meaning and engagement is sustained through a balance between technical skills and subject matter.

Areas for students to improve include:

• adhering to the parameters of the form
• ensuring technical skills do not limit and/or overbear the development of the concept.