2009 HSC Notes from the Marking Centre – Entertainment Industry
Contents
Introduction
This document has been produced for the teachers and candidates of the Stage 6 course in Entertainment Industry. It contains comments on candidate responses to the 2009 Higher School Certificate examination, indicating the quality of the responses and highlighting their relative strengths and weaknesses.
This document should be read along with the relevant syllabus, the 2009 Higher School Certificate examination, the marking guidelines and other support documents which have been developed by the Board of Studies to assist in the teaching and learning of Entertainment Industry.
Teachers and students are advised that, in December 2008, the Board of Studies approved changes to the examination specifications and assessment requirements for a number of courses. These changes will be implemented for the 2010 HSC cohort. Information on a course-by-course basis is available on the Board’s website.
General Comments
Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating the knowledge, understanding and skills they developed through studying the course.
Candidates need to be aware that the marks allocated to the question and the answer space (where this is provided on the examination paper), are a guide to the length of the required response. A longer response will not in itself lead to higher marks. Writing far beyond the indicated space may reduce the time available for answering other questions.
Candidates need to be familiar with the Board’s Glossary of Key Words which contains some terms commonly used in examination questions. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Questions such as ‘how?’, ‘why?’ or ‘to what extent?’ may be asked or verbs may be used which are not included in the glossary, such as ‘design’, ‘translate’ or ‘list’.
Candidates need to be encouraged to draw from their experiences from both the practical and theoretical aspects of the course. Examples from their direct work placement experience, school simulations and media etc should be used to support their responses in all questions. Candidates must remember that this is a practical based course and as such answers should include practical examples where applicable.
Many of the questions in the 2009 examination required the candidates to have a thorough understanding of syllabus terminology. They were also very method-based and required students to explain a variety of procedures outlined specifically in the syllabus. As such, the importance of the HSC Requirements and Advice column of the syllabus should be stressed constantly throughout the course.
Candidates should be exposed to a range of industry experiences. There is a need to ensure that students are given the opportunity to consider all topics, not only from the point of the traditional theatre but also in a wide range of alternative venues. Similarly, it is extremely important for students to consider the role of all of the major industry bodies as well as the people involved in the entertainment industry.
Section II
Question 16
- This question was
adequately answered in point form. In stronger responses, candidates named a
range of distinct information specific to an OHS induction and understood the
difference between a venue manager and stage manager.
In mid-range responses, candidates often had similar or overlapping examples of information in an OHS induction without making a clear distinction between the role of the venue manager and stage manager. They did not always use industry-specific terminology.
In weaker responses, candidates listed OHS issues unrelated to an induction. They referred more to the responsibilities of the stage manager rather than the information a venue manager would provide in an induction. - The candidates
adequately answered this question in point form. Stronger responses clearly
identified a range of responsibilities specifically related to the OHS
responsibilities of a touring stage manager.
In some weaker responses, candidates often referred to irrelevant and unrelated information.
Question 17
In stronger responses, candidates identified a specific environment, discussed the context of this environment and gave examples of what specific vision equipment could be used and how it would be used in this environment.
In mid-range responses, candidates identified a specific environment and discussed its context but did not give specific examples of vision equipment or how it would be used. Where examples were used, these were limited.
In some weaker responses, candidates did not understand the syllabus term ‘environment’ and took it to mean ‘outside’. They often tried to discuss an environment that they did not fully understand or simply listed vision equipment with no relationship to an environment. Vision equipment was also mixed up with lighting equipment.
Question 18
In stronger responses, candidates clearly identified at least two industry bodies and accurately described their specific roles in detail.
Many mid-range responses described only one key industry body, or provided a thorough description of what industry bodies do without specifying particular bodies.
In weaker responses, candidates misinterpreted the term ‘key industry bodies’ and discussed sectors or production roles within the industry. Some listed an industry body without discussing its role.
Question 19
- In stronger responses,
candidates specifically identified the steps in the communication cycle
(sender, message, receiver, feedback). Candidates demonstrated an understanding
of the flow of communication between the sound technician, stage manager, the
front of house manager and then the audience. Characteristics of effective
verbal communication were also discussed.
In average responses, candidates defined the communication cycle in an example but missed the cyclic nature of the process. They often missed the feedback step. They also made limited reference to customer service and focused too much on verbal communication strategies.
In weaker responses, candidates confused the flow of communication. They often confused the roles of the stage manager and front of house manager. - In stronger responses, candidates explained procedure of specific
problem-solving steps in a logical sequence. They had a clear understanding of
the stage manager’s role in delegating and liaising with the crew and giving
feedback to the front of house manager on the progress being made in order to
keep the audience updated.
In average responses, candidates provided a list of simple, often undefined steps to solve the problem. They mostly responded without separating the roles of the stage manager and technical crew.
In weaker responses, candidates made generalisations about how to solve the problem. They often continued discussing the previous question, focusing on customer service rather than the malfunctioning of the sound desk. Some also suggested unrealistic solutions to the problem.
Question 20
- In stronger responses, candidates clearly identified a
lighting document using correct industry terminology. They clearly explained
the correct function and purpose of the document and provided an example of how
it is used.
In weaker responses, candidates did not identify a specific lighting document and only provided a description of how documentation in general is used. - In stronger responses, candidates used extensive lighting
terminology, particularly lighting transitions, as well as the specific
equipment required. They provided a detailed explanation of the how the
equipment would be used to create the effect of each lighting state as well as
the overall effect.
In average responses, candidates split the scene into separate scenes rather than referring to it as a whole scene. They identified some lighting equipment but often used the same equipment for each effect. They had a limited explanation of transitions or the placement of the lighting equipment. They also made some inappropriate choices in the lighting equipment used.
In weaker responses, candidates used limited lighting terminology and repeated the lighting effect described in the question rather than referring to lighting equipment that could be used to create the effect. They may have explained part of the scene but did not answer all aspects of the question.
Section III
General Comments
Candidates need to ensure that they read and address all aspects of the question in their response. Any scenario or production role that is offered for the extended response questions in this examination is done to provide a context for the response. It is extremely important that candidates take time not only to familiarise themselves with the scenario, but also to consider all the information provided.
When a production role is used in the question, candidates should give careful consideration to that person’s role and the implications it has to the question. The requirements for all production roles differ greatly within the various contexts of the entertainment industry. Accordingly, teachers need to ensure that candidates have developed an understanding of a range of different scenarios and production roles for different performance contexts.
While there are only 30 minutes allocated for the completion of each response, candidates still need to be aware that detailed responses are required. Candidates need to draw on their experiences from the course in total rather than trying to pigeonhole questions into specific topic areas. Students need to ensure that they employ concepts from all core areas in their responses as appropriate. Students also need to ensure that they use a wide range of examples from their workplace, class simulations and media files in their responses.
Question 21
In stronger responses, candidates provided a comprehensive explanation of the stage manager’s role in both the pre-production and production stages of the event. They provided strategies to accommodate various cultural differences at each stage of the production with specific and relevant examples. These responses also had an underpinning knowledge of the entire production, including elements of communication, induction documentation, meetings, schedules, OHS and legislation. They often discussed the relationship between the stage manager and other technical departments in relation to staging and cultural awareness. There was extensive use of industry terminology and often integration of relevant workplace examples.
Mid-range responses addressed the role of the stage manager in relation to staging and cultural awareness in a general manner that lacked specific detail. They may have had a detailed explanation of how the stage manager would manage the staging elements yet neglected to discuss cultural awareness. In contrast to this they may have had a detailed explanation of the role of the stage manager in relation to cultural awareness but neglected to discuss the staging in detail. These responses often lacked cohesiveness and logical sequencing of information and only used some industry terminology and limited workplace examples.
In weaker responses, candidates did not accurately explain the role of the stage manager in such a production. They presented a generalised or limited understanding of either staging elements or cultural awareness. There was limited application of cultural awareness strategies. These responses were brief and often repetitive.
Question 22
In stronger responses, candidates applied a holistic approach to the issues of time and task management. The responses were more analytical in their approach and concentrated on the relationship between the different departments. There was extensive use of industry terminology and often integration of relevant workplace examples.
In average responses, candidates addressed both time and task management, although responses were not always balanced and contained more reference to time management. They often implied task management as opposed to writing directly about it. Some relevant use of workplace examples was evident, although sometimes tokenistic.
In weaker responses, candidates misinterpreted the word ‘task’ and referred to management of tasks as opposed to the concept of task management. Often candidates outlined the processes of putting a show together (eg bumping in a show) instead of the issues of task and time management. In general, candidates referred to either time or task management.
Question 23
In stronger responses, candidates recognised that the question referred to both an emergency situation and conflict resolution throughout the procedure. They responded with a detailed explanation rather than just a list or basic description. There was recognition of the role of the front of house manager and delegation that would occur. These responses were logical and detailed in relation to evacuation procedures. They had varied and specific solutions to conflict, rather than simply using the example of giving out free tickets. They often had a follow-up plan to the scenario and reference to workplace examples.
In average responses, candidates were often not balanced in approaching both parts of the question. Most were unclear as to the role of the front of house manager in this scenario and confused the role of the stage manager or director. They had a good understanding of evacuation procedures but usually provided this information in basic list format. They often offered solutions to conflict that were unrealistic. There was an unrealistic expectation of the audience having had a safety induction or evacuation training.
In weaker responses, candidates did not cover both parts of the question. They wasted time rewriting the question and lacked a depth of knowledge and understanding of the scenario. They gave a simplistic list of either evacuation procedures or conflict resolution. They used minimal to no industry terminology. They often provided evacuation procedures that were not logical, or that could potentially put people in more danger.
2010063
NSW Government