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2011 HSC Notes from the Marking Centre – English Extension 2



This document has been produced for the teachers and candidates of the Stage 6 English Extension 2 course. It contains comments on the Major Works for the 2011 Higher School Certificate, indicating the quality of the Major Works and highlighting their relative strengths and weaknesses.

These notes should be read along with the relevant syllabus and the marking guidelines.

General comments

Identification of the parts of the project

Candidates are reminded to label the discrete sections of the Major Work and to ensure that all pages are printed and numbered. The Reflection Statement should be at the end of the Major Work.

The role of the Major Work journal

Candidates submit their journal with their Major Work. Journals are not marked. However, journals document the independent investigation and the composition process. Markers are required to access the journal if, for example, questions are raised about the authenticity of the work. Candidates should not identify themselves, their teachers or their schools in the journals. Lists of texts used for the work may be attached to the Major Work but annotated bibliographies should be in the journal. Candidates are reminded that the journal should reflect the detailed process of their own research, investigation and development of the Major Work.

The role of the Reflection Statement

The Reflection Statement explains and evaluates both the process and the completed Major Work. The English Stage 6 Syllabus, Assessment and reporting in English Extension 2 Stage 6 (p.10) together with the English Extension 2 Marking Guidelines outline the requirements for the Reflection Statement.

The quality of the Reflection Statement has a significant impact on the overall success of the Major Work. Audience and purpose are integrally related and candidates must explicitly explain how they have manipulated form, features and structures of text in order to position audiences. It is imperative that candidates identify the relationship between the investigation and the Major Work. Specific texts should be cited and the direct influence on the Major Work must be highlighted. Candidates are reminded that there needs to be a meaningful explanation of how the skills and knowledge gained in the Stage 6 English courses underpinned the Major Work. Reflection Statements should be synthesised works of prose rather than written in report style with subheadings and bullet points.

The use of footnotes in the Reflection Statement needs to be kept to a minimum and should be justified.

Links with the English (Advanced) and English Extension 1 courses

Candidates compose a Major Work as an extension of the knowledge, understanding and skills developed in the English (Advanced) and English Extension 1 courses (p 85, English Stage 6 Syllabus). Candidates need to demonstrate that their work is an extension of their other English courses and not an imitation of the modules and electives studied.

Better Major Works were characterised by:

  • evidence of independent investigation in the Major Work and the Reflection Statement; beyond the parameters of the Advanced and Extension 1 courses
  • clear purpose
  • sophisticated control of language
  • fluency without overwriting
  • skilful and fluent understanding of the form and audience and the interconnection of both to establish authentic engagement.

Weaker Major Works were characterised by:

  • fractured structure that did not support purpose and target audience
  • lack of coherence
  • lack of originality
  • concepts and/or treatment of concepts that were uninventive
  • lapses in tone and voice
  • lack of depth and variety of investigation
  • unconvincing claims about intent and audience
  • little evidence of research into form
  • Reflection Statements that tended to be descriptive rather than evaluative.

Short Stories

General comments

Successful short stories were sustained, original, coherent and explored a clearly discernible central idea, or ideas, with insight. The most successful ones were consistently engaging and integrated their extensive and independent investigation with subtlety. This research was undertaken into the concept, form, style and genre of the short story. They demonstrated carefully considered narrative choices, such as point of view, methods of characterisation and voice.

There were a variety of short-story structures used, including single linear narratives, dual or multiple narratives and series of related shorter stories. There were effective and less effective Major Works in each of these categories: the more effective demonstrating sophisticated control of language, cohesion through the development of strong thematic threads and authentic voice/s; the less effective were more fractured in structure, prosaic, under-developed, unconvincing or less coherent overall.

Some of the topics covered in stories included:

  • apocalyptic tales
  • the environment
  • speculative fictions/science fictions and dystopian worlds
  • stories pertaining to particular cultures
  • stories about death and family tragedy
  • mental illness: schizophrenia, Alzheimer’s disease/dementia, behavioural disorders
  • effects of globalisation
  • stories about violence and abuse
  • WWI and other historical settings, often inspired by Extension 1 study.

Candidates are reminded of the specific Board of Studies requirements for stories. The word length and formatting requirements must be adhered to and the short story should be substantially a prose work. While exploration of form can enhance a text, candidates should avoid including poetry, visual or other text types which may interfere with engagement with the work and the integrity of the Major Work. Bibliographies should not be added to creative pieces. They can be included in the journal.

Candidates are reminded that independent investigation into the concept, form and style of the Major Work should be clearly demonstrated and detailed in the Reflection Statement.

In the Reflection Statement, students should also explain the role of sources that have had a significant impact on the composition of the work, rather than just listing sources read.

Stronger Major Works showed:

  • evidence of rigorous and pertinent independent investigation in the Major Work as well as in the Reflection Statement
  • strong, distinctive characters, plausible plots and credible and engaging voice/s
  • dialogue that is unique and authentic to specific characters and enables readers to distinguish characters
  • engaging and developed concepts
  • fresh and plausible perspectives
  • insight into character motivations
  • sophisticated language, syntactical accuracy and flawless spelling
  • clear purpose
  • original plot lines or original uses of established conventions
  • skilful use of imagery, development of motifs that develop meaning and enhance the integrity of the text
  • powerful evocation of time and place
  • conscious engagement of the reader through controlled communication of emotion, not just through situation
  • evidence of careful drafting and thorough editing
  • well-researched engaging narratives with a strong sense of personal involvement and authenticity
  • deft handling of structural and language features
  • seamless transitions between parts of narrative
  • Reflection Statements that were true to the Major Work, presented a critical assessment of its development and were highly self-referential
  • awareness of the difference between ‘evaluate’, ‘explain, ‘describe’ and ‘summarise’
  • evidence of a clear conceptual framework linked to audience and purpose, realised effectively through thoughtful manipulation of narrative techniques.

Weaker Major Works showed:

  • lack of originality or engagement with ideas
  • conceptual focus that was too wide, such as the human condition or fate
  • awkward or contrived construction and/or stilted syntax
  • ineffective or jarring transitions between parts of the narrative
  • literalness, cliché and, therefore, a lack of subtlety
  • simplistic investigation into countries/cultures/historical periods
  • unnecessarily graphic depictions of violence
  • generic conventions employed without developing new insights
  • prosaic style, overuse of predictable adjectives and similes
  • lack of awareness of punctuation – especially of dialogue
  • different text types employed without a significant reason
  • lack of evidence of research into form
  • indentation, fragmented and broken sentences used without purpose or without explanation
  • use of non-linear time sequences or stream-of-consciousness or pastiche in ways that confused and demonstrated little understanding of device
  • little evidence of drafting or close editing of work
  • Reflection Statements that offered recounts of process undertaken and descriptions of stages of development of Major Work rather than evaluation.


General comments

A wide variety of concepts and subjects was explored. Most candidates submitted a suite of poems underpinned by a single conceptual framework. The more successful works demonstrated considerable skill in the purposeful manipulation of poetic form, style and language while exploring human experience and emotions.

Some common subjects were psychological, theological and metaphysical themes and subjects linked to Romanticism. The former were more successful when fully researched and articulated in a contemporary voice. Candidates who adopted a Romantic discourse and style in their poetry needed to be aware of their contemporary audience and explain their compositional choices in the Reflection Statement.

Many works did not demonstrate a close knowledge of contemporary poetry, either national or international. A constant conversation with past and present poets is strongly encouraged, as is the reading of a wide variety of good poetry in diverse traditions. Candidates are reminded to investigate broadly so that they learn from the best contemporary poets: Australian, English-speaking and other languages in translation, as well as focusing on canonical 19th century poets where appropriate. Candidates should research more widely than poets currently or recently on the HSC prescriptions.

Sophistication and complexity of ideas are important, but candidates need to be aware that the work is marked on its success as poetry. Some poetry appears to be esoteric, but some candidates seem unable to clearly explain the purpose of the work in the Reflection Statement, which suggests the ideas are not highly developed and that a conscious shaping of meaning is not always evident.

Candidates are encouraged to redraft and refine their work thoughtfully. They should also adhere to the specifications for A4 pages and double spacing.

Stronger works showed:

  • maturity of vision
  • evidence of structurally intelligent poetic resolution in the final poems, indicating a unity of design that afforded the work integrity, coherence and a satisfying sense of completion
  • exceptional attention to rhythm, balance and lyricism (where appropriate) in the individual poems, but equally so in the suites as a whole
  • coherence, even when experimenting with multiple voices and fragmented structures
  • an ability to engage the reader with a powerful use of language and/or an authentic voice
  • poetry which was powerfully engaging on an emotional and/or intellectual level
  • discerning and purposeful uses of imagery, rhythm, diction, sound devices, form and structure to shape meaning and influence response
  • imaginative, ambitious and resonant Major Works supported by rigorous investigation into form and content
  • Reflection Statements that were evaluative and critical of the developmental process with explicit and specific details given of compositional and creative choices
  • Reflection Statements that demonstrated clear evidence of investigation into poetic form and critical evaluation of the impact on the compositional process.

Weaker works showed:

  • poor choice of topic or focus – often of the melodramatic kind, without offering fresh insights or concepts which cannot be deemed ‘sophisticated’
  • insufficient focus on poetic forms and features
  • tendency towards prosaic, flat and conventional forms
  • over-reliance on cloying rhyme patterns
  • over-dependence on specific forms: sonnet, ballad, haiku, nursery rhymes to no effective purpose
  • lack of consideration of the impact that the research had on the specifics of the work, ie how a particular writer/piece influenced the student to alter or develop the work
  • Reflection Statements that tended to be descriptive rather than evaluative and were not sufficiently self-referential.

Critical Responses

General comments

Critical responses, regardless of the form they take, need to sustain an argument throughout the text. The most effective Major Works possessed a lucid thesis that was explored using well-crafted, rigorous and structured discussion. Some candidates presented arguments that were at times overly ambitious for the scope of the Major Work and this affected the quality of the response. Better responses offered a strong interrogation of the thesis, supported by a rich research base.

Candidates who chose to write on an area closely linked to a particular module in the English (Advanced) or English Extension 1 course need to extend rather than duplicate the material studied.

Weaker responses exhibited cursory investigation and were often a singular exploration of a number of texts without elaboration or synthesis.

Some candidates focused too much time in the Reflection Statements describing the Major Work rather than critically analysing the process and the impact of investigation. Some candidates balanced this discussion with an investigation into the form of critical response they chose and its realisation in the Major Work.


  • discerning choice of texts to illuminate theses
  • genuinely wide research was undertaken and was evident in the Major Work with a clear understanding of conceptual issues.
  • a strong sense of voice enhanced the argument
  • highly original choice of topics
  • creative and controlled use of form
  • footnotes and bibliographies were pertinent and economical
  • obvious investigation into the form was embedded in both the Major Work and Reflection Statement as was the ability to manipulate its features
  • Reflection Statements that referenced their own Major Work and were analytical in terms of form, content and process


  • multiplicity of ideas without a conscious effort to control argument and develop a clear thesis
  • inattention to detail/editing
  • candidates struggled to demonstrate awareness of an authentic audience and a clear purpose for their work
  • inconsistencies were evident between Major Work and Reflection Statement in terms of purpose, research, insights and delivery
  • convoluted and verbose language impaired the flow of the work
  • lack of footnotes
  • evidence of research in Major Work but not in the Reflection Statement
  • works which began as an exploration into a literary or language-based topic but moved into an examination of social issues
  • failure to observe the word-limit requirements

Scripts – Radio, Film, Television and Drama

General comments

Candidates are required to develop a script for an ‘intended performance time of 20–30 minutes’. While investigation into the longer and more readily available forms can be useful, research into the form of short scripts is essential and should be evident in the Major Work and evaluated in the Reflection Statement.

Candidates must ensure that they are sufficiently familiar with the conventions of script writing for their chosen form. The format needs to be logical, indicative of the intent of the work and coherent within the performance context. There was an inconsistency in the integration of technical skills in terms of staging, props, lighting, cinematography and sound effects. Candidates must be aware of the visual and auditory implications of their directions to ensure clarity of meaning. For drama scripts, staging needs to be appropriate in size and scope to be realised in a live performance.

Script subjects included explorations into religion, identity and existentialism, family relationships, family tragedy, politics, substance abuse, gender and sexuality, contemporary social and cultural issues, dementia and appropriations of fairy tales. Subjects were treated in a variety of genres including satire, absurdism and realism. A number of candidates employed intertextuality as an intrinsic facet of the script with varying degrees of success. Drama scripts were more popular than film, radio or television.

Some candidates ignored or did not understand the translation of 20–30 minutes performance time to a written script.


  • consciousness of the significance of form and showed considerable investigation into both the form and the stated concepts
  • original ideas conveyed in an engaging manner appropriate to the chosen script form
  • clever interplay of dialogue, directions and form to consciously shape meaning
  • acute understanding of the link between the composition and intended audience
  • evidence of research and its impact upon characterisation, setting, form and the chosen concept/s
  • distinct, authentic voices and dialogue that reflected the contextual underpinnings of the work
  • effective use of soundtracks in film and television scripts
  • detailed consideration of audience through informed identification of particular theatre companies


  • while the form of absurdist theatre was generally handled well, often candidates chose this style with little consideration of its purpose
  • if candidates choose to write in an absurdist style they must move beyond Waiting for Godot and the replication of its themes, ideas, structure and characters
  • weaker drama scripts did not manage the short form well and were difficult to imagine being staged due to the number of characters, scene changes and the unrealistic dialogue
  • limited command of conventions
  • film scripts lacked essential filmic elements necessary for either a shooting or director’s script
  • ineffective directions, specifically cinematography (film, television) and lighting (drama)
  • an over-reliance on the scripts of prescribed HSC Drama and English texts

Sound medium


General comments

Most speeches established a clear context in the opening of their speech. Those that did not necessarily resulted in a weaker sense of engagement because the purpose and audience were uncertain and not clearly aligned with the mode of delivery. The stronger speeches combined sophisticated methods of delivery appropriate to the speech medium with exploration of conceptually complex issues. In the highest quality speeches, it was evident that the speaker was acutely aware of and actively addressing their audience.

Candidates explored a variety of concepts with stronger responses effectively demonstrating the breadth of research into both concept and form. Some candidates explored concepts associated with their study of English, in particular, literary texts and ways of responding. Topics were drawn from a wide variety of areas with an emphasis on history, contemporary politics, rhetoric and feminism.

Not all candidates incorporated sound effects into their speeches. When they were used, sound bites, interjections, special effects and music typically enhanced the speech through the establishment and sustaining of mood and tone. These stylistic decisions and their approximate total time within the speech itself should be acknowledged in the Reflection Statement. Use of software, including free public software, to vary voice (especially gender) must be also documented in the Reflection Statement. Many students played effectively with voice, successfully contributing to the context as well as the construction of a plausible persona. Choice of accents should be documented, and used convincingly and for a purpose. The candidate must be the main speaker in the work.

Candidates must be mindful to adhere to the time requirements of the medium and must ensure that the file recorded on the CD can be played on a regular CD player.


  • conceptual sophistication and originality
  • sense of immediacy and import of the speech
  • context and purpose clearly established and justified
  • effective, convincing construction of speaker/persona
  • sense of emotional connection with audience
  • context was creatively constructed (from which the speeches flowed logically)
  • range of appropriate rhetorical devices: pace, pause, pitch, cadence, tone etc.
  • intellectual depth and rigour accompanied by extensive independent investigation and the capacity to then critically reflect upon these choices in the Reflection Statement
  • an elegant use of special effects and/or soundscapes to authenticate the context
  • confident sense communicated through the Reflection Statement establishing why the speech medium was the appropriate/best for vehicle for the communication of their ideas
  • extensive investigation into this specific form evident in the Reflection Statement
  • sophisticated and critical analysis exhibited in the Reflection Statement of the relationship between the concept, context, style and persona(s) created


  • lack of immediate orientation for the listener of the audience/purpose – sometimes not made clear until the Reflection Statement
  • concepts were superficial or generalised
  • little awareness and evidence of ‘form’ both in the construction of the text of the speech and in the delivery of the speech
  • the text of the speech was structured or read as an essay or a script
  • the delivery was simply a reading of text
  • choice of context/persona was inappropriate for the text of the speech
  • when different personas with different perspectives were attempted, there was often little differentiation in ‘voice’ construction and delivery
  • clarity of the speech was occasionally poor and volume very low
  • candidates not critically reflecting on their investigative and, particularly, their rhetorical choices in the Reflections Statement

Radio Drama

General comments

Candidates are required to write and produce a radio drama with a playing time of 10–15 minutes. Research into the form of short radio dramas is essential, as is an understanding of the elements needed in narrative construction, whether traditional or experimental, to shape meaning and to engage their listeners. Also, experimenting with form is only likely to be successful when the candidate is intimately familiar with the form.

The script copy of the radio drama should correlate in every way to the candidate’s submitted compact disc. It should also be carefully proofread. Many of the radio dramas this year involved humour. Other projects explored social, historical and/or cultural issues.

Candidates must be more familiar with the conventions of a radio drama. This is best achieved by listening to short radio plays. Directions in the script should be written with the medium in mind. Many candidates are writing directions more suited to a visual than to an aural medium.

The more successful candidates not only demonstrated adept control of dialogue, but also integrated music and sound effects well, which enhanced the ideas and concepts in their individual major works. They also justified and evaluated their compositional choices in their Reflection Statements.


  • technically proficient in the use of technology
  • skilful and seamless editing
  • effective use of humour to engage the listener
  • insightful use of dialogue that shaped character and maintained the rhythmic flow of this aural medium
  • dialogue that carefully delineated and distinguished characters and shaped listeners’ responses to the drama as it unfolded
  • a clear understanding of which radio station may broadcast the drama and a key sense of target audience
  • transitions between scenes, settings and characters were clear and consistent
  • tight narrative arc that served to unify the action and propel the narrative forward
  • depth of research was broad, wide-ranging and crossed a variety of media
  • effective use of intertextuality


  • a lack of or clumsy use of aural cues (that alert the listener to who is speaking and who to)
  • directions written in script that could not translate to the aural medium
  • confusing or unclear transitions of time or setting
  • little research into form; many candidates showing an over-reliance on The Goons as an investigation into form
  • no sense of drama (a series of dull monologues does not make an engaging radio drama)
  • poor or uneven audio/recording quality
  • predictable or confusing plots

Performance Poetry

General comments

Performance Poetry is just that – performance and poetry – and is assessed on both these aspects. Candidates need to compose poetry suited to the medium. The best works use language and sound features effectively to shape meaning. Candidates also need to be aware of their performance of the poetry. Voice is the essential element of that performance and must be used as an instrument to enhance the impact of the work on the intended audience for the intended purpose. Performance Poetry is more than just poetry being recited or read.

Music, soundtracks, special effects and technology used should complement the poetry and its performance, not dominate it. The poetry must not be subordinate or dependent on these effects.

A number of works cited radio, podcasts and the internet as possible means of ‘publication’ for their intended audience and this was seen as an acceptable form of performance of the poetry.

Candidates are reminded that their Reflection Statements must be highly self-referential, critical and include detailed evaluation of the forms and features of the work and how these are used to shape meaning and response. Candidates also need to remember that extensive independent investigation is crucial to the work. While this should include investigation of concept and subject matter, it must also include research into performance poetry and how specific examples of performance poetry have informed the composition of the Major Work.

Major Works exploring sophisticated ideas or canonical writers/historical figures can be very effective as subjects of the work, but the work is ultimately judged on its success as performance poetry.


  • poetic features were integral parts of the performance and enhanced the concept of the work
  • effective imagery, alliteration, rhyme, rhythm, consonance, assonance, dissonance, puns, wordplay, onomatopoeia and different voices were employed as part of the performance
  • poetry was coherent, the intent could be explained and realisation evaluated in the Reflection Statement
  • strong technical choices and production values
  • concepts were sophisticated
  • broad investigation of performance poetry was referenced in the Reflection Statement and the impact of this investigation was evident in the work


  • candidates had not investigated performance poetry as a form
  • voice was not used effectively in the performance
  • music or sounds dominated the poetry to the extent that they detracted from the work concepts were clichéd or not well developed

Visual medium


General comments

Candidates explored a wide variety of concepts in their works and used the medium effectively to engage an audience.

Many candidates chose to convey simple narratives in the allocated 6–8 minutes. Some candidates attempted animated works and there was the occasional anime style or stop motion used effectively. This reflected a willingness to experiment with form. This was also evident through successful manipulation of camera work, editing, fragmentation and dynamic symbolism resulting in works of high originality. Music was used appropriately to reflect the themes of the work. Often the words of songs were used as a narrative technique. There was a preference in many works for slow piano music which, when used throughout the whole film, became tedious.

Some documentaries tended to overuse professional footage and narratives with minimal evidence of the candidate’s own input. Claims of postmodernism were generally reflected in the work through hand-held and often dizzying camera work, disconnected and fragmented plot development and no dialogue. Investigation into the form of a short film was mainly based on watching Tropfest or YouTube films with few references to other short films. Candidates should ensure that they understand and can describe the ways they have incorporated elements of film technique and theory into their work.

Some videos were poorly filmed and edited and many had long moments of black screen that added nothing to the story. Lighting was generally well used, although many films contained long sequences of blurred vision that may have been deliberate but was not engaging. Sound editing was often poorly done and some films were very difficult to hear. It is important that background music is not so loud that it drowns out dialogue. Dubbing was often out of sync with the visuals. Candidates should build in enough time to cater for technical problems in the pre-production planning and not leave this until the last minute.

In some works there were major inconsistencies between the script submitted and the work itself. A concerning number of videos had no accompanying video script (which is a requirement). Candidates are reminded to credit or reference the sources for images, music, programming equipment, software or other aspects of filmmaking.

Viewing projects on an ordinary DVD player continues to be a problem – candidates need to ensure their work is accessible in this way. They should also remember that displaying a work on a wide-screen television means that videos created on a computer screen may lose impact and clarity when viewed in this way.


  • control of the medium was effective, well-manipulated and accompanied by appropriate and well-integrated soundtracks that did not swamp the diegetic sounds of the action
  • control of technical video/film elements was well handled and there was fluent integration of the three processes of film production (pre, shooting and post) which tended to result in a consciously developed structure and careful manipulation of pace and tone
  • editing skills were strong, with fluent transition and logical progression between scenes and events
  • construction of plot, characters and setting were well linked to a strong central concept
  • age-appropriate actors were used
  • Reflection Statements showed insightful discussion of film theory and how it had been incorporated into the production choices of the video
  • concepts were sophisticated, original, clearly defined and discussed in terms of extensive independent investigation
  • clear links were made to the work as an extension of Advanced and Extension English courses
  • audience was sensibly defined and justified


  • lack of a conceptual framework
  • opening sequences tended to be long and drawn out for no purpose and interfered with engagement from the start
  • films that were derivative of other texts rather than being appropriated
  • links to texts or rubrics from English Advanced and Extension 1 were often tenuous
  • candidates sometimes claimed auteur theory or film noir through use of fuzzy filters, blinding lights, fast and constant editing or black colouring which added nothing to the concept and made interpretation challenging
  • attempts to create effective twists, climaxes and resolutions were given little consideration in the planning and execution of many of the works
  • limited shaping of some shots – overly used visual motifs or metaphors resulted in cliché; for example, cats, mirror reflections, eyes, fades to black and white to represent loss of hope, and water as a symbol of healing
  • Reflection Statements often lacked discussion of extensive independent investigation of the concept


General comments

Candidates intending to compose in the multimedia form should pay close attention to the submission requirements as outlined in Assessment and reporting in English Extension 2 Stage 6 p14–15 particularly in regard to the requirement that multimedia presentations must be able to be viewed in 20 minutes or less.

The multimedia works presented were varied and covered websites, graphic novels and blogs. Websites were popular, with a general trend for website material to be genre-based.

Candidates must make clear the relationship between the choice of form and the meaning derived as a consequence. For some candidates there was no discernible reason for the presentation of their work in the multimedia format.

While there was effective use of technology, some candidates needed to think more creatively and originally about how they used the features of a digital text to shape the responder’s understanding of the concept, idea and/or theme.

Candidates must ensure that their Work runs on the designated technology, that they provide clear instructions how to install and configure the application, include a hard copy of the logic map, clearly define navigation, provide ‘home’ for website and ‘esc’ for other multimedia forms, cite sources for all graphics used and acknowledge professional advice.


  • concepts were original
  • relationship between the concept/s and choice of the multimedia form were clear and added meaning to the work
  • control of the media was effective in combining sound, movement, images, written text and video into a well-designed piece of multimedia that illustrated engaging screen design and intuitive navigation
  • focus of the work was clearly articulated and sustained
  • evidence of the exploration of the potential of the medium in the creation of the work
  • extensive investigation into the multimedia programs used to construct the Major Work
  • effective navigation and interaction for the audience


  • lack of independent investigation into the concept and the form
  • works were fragmented or unfinished
  • lack of interactivity, with screens of information being substituted for creative exploitation of the medium
  • failure to include a logic map
  • no acknowledgement of material, especially choice of graphics
  • investigation into the concepts represented in the Major Works often lacked depth and rigour
  • many Reflection Statements lacked self-reflexive elements and failed to identify and analyse their choice of form while providing limited evidence of investigation into the form
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