Model(a) Aperture, shutter speed, ISO — 1 mark each (accept “f-stop” for aperture). (b) Shutter speed (1). (c) Faster (1).

Model(a) ISO (1) — accept aperture if light-reasoning is sound. (b) Pushing ISO too high adds digital noise / grain (1); the image looks speckled and less sharp because the sensor amplifies the signal as it brightens the shot (2).

Model(a) ISO · (b) shutter speed · (c) aperture — 1 mark each.

Model(a) symbolic · (b) written · (c) technical · (d) symbolic — 1 mark each.

Model · 5/5The director could use a symbolic code of costume, dressing the character in soft, light colours, which connote warmth and honesty, so the audience reads them as safe. They could combine this with a technical code: a high-key lit, eye-level shot, which puts the character on the viewer’s level and removes shadow, making them open and approachable. Together the soft costume and the bright, level framing position the audience to trust the character on sight.

Model · 5/5The camera could film the person at eye level in their own home, with family photos in the frame, making them relatable and honest. The editing could use slow, gentle cuts and soft, sympathetic music, holding on their emotion rather than cutting away. Together, the warm camerawork and the gentle editing position the audience to feel sympathy and read the person as a deserving victim rather than a villain.

Model(a) Any TWO of: voiceover narration · doorstop interview · surveillance handheld footage · dramatic music sting · captions/lower-thirds · B-roll of evidence — 1 each. (b) e.g. Voiceover narration tells the audience how to feel (1, function) and guides them to interpret the story the producer’s way, so they side with the show (2, effect).

Model(a) Any TWO technical codes: camera (handheld), sound/music (sting), lighting (night/low-key) — 1 each. (b) e.g. the handheld camera makes the footage feel like surveillance, positioning the audience as if they’re watching someone being caught (1–2); combined with the “CAUGHT ON CAMERA” caption it sets the story up as an exposé and leads the audience to expect wrongdoing (3).

Model (Star Wars)(a) Deadline (1) — Strangers = collision, Argo = reveal. (b) Cross-cutting alternates between Luke’s trench run and the Death Star’s countdown; as it builds the cuts get shorter and faster, splitting the audience’s attention and building urgency toward the convergence (1–3). (c) One other technical code, e.g. shot length / sound / music / camera movement (1). (d) e.g. the music rises and quickens, heightening urgency and pulling the audience toward the deadline (1–3).

Model(a) Matching movement (match on action) (1) — accept “continuity of movement”. (b) The audience is jolted / confused because the punch doesn’t continue smoothly (1); this breaks the illusion of continuous action and draws attention to the cut (2); the impact and momentum of the fight are lost and immersion weakens (3).

Model (cut on action)(a) Cut on action (1). (b) The cut happens during a movement, so the movement itself hides the join between shots (1–2); the action feels continuous and seamless and the audience follows it without noticing the edit (3).