Assessment Feedback
In today's lesson you will need to use your assessment and the feedback below to improve your work for each question.
DO THIS NOW: Write down the title (Assessment Feedback) and the date (15/1/2019) on a new page in your exercise book.
NEXT STEP: Take your grade from your assessment and add it to your GCSE tracker under the subheading (TV Drama) in the column for Autumn, there should also be one placed into your yellow folder.
Today's Work
In your books, copy out the question you have performed worst at. Underneath you are going to re-write your assessment answers to achieve higher marks using the information provided below for each question. When you have finished move on to another question. You will need to have improved two questions (at least) by the end of this lesson.
Section A: Television
You should have written about:
the use of background sound, e.g. the chatter of other diners and diegetic music in the background of the scene in the dining room connotes the calm, relaxing, normality of the situation
the use of incidental music in the extract, e.g. the rhythmic nondiegetic music during the robbery and car chase carrying connotations such as danger, excitement, and urgency
the use of sound effects, e.g. the sound effect of the vehicle smashing the glass in the shop window connoting the violence of the action, the sound effect of the police siren during the car chase connoting the urgency of the chase
the use of off-screen speech, e.g. the compressed sound of the PCSO’s call for assistance creates contrasting connotations of emergency to those of the canteen scene
any other relevant analysis.
Full Mark Student Example
One way sound is used in the extract is the use of non-diegetic music that connotes danger and a sense of the bottom falling out of your world as the large digger breaks through the shop window. This is emphasised by the sudden cut back to the calm, naturalistic sound world of the canteen where the officers are having lunch. Another way sound is used is the diegetic sound of the woman officer’s voice coming out of the walkie-talkie in the canteen. This has been altered to sound like it has been transmitted and the high-pitched sound of her voice with lots of background noise connotes panic and chaos.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
analyse aspects of the extract using examples to support your analysis
judge how far these aspects depict the police’s point of view. (10 Marks)
You should have written about:
the police are shown in close up more than the criminals, e.g. the contrast between the close up shots of the police officers in the dining room with the longer shots of the criminals
the editing allows shots of the police officers to predominate, e.g. shots of the criminals are followed by shots of the police reacting to them
the music in the location where the criminals first appear is sinister and suggests villainy is afoot
the criminals’ costumes suggest the stereotypical criminal and hide any characterisation from the audience; the police officers have more individuality, e.g. the close up shows the facial reactions of the young officer who does not get his lunch.
a narrative is constructed in which the relaxation of sympathetic characters is disrupted by characters the audience does not know, e.g. the cross-cutting between the robbery and the canteen.
the narrative mostly follows the world of the police, not the criminals, who are only seen in the extract in the presence of the police, e.g. we do not see the criminals eating their lunch.
there are some shots of the criminals not seen from the police perspective, e.g. of the criminals in the pickup truck, or the CCTV footage.
any other relevant analysis.
Full Mark Student Example
The extract mostly depicts the police’s point of view. The narrative follows two police officers as they have most of the screen time; the criminals are on screen for much less time – their main role in the extract is to ruin the police officers’ lunch. The extract starts with a series of close ups of some police officers, where the audience get to know them as individual characters. The criminals, on the other hand are only shown in long shot so the audience can only see shadowy figures inside vehicles or masked characters wielding weapons. The soundtrack has the sound of the police’s voices high up in the mix, so the audience can clearly hear what they are saying, which connotes that they are part of the conversation. When we hear the criminals, it is only to learn how threatening they are. The narrative is mostly about the relationship between the police characters, especially that between the hard-boiled older officer and the younger rookie and the emotions that this creates, for example, the insecurity of the younger officer. We also hear the panic in the voice of the PCSO as she calls in the robbery and we are invited to empathise with her difficulty in calling in the description of the vehicle while under threat – the mise-en-scène and camerawork combine to make the PCSO and the police officer look small and vulnerable as the actors used are smaller than those for the criminals. They are shot low down in the frame, sometimes with a high angle shot, and they are dwarfed by the yellow machine. The criminals, on the other hand, have no characterisation other than an easily read stereotype of the criminal: male, masked, working class and angry. In conclusion, in Propp’s terms, the police as a team are the hero, the criminals are the villain and the narrative represents the hero’s point of view.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
analyse aspects of the extract giving detailed examples
judge how far these aspects create a sense of watching 'real life'. (15 Marks)
What you should have written about:
Media Language
Responses may analyse the extract in terms of media language, for example:
the use of naturalistic locations, e.g. the shopping precinct, apparently natural lighting, and conventional costume reinforces a sense of realism
the use of continuity editing and conventional camerawork, e.g. shot reverse shot, does not draw attention to the artificiality of the extract
some more cinematic shots, e.g. the aerial shot of the car chase, might draw attention to themselves and detract from a sense of realism
some use of handheld camerawork, e.g. when the PCSO is threatened, suggests documentary realism
the use of the generic conventions of the police drama, e.g. the young rookie and old hand, fits audience expectations and does not undermine a sense of realism
any other relevant analysis.
Media Representations
Responses may analyse the extract in terms of representation, for example:
the use of stereotypes, e.g. the male criminal, enables instant interpretation and may appear more ‘real’
the use of deliberate anti-stereotypes, e.g. the female beat officer in a head scarf, may reinforce or undermine a sense of realism, depending on audience interpretation
any other relevant analysis.
Media Industries
Responses may analyse the extract in terms of media industries, for example:
the pre-watershed scheduling of the programme means that the extract minimises violence or swearing, which may undermine a sense of realism
any other relevant analysis.
Media Audiences
Responses may analyse the extract in terms of media audiences, for example:
the extract offers the audience entertainment and diversion, e.g. the visual spectacle of the robbery, and the opportunity to identify with a group of police officers, e.g. through entering their lunchtime banter – these mainstream uses and gratifications may enhance a sense of realism
any other relevant analysis.
Media Contexts
Responses may analyse the extract in terms of media contexts, for example:
representation in the extract fits modern context of equality and diversity requirements by including gender equality, a gay police officer, and officers from ethnic minorities; this may reinforce or undermine a sense of realism, depending on audience interpretation.
Extended response that makes judgements and draws conclusions
Responses must make judgements and draw conclusions about how far the extract creates a sense of watching ‘real life’ using evidence and developing a line of reasoning. Responses might conclude that the extract does or does not create a sense that it is portraying 'reality' and are to be rewarded to the extent that they support this judgement through an analysis of relevant examples from the extract in a clear and logically structured line of reasoning.
Full Mark Student Example
The extract tries to create a sense of realism in its media language and representations. The media language is naturalistic – it doesn’t draw attention to itself. Most of the extract is shot outside on location, using the real Brighton area that audiences may recognise. The extract seems to use natural lighting throughout, which fits in with portraying ‘real life’. The actors cast all seem to look like ‘normal’ people rather than stars and the acting style is naturalistic as the roles are downplayed and there is no sense of exaggeration. The camerawork uses some documentary style features, such as handheld camera, e.g. as the PCSO and the police officer are chatting. It also uses open frame shots where people may move across the frame out of focus, e.g. as the pick up truck pulls into the precinct. The extract throughout uses continuity editing, which is designed to hide the artificiality of editing. On the other hand, there are some more stylised uses of camerawork, such as the two shots from the side of the moving car and the aerial shot of the interchange, which look more dramatic and less documentary style. The soundtrack is very naturalistic at times, such as the scene in the canteen with ambient sounds of background chatter and music playing, however, the use of nondiegetic music in the robbery scene and during the chase is rather more dramatic. However, the audience might accept this as portraying real life as the scenes are exciting. The representations try to look realistic. The police are shown as human beings who need lunch rather than as unrealistic heroes. The inclusion of Muslim, gay and black characters may be to reflect the multicultural context of modern Britain and thus to be more like ‘real life’, but this could be seen as an attempt to fit the PSB need for diversity rather than realism. In conclusion, the extract does try to suggest it is portraying ‘real life’ but also tries to entertain an audience with mainstream pleasures such as exciting chase sequences and nice characters to identify with, so is at times very dramatic to fit the uses and gratifications of a prime time audience. It also has to fit pre-watershed requirements, so isn’t as violent or sweary as the reality would probably be.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
Describe what is meant by 'Public Service Broadcasting' (PSB). Use the BBC as an example in your answer. (5 Marks)
What you should have written about:
Responses should demonstrate knowledge and understanding of media industries:
the importance of different funding models, including government funded, not-for-profit and commercial models.
Responses may describe how PSB applies to a range of television channels, both commercial and publically-funded, and that Ofcom places additional requirements on these channels. Reponses may refer to PSB channels – accept any of the following: any BBC channel, ITV, STV and BBC Alba in Scotland, UTV in Northern Ireland, Channel 4, Channel 5 and S4C in Wales.
Responses may state one or more requirements of PSB, such as:
High quality content
Innovative and challenging content
Stimulating knowledge and learning
Informing the public
Original British-made programming
Reflecting the UK’s cultural identity
Representing diversity and alternative viewpoints
Distinctive programmes
Full Mark Student Example
PSB is television or radio broadcasting that has to meet requirements set by Ofcom, the regulator for TV and radio. These include the need for distinctive, high quality programmes, the need to reflect the diversity of Britain, and making original programmes rather than just importing cheaper American programmes. The BBC is owned and paid for by the British public, so it has extra responsibilities to be distinctive, including its mission to ‘inform, educate and entertain’ as laid down in the Royal Charter. ITV is also a PSB channel but is a commercial channel. Both the BBC and ITV have to have mixed schedules covering a range of genres and informative programmes such as news and documentaries, as well as more popular programming
The Avengers Explain how social contexts influence television programmes. Refer to The Avengers from 1965 to support your answer. (10 Marks)
What you should have written about:
the influence of gender inequalities on television programmes: for example, Emma Peel is represented as an intelligent career woman and there is a central male/female pairing at the heart of The Avengers – reflecting women’s increasing public role in British society in the 1960s.
the influence of social attitudes towards sexualities on television programmes: for example, Emma Peel’s representation both as a woman confident in her own sexuality and as a sex object reflects the influence of the 1960s ‘sexual revolution’ within persistent gender inequalities, and the assumption that everyone is heterosexual in 1960s television such as The Avengers reflects the marginalisation of LGBT groups before legalisation and gay liberation.
the influence of racial and ethnic inequalities on television programmes: for example, the relative underdevelopment of multiculturalism in 1960s Britain is reflected in the routinely all white casting for television programmes, including The Avengers.
the influence of social attitudes towards age on television programmes: for example, in The Avengers the 60s social issue of a ‘generation gap’ between the traditional wartime generation and radical youth is represented in the contrast between Steed’s militarism, traditional props and costume and Peel’s playfulness, Pop Art flat and costume.
the influence of national social anxieties on television programmes: for example, the fear of ‘enemies within’, given salience through news coverage of Cold War spies, is worked through in the way Steed and Emma fight a series of sinister conspiracies in The Avengers, such as the replacement of a Norfolk village with foreigners, with a light, parodic touch.
the influence of contested social values on television programmes: for example, The Avengers reflects both the traditional values of duty to Queen and Country with the carefree individualism of ‘Swinging London’.
any other relevant contexts and their influence.
Student Example
Social contexts influence television programmes by influencing the people who make programmes, the people who watch them, and the subject matter of the programmes. For example, The Avengers was made at a time when very few women or ethnic minorities were working in television and the programme reflects this. The patriarchal context of the 1960s is shown in the way that Emma Peel is treated as a sex object in the programme - she is a ‘damsel in distress’ in `The Town of No Return’ episode and Steed slaps her bottom in a way that would now be condemned as sexual harassment at work. The very white context of 1960s Britain on television is shown in the lack of ethnic minority characters. Audiences living in white-dominated, patriarchal Britain would accept these representations as normal, whereas they look more strange today. Gay characters in the 1960s were usually smuggled into television programmes as male homosexuality was still illegal and closeted, so, though The Avengers is quite camp, it could not feature ‘out’ gay characters in the way that current television does. However, the 1960s was also a time of ‘sexual revolution’ led by a younger generation rebelling against the older generation and these social tensions are apparent in the television of the time. The Avengers shows both sides of the ‘generation gap’ by partnering a traditionally British older man with a sexually confident, Pop-art loving younger woman, who both work together as a team. Emma Peel may be represented as a sex object, but she is also represented as a confident, educated woman who can hold her own in a man’s world, sometimes saving Steed in some episodes of The Avengers. In this way, the programme may reflect some of the concerns of the time.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
QUESTION 1
Analyse how sound is used in the extract to create meaning. Refer to at least two examples from the extract in your answer. (5 Marks)You should have written about:
the use of background sound, e.g. the chatter of other diners and diegetic music in the background of the scene in the dining room connotes the calm, relaxing, normality of the situation
the use of incidental music in the extract, e.g. the rhythmic nondiegetic music during the robbery and car chase carrying connotations such as danger, excitement, and urgency
the use of sound effects, e.g. the sound effect of the vehicle smashing the glass in the shop window connoting the violence of the action, the sound effect of the police siren during the car chase connoting the urgency of the chase
the use of off-screen speech, e.g. the compressed sound of the PCSO’s call for assistance creates contrasting connotations of emergency to those of the canteen scene
any other relevant analysis.
Full Mark Student Example
One way sound is used in the extract is the use of non-diegetic music that connotes danger and a sense of the bottom falling out of your world as the large digger breaks through the shop window. This is emphasised by the sudden cut back to the calm, naturalistic sound world of the canteen where the officers are having lunch. Another way sound is used is the diegetic sound of the woman officer’s voice coming out of the walkie-talkie in the canteen. This has been altered to sound like it has been transmitted and the high-pitched sound of her voice with lots of background noise connotes panic and chaos.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
QUESTION 2
Analyse how far the extract depicts the police’s point of view rather than the criminals’ point of view. In your answer you must: analyse aspects of the extract using examples to support your analysis
judge how far these aspects depict the police’s point of view. (10 Marks)
You should have written about:
the police are shown in close up more than the criminals, e.g. the contrast between the close up shots of the police officers in the dining room with the longer shots of the criminals
the editing allows shots of the police officers to predominate, e.g. shots of the criminals are followed by shots of the police reacting to them
the music in the location where the criminals first appear is sinister and suggests villainy is afoot
the criminals’ costumes suggest the stereotypical criminal and hide any characterisation from the audience; the police officers have more individuality, e.g. the close up shows the facial reactions of the young officer who does not get his lunch.
a narrative is constructed in which the relaxation of sympathetic characters is disrupted by characters the audience does not know, e.g. the cross-cutting between the robbery and the canteen.
the narrative mostly follows the world of the police, not the criminals, who are only seen in the extract in the presence of the police, e.g. we do not see the criminals eating their lunch.
there are some shots of the criminals not seen from the police perspective, e.g. of the criminals in the pickup truck, or the CCTV footage.
any other relevant analysis.
Full Mark Student Example
The extract mostly depicts the police’s point of view. The narrative follows two police officers as they have most of the screen time; the criminals are on screen for much less time – their main role in the extract is to ruin the police officers’ lunch. The extract starts with a series of close ups of some police officers, where the audience get to know them as individual characters. The criminals, on the other hand are only shown in long shot so the audience can only see shadowy figures inside vehicles or masked characters wielding weapons. The soundtrack has the sound of the police’s voices high up in the mix, so the audience can clearly hear what they are saying, which connotes that they are part of the conversation. When we hear the criminals, it is only to learn how threatening they are. The narrative is mostly about the relationship between the police characters, especially that between the hard-boiled older officer and the younger rookie and the emotions that this creates, for example, the insecurity of the younger officer. We also hear the panic in the voice of the PCSO as she calls in the robbery and we are invited to empathise with her difficulty in calling in the description of the vehicle while under threat – the mise-en-scène and camerawork combine to make the PCSO and the police officer look small and vulnerable as the actors used are smaller than those for the criminals. They are shot low down in the frame, sometimes with a high angle shot, and they are dwarfed by the yellow machine. The criminals, on the other hand, have no characterisation other than an easily read stereotype of the criminal: male, masked, working class and angry. In conclusion, in Propp’s terms, the police as a team are the hero, the criminals are the villain and the narrative represents the hero’s point of view.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
QUESTION 3
In this question you will be rewarded for drawing together elements from your full course of study, including different areas of the theoretical framework and media contexts. How far does the extract try to create a sense that it is portraying 'real life'? In your answer you must: analyse aspects of the extract giving detailed examples
judge how far these aspects create a sense of watching 'real life'. (15 Marks)
What you should have written about:
Media Language
Responses may analyse the extract in terms of media language, for example:
the use of naturalistic locations, e.g. the shopping precinct, apparently natural lighting, and conventional costume reinforces a sense of realism
the use of continuity editing and conventional camerawork, e.g. shot reverse shot, does not draw attention to the artificiality of the extract
some more cinematic shots, e.g. the aerial shot of the car chase, might draw attention to themselves and detract from a sense of realism
some use of handheld camerawork, e.g. when the PCSO is threatened, suggests documentary realism
the use of the generic conventions of the police drama, e.g. the young rookie and old hand, fits audience expectations and does not undermine a sense of realism
any other relevant analysis.
Media Representations
Responses may analyse the extract in terms of representation, for example:
the use of stereotypes, e.g. the male criminal, enables instant interpretation and may appear more ‘real’
the use of deliberate anti-stereotypes, e.g. the female beat officer in a head scarf, may reinforce or undermine a sense of realism, depending on audience interpretation
any other relevant analysis.
Media Industries
Responses may analyse the extract in terms of media industries, for example:
the pre-watershed scheduling of the programme means that the extract minimises violence or swearing, which may undermine a sense of realism
any other relevant analysis.
Media Audiences
Responses may analyse the extract in terms of media audiences, for example:
the extract offers the audience entertainment and diversion, e.g. the visual spectacle of the robbery, and the opportunity to identify with a group of police officers, e.g. through entering their lunchtime banter – these mainstream uses and gratifications may enhance a sense of realism
any other relevant analysis.
Media Contexts
Responses may analyse the extract in terms of media contexts, for example:
representation in the extract fits modern context of equality and diversity requirements by including gender equality, a gay police officer, and officers from ethnic minorities; this may reinforce or undermine a sense of realism, depending on audience interpretation.
Extended response that makes judgements and draws conclusions
Responses must make judgements and draw conclusions about how far the extract creates a sense of watching ‘real life’ using evidence and developing a line of reasoning. Responses might conclude that the extract does or does not create a sense that it is portraying 'reality' and are to be rewarded to the extent that they support this judgement through an analysis of relevant examples from the extract in a clear and logically structured line of reasoning.
Full Mark Student Example
The extract tries to create a sense of realism in its media language and representations. The media language is naturalistic – it doesn’t draw attention to itself. Most of the extract is shot outside on location, using the real Brighton area that audiences may recognise. The extract seems to use natural lighting throughout, which fits in with portraying ‘real life’. The actors cast all seem to look like ‘normal’ people rather than stars and the acting style is naturalistic as the roles are downplayed and there is no sense of exaggeration. The camerawork uses some documentary style features, such as handheld camera, e.g. as the PCSO and the police officer are chatting. It also uses open frame shots where people may move across the frame out of focus, e.g. as the pick up truck pulls into the precinct. The extract throughout uses continuity editing, which is designed to hide the artificiality of editing. On the other hand, there are some more stylised uses of camerawork, such as the two shots from the side of the moving car and the aerial shot of the interchange, which look more dramatic and less documentary style. The soundtrack is very naturalistic at times, such as the scene in the canteen with ambient sounds of background chatter and music playing, however, the use of nondiegetic music in the robbery scene and during the chase is rather more dramatic. However, the audience might accept this as portraying real life as the scenes are exciting. The representations try to look realistic. The police are shown as human beings who need lunch rather than as unrealistic heroes. The inclusion of Muslim, gay and black characters may be to reflect the multicultural context of modern Britain and thus to be more like ‘real life’, but this could be seen as an attempt to fit the PSB need for diversity rather than realism. In conclusion, the extract does try to suggest it is portraying ‘real life’ but also tries to entertain an audience with mainstream pleasures such as exciting chase sequences and nice characters to identify with, so is at times very dramatic to fit the uses and gratifications of a prime time audience. It also has to fit pre-watershed requirements, so isn’t as violent or sweary as the reality would probably be.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
QUESTION 4
What you should have written about:
Responses should demonstrate knowledge and understanding of media industries:
the importance of different funding models, including government funded, not-for-profit and commercial models.
Responses may describe how PSB applies to a range of television channels, both commercial and publically-funded, and that Ofcom places additional requirements on these channels. Reponses may refer to PSB channels – accept any of the following: any BBC channel, ITV, STV and BBC Alba in Scotland, UTV in Northern Ireland, Channel 4, Channel 5 and S4C in Wales.
Responses may state one or more requirements of PSB, such as:
High quality content
Innovative and challenging content
Stimulating knowledge and learning
Informing the public
Original British-made programming
Reflecting the UK’s cultural identity
Representing diversity and alternative viewpoints
Distinctive programmes
Full Mark Student Example
PSB is television or radio broadcasting that has to meet requirements set by Ofcom, the regulator for TV and radio. These include the need for distinctive, high quality programmes, the need to reflect the diversity of Britain, and making original programmes rather than just importing cheaper American programmes. The BBC is owned and paid for by the British public, so it has extra responsibilities to be distinctive, including its mission to ‘inform, educate and entertain’ as laid down in the Royal Charter. ITV is also a PSB channel but is a commercial channel. Both the BBC and ITV have to have mixed schedules covering a range of genres and informative programmes such as news and documentaries, as well as more popular programming
QUESTION 5
What you should have written about:
the influence of gender inequalities on television programmes: for example, Emma Peel is represented as an intelligent career woman and there is a central male/female pairing at the heart of The Avengers – reflecting women’s increasing public role in British society in the 1960s.
the influence of social attitudes towards sexualities on television programmes: for example, Emma Peel’s representation both as a woman confident in her own sexuality and as a sex object reflects the influence of the 1960s ‘sexual revolution’ within persistent gender inequalities, and the assumption that everyone is heterosexual in 1960s television such as The Avengers reflects the marginalisation of LGBT groups before legalisation and gay liberation.
the influence of racial and ethnic inequalities on television programmes: for example, the relative underdevelopment of multiculturalism in 1960s Britain is reflected in the routinely all white casting for television programmes, including The Avengers.
the influence of social attitudes towards age on television programmes: for example, in The Avengers the 60s social issue of a ‘generation gap’ between the traditional wartime generation and radical youth is represented in the contrast between Steed’s militarism, traditional props and costume and Peel’s playfulness, Pop Art flat and costume.
the influence of national social anxieties on television programmes: for example, the fear of ‘enemies within’, given salience through news coverage of Cold War spies, is worked through in the way Steed and Emma fight a series of sinister conspiracies in The Avengers, such as the replacement of a Norfolk village with foreigners, with a light, parodic touch.
the influence of contested social values on television programmes: for example, The Avengers reflects both the traditional values of duty to Queen and Country with the carefree individualism of ‘Swinging London’.
any other relevant contexts and their influence.
Student Example
Social contexts influence television programmes by influencing the people who make programmes, the people who watch them, and the subject matter of the programmes. For example, The Avengers was made at a time when very few women or ethnic minorities were working in television and the programme reflects this. The patriarchal context of the 1960s is shown in the way that Emma Peel is treated as a sex object in the programme - she is a ‘damsel in distress’ in `The Town of No Return’ episode and Steed slaps her bottom in a way that would now be condemned as sexual harassment at work. The very white context of 1960s Britain on television is shown in the lack of ethnic minority characters. Audiences living in white-dominated, patriarchal Britain would accept these representations as normal, whereas they look more strange today. Gay characters in the 1960s were usually smuggled into television programmes as male homosexuality was still illegal and closeted, so, though The Avengers is quite camp, it could not feature ‘out’ gay characters in the way that current television does. However, the 1960s was also a time of ‘sexual revolution’ led by a younger generation rebelling against the older generation and these social tensions are apparent in the television of the time. The Avengers shows both sides of the ‘generation gap’ by partnering a traditionally British older man with a sexually confident, Pop-art loving younger woman, who both work together as a team. Emma Peel may be represented as a sex object, but she is also represented as a confident, educated woman who can hold her own in a man’s world, sometimes saving Steed in some episodes of The Avengers. In this way, the programme may reflect some of the concerns of the time.
TASK: Using the ideas above, rewrite your exam answer in your books. Use a green pen if possible.
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