Are you unsure where to begin with the VCE argument and language analysis? If so, you’ve come to the right place.
The argument analysis essay is usually introduced in Year 11 English, and a part of your final exam in VCE English. Unlike your analytical or comparative pieces you are unlikely to have had much practice writing this type of essay in earlier years.
To get you started on how to write your argument analysis response, we have compiled everything you need to know right here!
Let’s get started!
What is the VCE Argument Analysis?
Types of Pieces for Argument Analysis
What Makes a Good Argument Analysis?
Consider the Following Before Writing Your Response
How to Write Your VCE Argument Analysis
What is the VCE Argument Analysis?
The VCE Argument and language Analysis is one of three types of responses you are assessed on in Year 11 and 12 VCE English.
You are presented with an article from a source such as a newspaper and you are then asked to analyse the language that the writer has used, as well as how they convince an audience of their stance on an issue.
Make sure you’re ready for everything in the VCE English Language Study Design and read our guide!
Types of Articles for Argument Analysis
Editorial
An editorial has the insignia of the newspaper in which it is published, and does not have the name of the writer. This type of article should be referred to as an editorial, an article or with the name of the newspaper when referred to in your response.
Want a deeper dive on the different types of feature articles? Check out our complete guide to writing feature articles!
Letter to The Editor
A letter to the editor has the name of the writer and the place from which they have come. These articles are typically shorter in length and should be referred to with the writer’s last name, as a letter or an article.
Opinion Article
An opinion article has the name of the writer and their credentials. These are generally longer articles. Can be referred to as an opinion article or by the last name of the writer.
Cartoon
The cartoonist’s name should be found on or near the illustration. Watch for what occupies much of the cartoon to show impactful analysis. Make sure to analyse what is presented in the foreground as well as the background.
Note: Not every article you will be asked to analyse will be from a newspaper, they may also be from a blogpost or a post from an online forum. It is important to identify precisely what type of article you have been presented with, so you can gauge why the article has used specific language and the specific audience they are targeting.
Additionally, you also tackle some non-written texts in your SACs:
Audio
The alternative pieces you need to analyse require a different approach. For audio pieces, you need to take note of everything you notice throughout the piece. This can range from tone, talking speed, volume, language techniques, argument techniques and so on.
After the audio has been played, try organise your notes chronologically: beginning, middle and end. Just like with an article, you want to discuss everything in order. This will be your structure for the analytical piece.
Outside of that, everything else is the same, you write the same way, discuss the same components, and have the same analytical structure.
My biggest tip is to not overcomplicate it! If you can write an analysis for an article you definitely can do one for a visual piece!
Audio Visual
In these pieces, on top of analysing speech, you need to analyse what you see. This means taking note of imagery, so you’ll need to find some imagery techniques for use in your analysis. Some imagery techniques could include:
English Visual Techniques Example
English visual techniques help convey a message in the form of an image. They may be used in many forms of still media like photos, picture books, book covers and photos.
| Techniques | Definition |
|---|---|
| Allusions | References to other images/visual media, including art, films, pop culture, religious icons, etc. Sometimes in the form of a parody (referencing another image but making it humorous), these usually recontextualise or “change the meaning” of the original media. |
| Angles/lines | The ‘direction’ of an image based on the angles or lines within it. Horizontals create a sense of calm, verticals a sense of structure and diagonals a mood of unease or being off balance. |
| Body Language | Facial expressions, body language and gestures used to show character’s attitudes, moods or personality. Often focussed on overall body movement and positioning. |
| Close-up Shot | When the frame is mostly or entirely filled with a character’s face, an important object, etc. Used to create viewer focus and show that whatever is being shown is important. Often used on character’s faces in highly emotional images. |
| Colour (Hue/Tones) | Colours are symbolic of different emotions, moods, etc. and are used to evoke corresponding responses in audiences. Purple is a colour of royalty, wealth and luxury whereas red symbolises lust, passion, anger and so on. Also consider how saturated colours are (are they bright and vivid or dull and desaturated?). |
| Composition | What an image is made up of – where things are placed, how it is framed, the colour and lighting used, etc. This generally refers to the image as a whole. |
| Contrast | Placing things that are considered opposite close to each other. Contrasts can be between colours (black and white), sizes (large and small), textures (rough and smooth), etc. to create interest and complexity. One small contrasting colour/size/shape in an image is also usually highly salient because it stands out. |
| Framing | The camera shots and angles used in images/films to create different audience reactions and emotions. E.g. close-up, extreme close-up, mid shots, aerial shots, etc. |
| Gaze | Where a character looks, which then directs viewer’s eyes. A ‘demand’ gaze involves direct eye contact between a character and the viewer, an ‘offer’ has the character look at something within the image, drawing the viewer’s eyes there too. Can also be used to express emotion/intent. |
| High Angle Shot | A shot taken from slightly above something/someone, looking down on it/them. Creates a sense of the character being weak, helpless, intimidated, etc. May also be used to represent someone literally looking down at an object/scene (point of view). |
| Law of Thirds | By dividing an image into equal thirds along the horizontal, the vertical axis you can break it into 9 equal sections which each have different connotations, Movement is expected to from the left thirds to the right thirds, otherwise it’s read as moving backwards (literally or figuratively). Characters in the top right third are seen as powerful or in control, while those in the bottom left thirds are weaker or being controlled. |
| Lighting | How a shot is lit or not lit. This includes natural lighting (the sun, open windows, etc.) and man-made lighting (lamps, torches, etc.) as well as feature lighting such as coloured lights, spotlights, moving lights, etc. Lighting has a major impact on the mood and atmosphere of an image (low light is seedy, harsh light is unnerving, soft light is intimate, etc.). |
| Long/Wide | A shot that is made up of a large landscape, cityscape or other kind of scene, Generally these are used to get across lots of information at once, such as the layout of a room, the location of an event, the number of people around, etc. |
| Low Angle Shot | A shot taken from slightly below someone/something, used to present them/it as being in a position of power, dominance or control. It may also be used to have someone literally look up at someone/something (point of view) |
| Mid Shot | A shot that is approximately half-filled with a figure, object, etc. Usually these are ‘regular’ shots and are very common for character conversations/interactions or showing a select area or object within an area (a desk, chair, etc.). |
| Point of View | How the shot is framed in reference to the viewer or a character. Does the shot take the character’s point of view (a shot of a character leaning out a window cutting to an aerial shot looking down from a window) or is the audience placed level with, above or below the characters/objects/action? |
| Positioning | Where have objects and characters been placed in the shot? What is in the foreground, middle ground and background and why have they been placed there? |
| Salience | How much any section of an image draws the viewer’s eyes – the most salient feature of an image is whatever/wherever the viewer’s eyes are first drawn when they look at it. Salience is always deliberate and usually created through contrast, colour, framing and layout. |
| Symbolism | The use of one image/object to represent an idea or concept that is more complex than it is. Religious symbolism, pop culture symbolism and animal symbolism are all very common. |
| Text | Words used within images to convey a literal or figurative message. Consider the font, colour, size, weight, etc. of the text, where and how often it has been used and the connotations of the words actually used. |
| Vectors | The lines or paths viewer’s eyes follow when looking at an image, usually vectors are deliberately created to lead the eyes to a focal point or important feature. Because we read left to right we tend to follow vectors in the same direction across an image. |
Film-specific Techniques Example
Film-specific techniques are visual tools used to convey messages in film, television episodes, documentaries and other forms of video.
| Technique | Desfinition |
|---|---|
| Aerial Shot | A shot usually taken from a crane or helicopter to show a landscape, city, or many other elements within a single moving shot. Usually these are used to establish settings, large spaces/areas or a sense of scale. |
| Costuming | The clothes, makeup, hairstyles, accessories, etc. designed to be worn by characters to represent their personality, status, heritage, culture, etc. Often characters clothes will fit within one or two similar colour palettes or tones and use fabrics of similar textures. Colour symbolism often comes into play here (a character wearing earthy colours may be associated with gardening, plants and nature). |
| Cut | The splicing of two shots together so that one seems to instantly move to the other. There are many different types of cuts – jump cuts are more jagged and create a sense of fast pace or deliberately poor editing, match cuts involve cutting between two very visually similar shots to create a more seamless flow. |
| Dialogue | The words spoken by characters. Regular literary techniques are used (metaphor, simile, personification, etc.) but also consider character vocal inflection, tone, pauses, etc. as well as their vocal range (does the character have a deep voice? A high, feminine voice?). |
| Diegetic Sound | The ‘literal sound’ created by the objects and people within a shot – sounds that the character is presumed to be hearing as well. This includes; character dialogue, fabric rustling, animals, background noise/voices, sounds made by objects (doors closing, rain), etc. |
| Digital Effects | Any images, characters, setting and effects added digitally in post-production to add to or alter the original shot. Remember that all digital effects are deliberate and have been added for a reason – to change the mood of a shot, change character gesture, etc. |
| Establishing Shot | The shot at the beginning of a film or scene that gives the basic or introductory information to viewers. Generally includes or introduces the location, characters, etc. |
| Fade In/Out | A transition device whereby a shots fades into or out of black (or another image) at the end or beginning of the shot respectively. These are generally used to create a sense of slow movement, intimacy or ‘trailing off’ in a shot/scene. |
| Montage | The cutting together or several shots that show small pieces of a larger scene or idea to create an overall sense of time passing/something occurring. Most commonly used in training sequences where a character must become skilled in a task over time, so many shots of them completing different training exercises are cut together to create a sense of them improving over time. |
| Non-diegetic Sound | The ‘non-literal sound’ that has been added into a shot that the characters cannot hear. This includes; narration/voice-over, added sound effects, music (that isn’t shown to be produced from an onscreen source such as a tv, dance party, etc.) and the film score/soundtrack. |
| Props | Items and objects used within a shot to create a sense of setting, represent character interests, symbolise something else or be interacted with. Generally the most important props are those used or seen as important by characters, as well as recurring props that feature in several different scenes/shots throughout the film. |
| Voice-over | Audio narration laid over the top of a shot’s regular soundtrack. Generally voiceover is used to give audiences extra information, additional commentary or character’s specific views/comments on the scene. |
Tip: Don’t try to use and understand all of these techniques. Just use the ones that work best for you!
What Makes a Good Argument Analysis?
The concept and structure of an argument and language analysis are fairly simple to get your head around, therefore it is important to pay attention to some close details that will make your analysis of a particular article stand out.
Here are some tips!
Check out our definitive guide to each VCE English SAC text response!
Tip #1: Have a Good Understanding of the Issue
Before you begin to analyse the writer’s persuasive techniques, it’s important that you have a thorough grasp on what they are trying to persuade the audience of.
This helps you better understand their techniques thereby resulting in better quality analysis. To achieve this make sure that you read the article slowly instead of rushing through it and take note of the title, as it is a good indicator for what you are going to read.
Tip #2: Plan Your Response
Argument analysis essays are very structural, and so there are certain aspects that you should be including in every single one of your responses.
By taking advantage of this ‘ticking the boxes’ approach, you can assure that you will receive marks by including certain things in your response. This includes the contention of the writer, target audience and the tone of the writer.
Tip: To make sure you include all of these points in your final essay, you should use the VCE Argument Analysis template for each response until it becomes intuitive.
Tip #3: Vary Your Sentence Structure
Whilst having a structure is necessary, you should also consider the flow of your piece.
It is easy to fall into using repetitive sentence structures, with a pattern of bringing out the evidence from the article, followed by the persuasive technique that the writer is using, and then the impact it has on the reader.
Whilst it is important to include these in your essay, it should not be written in a choppy and disjointed manner.
Tip: In some parts of your essay, you could start by highlighting how the readers are positioned and then expand on how the writer has done this, in order to provide some variation.
This requires a bit of practice, so be patient and keep trying!
Tip #4: Don’t Quote Everything in Your Essay
It’s normal to feel overwhelmed by the amount of text that you are presented with in an article, as well the short amount of time you have to analyse it. As surprising as it may sound, to write a good VCE argument analysis you do not need to analyse everything.
Instead, it is about how you pick out good pieces of evidence and show quality analysis.
A good way to choose the best evidence is to imagine you’re presenting a speech. Check out our guide to Acing Your VCE English Oral Presentation!
When you find a piece of evidence that you’re planning to use in your essay, don’t quote the entire thing. Instead, you should pick the few words that really make an impact and show deep analysis of those. For example:
‘From the outset, Gill criticises the long-standing “intransigence of political leaders” towards pill testing. Through utilising the term “intransigence,” the health officials are led to feel attacked having been labelled unyielding and stubborn, reflecting Gill’s earlier claim that they are incapable of looking beyond their own limited experience.’
Tip #5: Use Specific Vocabulary for Tones and Persuasive Words
Of the details that sets apart an excellent analysis from an average one, the use of specific and varied vocabulary is a major distinguisher.
But, vice versa, don’t use extravagant and lengthy words if you are unsure of their exact meanings and relevance — most likely, the examiner can sense when you don’t know the actual meaning of a certain word.
Tip: You should memorise a list of persuasive words and tones as well as their definitions, so that you have an ingrained bank of terms to choose from as you are actively writing your analysis.
Check out our list of persuasive words and tones that we’ve compiled for you!
Persuasive Words
| For | Against | ||
|---|---|---|---|
| Discusses | Voices | Attacks | Implicates |
| Accentuates | Overstates | Doubts | Provokes |
| Advances | Understates | Criticises | Mocks |
| Advocates | Concurs | Denigrates | Derogates |
| Asserts | Responds | Dismisses | Contradicts |
| Condones | Contributes | Disputes | Divides |
| Contends | Links | Rebuts | Protests |
| Magnifies | Demonstrates | Refutes | Exposes |
| Promotes | Signposts | Retorts | Challenges |
Tones
| Positive | Neutral | Negative |
|---|---|---|
| Amused | Authoritative | Accusing |
| Assertive | Bemused | Admonishing |
| Confident | Considered | Antagonistic |
| Earnest | Controlled | Condescending |
| Encouraging | Measured | Contemptuous |
| Enthusiastic | Pragmatic | Cynical |
Might need some help crafting a VCE Argument and language Analysis? Work with a tutor from our English tutoring Melbourne team!
Consider the Following Before Writing Your Argument Analysis
When you are handed an article and once you’ve read through it, it’s not the best idea to begin writing your VCE argument analysis straight away. Instead, try and identify the following points:
Points to consider for the introduction:
- What issue has the article come as a response to?
- What is the name of the writer (if applicable), article type, and the title of the article?
- What are the credentials of the writer? where applicable.
- Find the main contention of the writer and write it out in your own words
Points to consider for the body paragraphs:
- Identify the tone and the target audience of the writer
- Summarise the main arguments that are used to support the contention
- Consider the impact of headlines, captions and visuals and decide which argument they belong to
- Locate and identify words that illustrate the persuasive techniques that are used to support an argument
- Remember not to judge the quality of the argument, nor give your opinion of it – you are only assessing what intended effect the language is meant to have on the reader.
Did you know that you can swap Year 11 English out for English Language in Year 12, or any subject in that case? Check out our guide to selecting VCE subjects!
How to Write Your VCE Argument Analysis
Introduction
Write a general statement about the issue to which the article has come as a response, this could be as large as a global issue such as the COVID-19 pandemic, or as small as implementing local infrastructure.
Usually, students like to use one of the following acronyms to structure their response:
TIFWAC
The TIFWAC acronym gives you a comprehensive template for your introduction.
With TIFWAC, just follow the acronym chronologically in your introduction, one sentence per point of the acronym, and you’ll have your introduction!
There’s no need to add any detail, or summarise your body paragraphs, just follow TIFWAC.
CDFASTCAT
CDFASTCAT is a more detailed version of TIFWAC.
Just like with TIFWAC, you should go through CDFASTCAT in your introduction chronologically. This will ensure you have a perfect introduction structure!
Although, one key consideration with this acronym is that students can fall into the trap of writing too much for the introduction.
So, be very careful with how much you write. Keep it short and concise.
Both acronyms are highly effective and recommended. There is not a better choice of acronym, so just choose the one that suits you best.
You should go through each point of the acronym – one point a sentence – chronologically. If you do this, you’ll have a really nice introduction paragraph.
Now, it’s important to note that you should write the introduction as concisely as possible. No need to elaborate and go on tangents like in an essay.
Just address each point of your chosen acronym structure, make sure it’s clear and concise, then move on to the body paragraphs. Your introduction should take you at most 5 minutes!
Body Paragraphs
What should each body paragraph cover?
Body paragraphs are just as easy. Try and have a BME body paragraph structure, which means:
B: Your first paragraph covers the beginning of the piece.
M: Your second paragraph covers the middle of the piece.
E: Your final paragraph covers the end of the piece.
Going chronologically works well in the language analysis because you can show how the writer progresses and builds upon their argument throughout the piece.
Also, you can write 3-5 body paragraphs for an argument or language analysis. But try not to write more than 3 pages.
Why? Because occasionally you will have to analyse multiple pieces in one analysis. Here you will have to pivot and make a decision: how many body paragraphs do I use for each piece?
For example, if you need to analyse two articles, you could do two body paragraphs on each, split it to one and three paragraphs or two and one.
Wheras, if you needed to analyse three or four article (which has happened in a VCE exam before) you may have to analyse each piece with a single paragraph!
Additionally, here are some other points to consider:
- Each paragraph addresses only one argument. The arguments should begin with a topic sentence — this can be related to something the writer agrees or disagrees with or is proposing as a solution.
- Analyse how the writer uses the piece of evidence by identifying the underlying persuasive technique. However, there is no need to write out the actual technique that is being used such as simile or hyperbole, instead you should talk about how it is being used.
- Ensure you comment on what effect the language has on the reader and how it positions them to feel.
Ready to smash your VCE Argument and language Analysis? Check out our master list of VCE English Past Papers!
How should each body paragraph be structured?
Body paragraphs for an argument and language analysis should utilise the following structure.
What: what is the writer doing?
How: how is the writer doing it?
Why: why is the writer doing it? What is their intended effect on the audience.
Think of this as your TEEL structure for essays.
However, you’ll need to repeat the what how why structure 3 to 4 times a paragraph to ensure there is sufficient detail.
Think of this as the TEEL structure but for an argument analysis. Keep in mind though that you want to repeat the what, how, why cycle at least 3-4 times per paragraph.
This cycle ensures you are identifying how the piece is making arguments and what their arguments intend to do.
Try to place a lot of emphasis on the ‘why’ section of the analysis. This is because showing the marker that you understand how the audience is being effected, and why the writer is trying to effect them in that way, is the most important part of the whole analysis.
Each ‘why’ discussion should have at least 2-3 sentences!
Conclusion
Conclusions are really not that important in an argument or language analysis.
Just outline a brief summary of the argument presented by the writers. Then address how they argued, then finish your piece.
Honestly, most top students don’t use one at all.
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Abhisha Vaheesan completed her VCE in 2021 and is currently an undergraduate student studying Bachelor of Radiography and Medical Imaging (Honours) at Monash University. As much as she is invested in Biology and putting together the building blocks of life, she is equally immersed in debating the conflicts of modern literature. Aside from this, she loves listening to music, is an avid writer and K-drama fanatic.
