ABI - Arrival – Film language analysieren
aiMOOCABI - Arrival – Film language analysieren
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ABI - Arrival – Film language analysieren
Einleitung
Mini-description: Analyse camera, composition, editing, colour, sound and music through concrete observation tasks on a legally accessed copy of Arrival (Denis Villeneuve, 2016), the official trailer and openly licensed practice media. The aim is not to reproduce the film but to learn how precise observation becomes an evidence-based interpretation.
Target group: Englisch als fortgeführte Fremdsprache, Kursstufe Baden-Württemberg, gemeinsamer Kurs für Basisfach und Leistungsfach. English comes first. German support is used only after context, word formation, visualisation, an English explanation and dictionary work have been tried.
Current Abi check, Stand 02.10.2026: For the 2027 Baden-Württemberg Abitur, Arrival is part of the compulsory canon within On the Move: Migration and Cross-Cultural Encounters. In the Basisfach, the same thematic focus and compulsory works apply with appropriate reduction in scope and depth. The official Bildungsplan distinguishes Basisfach and Leistungsfach by complexity, breadth, depth and degree of independent work; the target level at the end of the course is B2, in parts C1.[1][2]
Important: If you take the Abitur in another year, check the current official Facherlass again before using this course for exam planning.
Media entry – official trailer, no screenshots needed: First watch with sound. Write five nouns for what you notice. Then watch without sound and focus on framing, movement and colour. Finally listen without looking and note changes in voice, ambience, effects and music. Compare what each channel contributes.
Media and copyright route
Use the original film only from a lawful source available to you or your school. Do not upload film clips, screenshots or extracted audio unless the rights situation has been clarified. The Paramount trailer above is an official studio upload and is used here only for analysis through embedding. For reusable practice, this MOOC also uses Creative-Commons material from Wikimedia Commons and Blender Open Movies.
Open practice image: Identify high angle, low angle, straight-on, overhead and over-the-shoulder perspectives before you transfer the vocabulary to Arrival.
Open practice film: Sprite Fright by Blender Studio is available as an open movie and on Wikimedia Commons under a Creative Commons licence. Use it to practise film-language terminology before analysing copyrighted material.
Datei:Sprite Fright - Blender Open Movie-full movie.webm
I can goals
- Film language: I can distinguish observation from interpretation and support an analytical claim with precise evidence.
- Camera work: I can identify shot size, camera angle, camera movement, focus and perspective and explain their possible effects.
- Composition: I can analyse framing, symmetry, balance, foreground/background, depth, negative space and visual focus.
- Editing: I can describe cuts, pacing, continuity, juxtaposition, temporal structure and transitions.
- Colour: I can analyse palette, contrast, saturation, brightness and colour associations without treating them as automatic meanings.
- Sound design: I can distinguish dialogue, ambience, sound effects, silence, diegetic and non-diegetic sound.
- Film music: I can explain how music interacts with image, rhythm, mood, expectation and narrative structure.
- Academic writing: I can write a concise analytical paragraph that links technique, evidence, effect and interpretation.
BF/LF learning route
| Area | Basisfach | Leistungsfach |
|---|---|---|
| Material | One selected sequence, official trailer and one open practice clip | Several sequences, trailer, open practice material and an additional critical or contextual source |
| Analysis | One or two techniques per paragraph with a clear scaffold | Several interacting techniques, ambiguity and independent weighting of evidence |
| Language | B2 analytical vocabulary, sentence starters and guided paragraph structure | B2/C1 orientation, more precise terminology, syntactic variety and independent cohesion |
| AFB | Schwerpunkt auf nachvollziehbarem AFB I/II mit ausgewählten Transferaufgaben | Stärkerer Anteil AFB II/III, Vergleich, Bewertung und selbstständige Materialverknüpfung |
| Output | Short analysis or structured speaking task | Extended analysis, comparative response or more independent written argument |
Vorwissen aktivieren
Quick diagnostic: Choose one film image you remember well from any film. Without naming the plot, explain what the camera makes you notice first. Then add one sentence about sound or music.
Do not interpret too early. Start with: What can I actually see or hear? Only then ask: How might this shape the viewer's response?
Visual warm-up: Point to a possible close-up, medium shot and long shot. Then explain in English why changing shot size can change emotional distance.
Help ladder: English first
- Context: Guess the term from the task and the image.
- Word formation: Look for a familiar root or word family, for example frame → framing, compose → composition, edit → editing.
- Visualisation: Use the Commons image or draw a simple frame, arrow, timeline or waveform.
- English explanation: Define the term in simple English.
- Monolingual dictionary: Check meaning, pronunciation and an example sentence.
- Bilingual dictionary: Use German only if the English route is not enough.
- Teacher or peer help: Ask a precise question, for example “Does shallow focus describe the lens effect or the composition?”
- German support: Use a short German explanation only as the final scaffold, not as the starting point.
Listening and Viewing
Viewing 1: official trailer as observation training
Task A – image only: Mute the trailer. Choose three shots and record: shot size, angle, movement, framing, light and dominant colour.
Task B – sound only: Look away from the screen. Mark when you hear dialogue, ambience, effects, silence, low-frequency sound, vocal texture or music.
Task C – interaction: Pick one moment where image and sound reinforce each other and one where they create tension or uncertainty.
BF scaffold: Use “The shot uses …, which draws attention to … . Together with …, this may suggest … .”
LF extension: Ask whether the same formal choice can support more than one interpretation. Explain which reading is better supported by the observable details.
Viewing 2: work with the original film
Use a legally accessed version of Arrival. Exact timestamps differ between editions, so work with sequence labels rather than copied clips.
- Approach to the shell: Observe scale, distance, movement, horizon, human figures and the relation between landscape and spacecraft.
- First interior contact: Track framing, symmetry, gravity/orientation, visibility, barriers and the use of darkness versus bright mist.
- First sustained communication sequence: Note how shot/reverse-shot patterns, screens, writing surfaces and reaction shots structure understanding.
- Louise and memory/future images: Record exactly how transitions and repetitions influence your sense of time before you explain the narrative effect.
- Global tension sequences: Compare pace, information density, screens, voices and cuts between different locations.
- Final temporal recontextualisation: Revisit an earlier sequence and identify which editing or sound choices gain a new meaning after later information.
Spoiler-aware classroom option: If the class has not finished the film, stop after the first three tasks.
Reading
Read a short factual source about the film crew or an authorised critical text, then separate fact, description and interpretation.
Key production credits include director Denis Villeneuve, cinematographer Bradford Young, editor Joe Walker and composer Jóhann Jóhannsson. The film also uses Max Richter’s pre-existing piece On the Nature of Daylight at the beginning and end. A BFI discussion highlights the close interaction between Bradford Young’s cinematography, Joe Walker’s editing, Jóhannsson’s score and the film’s non-linear structure.[3]
Reading task: Turn one factual sentence into an analytical question. Example: “Joe Walker edited the film.” → “How does editing control what the viewer knows about time?”
Context vocabulary
| Term | English explanation | Word family / useful collocation | Analyse with |
|---|---|---|---|
| framing | what is included, excluded and arranged within the image | frame, framed, tightly framed | “The framing isolates …” |
| shot size | how much of the subject and environment is visible | close-up, medium shot, long shot | “The long shot emphasises …” |
| angle | the camera’s vertical or horizontal relation to the subject | high-angle, low-angle, eye-level | “The low angle may make … appear …” |
| depth of field | the range of distance that appears acceptably sharp | shallow focus, deep focus | “Shallow focus directs attention to …” |
| composition | the arrangement and visual balance of elements in the frame | compose, compositional | “The composition places … against …” |
| cut | a direct transition from one shot to another | cut, cutting, rapid cuts | “Rapid cuts increase …” |
| juxtaposition | placing images or sounds next to each other so their relation creates meaning | juxtapose, juxtaposed | “The juxtaposition of … and … suggests …” |
| palette | the dominant range of colours in an image or sequence | muted palette, warm palette, cool palette | “The muted palette contributes to …” |
| diegetic sound | sound that belongs to the story world | diegesis, diegetic | “The diegetic alarm anchors …” |
| non-diegetic sound | sound added outside the characters’ story world, often score or commentary | non-diegetic music | “The non-diegetic music shapes …” |
| sound bridge | sound that continues across a cut and links two shots or scenes | bridge, bridging | “The sound bridge connects …” |
| motif | a recurring element that gains meaning through repetition | recurring motif, musical motif | “The recurring motif links …” |
Camera
Observe before interpreting.
| Feature | Observation question | Possible analytical direction |
|---|---|---|
| Shot size | How close are we to Louise, the soldiers, the shell or the heptapods? | intimacy, vulnerability, scale, distance, information control |
| Camera angle | Are we looking up, down or approximately eye-level? | power relations, disorientation, equality, uncertainty |
| Camera movement | Is the camera static, tracking, handheld, tilting or slowly approaching? | stability, tension, discovery, immersion |
| Focus | What is sharp and what is blurred? | selective attention, isolation, uncertainty |
| Point of view | Does the shot approximate a character’s visual position? | alignment, restricted knowledge, subjectivity |
BF task: Select one shot from the “approach to the shell” sequence. Write three sentences: observation → effect → link to the scene.
LF task: Compare camera strategies in two sequences and argue how the film controls the viewer’s access to knowledge.
Composition
The rule of thirds is a guideline, not a law. In film analysis, describe the actual arrangement instead of forcing every image into a pre-set rule.
Observation grid: centre/off-centre, symmetry/asymmetry, foreground/midground/background, lines, barriers, negative space, scale, visual weight, frame-within-a-frame.
Arrival task: In a contact sequence, trace how walls, glass, mist, screens or writing surfaces divide the frame. Ask whether the composition presents communication as connection, separation, or both.
Extension: How does a wide frame allow relationships between bodies, architecture and empty space to become part of the meaning?
Editing
Editing selects and orders shots. Your analysis should therefore ask not only what is shown, but when it is shown and what the viewer knows at that moment.
Observation protocol:
- Count approximate shot length in a calm sequence and a tense sequence.
- Mark cuts between Louise, screens, military personnel and the heptapods.
- Note repetitions or images that return later.
- Identify transitions that appear to connect different times.
- After the film’s recontextualisation of time, revisit one earlier transition and explain how its function changes.
BF scaffold: “The editor cuts from … to … . At this point the viewer assumes … . Later, the same transition can be read as … .”
LF extension: Analyse how editing creates a gap between chronological order, narrative order and the viewer’s interpretation.
Open-media editing lab: The Blender Studio showreel contains shot breakdowns and production material. Choose one visible transition or compositing step and explain how post-production constructs the final image.
Colour and lighting
Do not write “blue means sadness” as an automatic formula. Start with observable colour relationships.
Analyse: hue, saturation, brightness, contrast, warm/cool relation, skin tones, costume/environment relation, natural/artificial light, silhouettes, backlight.
Arrival observation task: Compare one exterior sequence with one interior military/contact sequence. Record three dominant colours and the direction/quality of light. Then explain how the visual contrast supports differences in space, mood or knowledge.
BF support: Choose one contrast.
LF extension: Explain how colour and light interact with camera exposure, production design and narrative structure rather than operating as isolated symbols.
Sound
Sound map: dialogue | ambience | effects | silence | heptapod vocalisations | radio/technical voices | low-frequency textures | transitions.
Listening task: Choose one contact scene. Without looking at the picture, create a simple timeline and mark changes in loudness, density and sound source. Then watch the scene and add what the image changes about your interpretation.
Key distinctions:
- Diegetic: sound belongs to the story world.
- Non-diegetic: sound is added outside the characters’ immediate story world.
- On-screen/off-screen: whether the visible image shows the source.
- Sound bridge: sound continues across a cut and connects spaces or times.
- Silence/reduction: absence or thinning of sound can itself structure attention.
Music
Jóhann Jóhannsson composed the original score. The film also uses Max Richter’s On the Nature of Daylight as a pre-existing musical piece at the opening and ending.[4]
Observation task: Do not identify a feeling first. Instead write what you hear: sustained tones, pulse, vocal texture, repetition, register, density, consonance/dissonance, entry/exit point. Then connect these features to image and narrative.
Question: What changes when human voices are used as musical material in a film about communication?
LF extension: Compare the function of Jóhannsson’s score with the framing use of Richter’s pre-existing piece. Avoid value judgments such as “better” or “more emotional”; explain different narrative functions.
Open practice: film language without copyright barriers
Big Buck Bunny is a Blender Foundation open movie. Use a short passage to practise one technique without needing copyrighted classroom copies.
Station 1 – camera: Identify three shot sizes and one angle.
Station 2 – composition: Freeze one frame and sketch the visual balance.
Station 3 – editing: Count cuts for thirty seconds and describe the pace.
Station 4 – colour: List dominant colours and contrasts.
Station 5 – sound/music: Separate ambience, effects and score.
Transfer: Repeat the same method on one legally viewed Arrival sequence.
Analysis: from observation to interpretation
Core formula: technique → precise evidence → immediate effect → relation to character/theme/narrative → cautious interpretation.
Weak: “The scene is dark, so it is scary.”
Stronger: “The scene uses low-key lighting and large areas of darkness around the characters. This limits visual information and makes the viewer share their uncertainty before contact.”
Best practice: Use cautious analytical verbs: suggests, emphasises, foregrounds, restricts, contrasts, links, destabilises, reinforces, invites the viewer to, can be read as.
Evidence bank for Arrival
Create your own table while viewing. Do not copy a model answer.
| Sequence | What I see/hear | Technique | Immediate effect | Interpretation to test |
|---|---|---|---|---|
| Approach to the shell | ||||
| First contact | ||||
| Communication develops | ||||
| Global tension | ||||
| Temporal recontextualisation |
Speaking
60-second micro-analysis: Choose one frame or remembered moment from a lawful viewing. Speak for 60 seconds using this structure: observation → technique → effect → interpretation.
Partner challenge: Your partner may ask only evidence questions: “What exactly makes you say that?”, “Which shot or sound supports this?”, “Could there be another reading?”
BF: Use one technique and one effect.
LF: Link at least two channels, for example editing + sound or composition + colour, and address an alternative interpretation.
Writing
Analytical paragraph frame:
Claim: The sequence presents communication as both possible and fragile.
Evidence: Name the exact formal feature and moment without retelling the plot.
Analysis: Explain how the technique directs attention or structures knowledge.
Link: Connect the formal choice to the scene, character development or larger theme.
BF writing target: 120–180 words on one technique or a guided combination of two.
LF writing target: 220–320 words comparing the interaction of at least two techniques and evaluating which evidence most strongly supports the interpretation.
Writing prompts
- BF: Analyse how camera work and composition shape the viewer’s first encounter with the shell.
- BF/LF: Analyse how editing influences the viewer’s understanding of time.
- LF: Analyse how visual and auditory techniques work together to construct uncertainty and communication.
- LF: Compare one Arrival sequence with a short open-film sequence and explain how each uses film language to guide attention.
Mediation
Optional mediation task: A German school magazine wants a short explanation of why film analysis is more than plot summary. Use your English notes to produce a concise German text for younger students. Do not translate sentence by sentence; select what the audience needs.
Reverse mediation: Explain in English to an exchange student why the class may analyse the official trailer and open films online but should not upload copyrighted Arrival clips.
Feedback and error analysis
Use this checklist after a draft.
| Check | Yes / not yet |
|---|---|
| I describe an observable detail before interpreting it. | |
| I name the film technique accurately. | |
| I avoid plot summary unless it is needed for context. | |
| I explain the effect rather than merely naming a device. | |
| I connect evidence to an interpretation. | |
| I use cautious language when meaning is ambiguous. | |
| I distinguish sound from music and diegetic from non-diegetic material. | |
| I verify names, credits and factual claims. | |
| I use my own wording. |
Error repair:
- If your paragraph contains many plot verbs such as goes, says, happens, rewrite one sentence around a film technique.
- If you list devices without effects, add “This directs the viewer’s attention to … because …”
- If you claim a symbol automatically means something, return to colour, framing, repetition or sound evidence.
- If you use “shows that” too often, test whether “suggests”, “foregrounds” or “can be read as” is more accurate.
Responsible use of AI, data and recordings
Your analysis must remain your own intellectual work. AI may be used only where your course rules allow it, for example to clarify vocabulary, generate practice questions or give feedback on a paragraph you have already written. Do not submit an AI-generated replacement essay.
Check AI-produced claims against the film, official documents and reliable sources. Verify quotations and credits. State AI use when required by your school or teacher.
Use only fictional data in classroom data exercises unless everyone has agreed to the use of real data. Audio or video recordings are voluntary and should remain private unless explicit consent for another use has been given. Do not upload classmates’ recordings, images, names or work to external AI systems without informed permission.
Abi-Check
Official 2027 focus: Arrival is part of the compulsory canon within On the Move: Migration and Cross-Cultural Encounters.[5]
Leistungsfach: The 2027 written English exam is specified at approximately 255 minutes including selection time: around 30 minutes listening, a 15-minute break, then 225 minutes for the writing part. The Facherlass also refers to the current IQB operator set from the 2027 exam year.[6]
Basisfach: The same thematic focus and compulsory works apply with appropriate scope and level. Across the course, competence work includes listening, reading, analysis, mediation and different writing formats; the Basisfach can also lead to an oral Abitur examination according to the applicable rules.
Self-check:
- Can I analyse a film technique without retelling the scene?
- Can I combine two channels such as image and sound?
- Can I explain why editing affects knowledge and time?
- Can I use an operator such as analyse, compare, assess or comment correctly?
- Can I use dictionaries strategically without translating my whole response?
- Can I adapt depth and independence to BF or LF expectations?
Folgekurs
Continue with ABI - Arrival – Themes, communication and time: language and thought, communication barriers, time structure, cultural encounter and links to On the Move: Migration and Cross-Cultural Encounters.
Recommended sequence:
- ABI - Arrival – Film language analysieren: how the film creates meaning.
- ABI - Arrival – Themes, communication and time: what thematic questions the film develops.
- ABI - Arrival – Abitur writing and speaking: how to turn observations into exam-style responses.
Interaktive Aufgaben
Quiz: Teste Dein Wissen
Which term describes the arrangement of visual elements inside the frame? (Composition) (!Sound bridge) (!Diegesis) (!Voice-over)
Who was the cinematographer of Arrival? (Bradford Young) (!Joe Walker) (!Jóhann Jóhannsson) (!Eric Heisserer)
Who edited Arrival? (Joe Walker) (!Bradford Young) (!Denis Villeneuve) (!Max Richter)
Who composed the original score for Arrival? (Jóhann Jóhannsson) (!Max Richter) (!Joe Walker) (!Jeremy Renner)
What is diegetic sound? (Sound that belongs to the story world) (!Music that is always played by an orchestra) (!Any sound heard only by the audience) (!A cut between two silent shots)
What does a sound bridge do? (It links shots or scenes by continuing sound across a cut) (!It changes a close-up into a long shot) (!It removes all background sound) (!It places the camera above a character)
What is the best first step in film analysis? (Describe a precise observable detail) (!State the theme immediately) (!Retell the whole plot) (!Translate the dialogue into German)
What does shallow focus usually do? (It keeps a limited depth range sharp) (!It makes every plane equally sharp) (!It changes the aspect ratio) (!It creates a jump cut)
Which aspect belongs primarily to editing? (Order and duration of shots) (!Hue and saturation) (!Camera lens height) (!Actor costume material)
What is the official 2027 Baden-Württemberg thematic context that includes Arrival? (On the Move Migration and Cross-Cultural Encounters) (!The American Dream Only) (!Shakespeare and the Elizabethan Stage) (!Science Fiction Technology and Progress)
Memory
| Close-up | facial detail |
| Low angle | upward viewpoint |
| Shallow focus | selective sharpness |
| Composition | frame arrangement |
| Montage | edited sequence |
| Palette | dominant colours |
| Diegetic sound | story-world audio |
| Sound bridge | audio across a cut |
Drag and Drop
| Ordne die richtigen Begriffe zu. | Thema |
|---|---|
| Camera | shot size angle movement focus |
| Composition | framing balance depth visual weight |
| Editing | cuts order pace transitions |
| Colour | palette saturation brightness contrast |
| Sound and music | ambience effects silence score |
Kreuzworträtsel
| Framing | What term describes what is included and arranged inside the image? |
| Montage | What term can describe an edited sequence built from several shots? |
| Palette | What word names the dominant range of colours? |
| Diegetic | What adjective describes sound that belongs to the story world? |
| Rhythm | What word describes the patterned pace created by cuts or music? |
| Contrast | What word describes a strong difference between visual or auditory elements? |
LearningApps
Lückentext
Offene Aufgaben
Leicht
- Shot log: Choose five shots from the official trailer and record shot size, angle and one visible compositional feature.
- Sound map: Listen to 30–60 seconds of an open film with the screen hidden and classify what you hear as dialogue, ambience, effects, silence or music.
- Colour palette: Create a five-colour palette for one legally viewed Arrival sequence and explain which colours dominate.
- Vocabulary cards: Make eight English-first cards with term, simple English definition, small sketch and one analytical sentence.
Standard
- Frame analysis: Draw a simplified frame from memory after viewing a scene and label foreground, background, visual centre, lines and negative space.
- Editing experiment: Use your own or openly licensed images to create two different six-shot orders. Explain how changing the order changes meaning.
- Speaking rehearsal: Record an optional private 90-second analysis of one technique, then self-assess evidence, terminology and coherence. Do not upload it without consent.
- Comparative film language: Compare one Arrival sequence with a short passage from Sprite Fright or Big Buck Bunny using two film-language categories.
Schwer
- Multimodal analysis: Analyse how camera, editing and sound interact in a contact sequence. Weigh which channel most strongly controls viewer knowledge and justify your reasoning.
- Temporal structure: Build a visual timeline separating chronological order, presentation order and the viewer’s initial assumptions, using only your own summary labels.
- Critical source check: Compare two short secondary sources about Arrival. Identify factual claims, interpretations and unsupported assertions, then verify credits or official exam information independently.
- Abi transfer task: Write a timed response to a new film still or open clip and connect your formal analysis to communication, cultural encounter or time without producing a plot summary.
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Lernkontrolle
- Evidence and interpretation: You are given two contradictory interpretations of the same scene. Design an evidence table showing which camera, composition, editing, colour and sound details would support or weaken each reading.
- Transfer to an unfamiliar clip: Analyse a previously unseen open-film sequence and explain how two techniques guide the viewer’s attention. Then transfer the same analytical method to a remembered Arrival sequence.
- Re-editing thought experiment: Explain how the meaning of one Arrival sequence might change if its shots were reordered chronologically. Focus on viewer knowledge rather than plot summary.
- Sound substitution: Imagine a contact scene with no score, or with a conventional heroic orchestral score. Explain how this change could alter interpretation and why.
- BF/LF differentiation: Rewrite the same analytical claim once as a concise BF paragraph with scaffolding and once as an LF paragraph that integrates ambiguity, counter-reading and a second technique.
- Source literacy: Evaluate a fictional AI-generated claim about the film by identifying what would need to be checked against the original film, official credits and the current Facherlass.
Lernnachweis
A successful learning record should show that you can:
- use film-language terminology accurately;
- separate observation from interpretation;
- analyse camera, composition, editing, colour, sound and music;
- support claims with precise evidence from lawful viewing;
- connect formal choices to viewer response, narrative knowledge and themes;
- use English at an appropriate B2 level, with selected C1-oriented precision where useful;
- use dictionaries strategically before switching to German help;
- distinguish BF from LF depth, breadth and independence;
- verify factual claims and official exam requirements;
- document permitted AI assistance transparently and keep the final analysis your own.
OERs zum Thema
Open practice resources:
- Wikimedia Commons: Search for cinematography, camera angle, film editing, colour wheel, audio waveform and Blender Open Movies.
- Blender Open Movies: Use openly licensed films such as Sprite Fright, Sintel or Big Buck Bunny for reusable analysis exercises.
- Film analysis: Transfer the same observation categories from open media to your lawful viewing of Arrival.
Quellen und Medienhinweise
- Ministerium für Kultus, Jugend und Sport Baden-Württemberg: Facherlass Abitur 2027, Englisch.
- Bildungsplan Baden-Württemberg: Englisch in der Kursstufe, Basisfach und Leistungsfach.
- British Film Institute: article on the craft of Denis Villeneuve, including cinematography, editing and music in Arrival.
- Paramount Pictures: official Arrival trailers on YouTube.
- Wikimedia Commons: openly licensed visual teaching media used on this page.
- Blender Studio / Blender Foundation: open movies and production material used for film-language practice.
- ↑ Ministerium für Kultus, Jugend und Sport Baden-Württemberg: Facherlass Abitur 2027, Englisch.
- ↑ Bildungsplan Baden-Württemberg: Basisfach und Leistungsfach Englisch in der Oberstufe.
- ↑ BFI: Strange new worlds – the craft of Denis Villeneuve.
- ↑ Arrival – music and soundtrack overview.
- ↑ Facherlass Abitur 2027.
- ↑ Facherlass Abitur 2027, Abschnitt Englisch.
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