Faculty of Arts, Creative
Industries and Education
Film Studies
Referred Controlled Conditions (Component A)
2011-12
Document1
1
CONTENTS
INSTRUCTIONS.................................................................................................................................... 3
LEVEL 1 ....................................................................................................................................................... 4
UACPRE-30-1
ANATOMY OF FILM .................................................................................................... 4
UACPAE-30-1
FILM CULTURES ......................................................................................................... 5
UACAHB-30-1
SCREEN WORLDS ...................................................................................................... 6
UACPRJ-30-1
TOPICS IN FILM HISTORY ......................................................................................... 7
LEVEL 2 ....................................................................................................................................................... 9
UACPAH-30-2
CURRENTS IN FILM THEORY .................................................................................... 9
UACAF5-30-2
FILM FORMS.............................................................................................................. 10
UACPAL-30-2
HOLLYWOOD ............................................................................................................ 10
UACPRL-30-2
WORLD CINEMA ....................................................................................................... 11
LEVEL 3 ..................................................................................................................................................... 12
UACPCM-30-3
BRITISH NATIONAL CINEMAS ................................................................................ 12
UACAHD-30-3
CINEMA, RACE AND ETHNICITY…………………………………………… ............... 13
UACAHC-30-3
CINEMATIC PRACTICE ............................................................................................ 13
UACPRF-30-3
FILM GENRES ........................................................................................................... 16
UACPCP-30-3
FILM STUDIES DISSERTATION ............................................................................... 16
UPZPMR-30-3
FILM AND PHILOSOPHY .................. ……………………………………………………18
Document1
2
INSTRUCTIONS
The work you need to do is set out in this booklet in Level and Module code order. If
you have any difficulty understanding what you have to do you must contact a
Student Adviser immediately by making an appointment through the Information
Point.
Should you need further information, or assistance with your referral you may be
able to contact the module leader by e-mail. Please however, remember that
academic staff will not necessarily be available over the summer vacation; you
should not expect to receive additional help.
The examinations, performances and presentations are scheduled from Monday 13th
August to Friday 24th August 2012. You will find out your examination timetable
through myUWE.
The submission date for all non-exam work is Monday 13th August 2012 by 2.00pm.
Online Submissions
Please note that some Level 1 assignments will need to be submitted online via
Blackboard. Please check each module description to see if it requires an online or a
hard-copy submission.
Hard-copy Submissions
Please use the myUWE assignment front sheet and submit the work by the closing
date of Monday, 13th August 2012 by hand delivery to the coursework boxes at St
Matthias Campus,
Or, by post addressed to:
Assessments Team
Canon Kitson Building - 1CK7
UWE - St Matthias Campus
Oldbury Court Road
Fishponds
Bristol
BS16 2JP
If you post the work to us it will have to be sent before 2pm on the day of the
deadline and you must obtain proof of postage. Please enclose a copy of the proof
of postage in the envelope as it will reduce any delay in processing your work.
Please also remember, it is essential that you keep a copy of the work for your own
records.
Document1
3
LEVEL 1
UACPRE-30-1
ANATOMY OF FILM
Video Project (90 secs) and Production File 50%
You are asked to produce a 1-minute to 90-second video (including all credits). The project
can use any style: narrative, anti-narrative, experimental. The video will be assessed on all
aspects of the production – use of the camera, visual composition, sound and editing – in
addition to how well it engages with the theoretical ideas introduced on the unit. The project
tests your ability to articulate your story ideas in an appropriate visual style, so you must pay
special attention to the relationship between form and content.
We’re looking for evidence of the following in your work:






An intellectually challenging, original idea with an appropriate cultural context
Basic proficient, technical competence using the DV cameras
Ability to utilise compositional techniques appropriate to the production
Awareness of narrational and/or experimental techniques appropriate to the production
Basic proficiency in the techniques of sound recording
Technical competences using post-production software
Production File
You must also submit a Production File, which should be neatly presented in a lever arch ring
binder with a table of contents, page numbers and file dividers, etc. Please do not submit a
pile of loose papers or unorganised material, as this will detract from your mark. Neither
should you bind your Production File in any way, or put papers in individual plastic wallets.
Just use a simple hole punch and insert the papers straight into the folder. The idea is that the
Production File is a working document that can be updated and amended as the production
evolves. Please make copies of important documents, as your work will not be returned
before the Self-Evaluation assessment and you may need to refer to your notes.
The Production File should include:
i.
ii.
iii.
iv.
v.
vi.
vii.
viii.
ix.
x.
xi.
xii.
xiii.
xiv.
Table of Contents
Group Contract
A copy of the Script and Storyboard,
Final Shooting Script, annotated for shoot and/or marked up for edit
Amended Storyboard where appropriate
Minutes of production meetings
Copies of relevant elements from your individual creative workbooks relating to the
creative development of the idea and/or its practical execution (Camera, Sound,
Editing, etc.)
Shooting Schedule
Consent to Release Forms (including any original music created for the project)
Shot Lists
Camera and Sound Notes
Edit Notes
Copyright permission for pre-recorded music (if used).
Miscellaneous material, any other relevant material (research sources, e.g. newspaper
cuttings, images, mood boards).
Document1
4
Script guidelines
The first stage of the creation of the short project is the writing of the 1-2 page script. You will
develop a short script using the required script conventions and ensuring that it is feasible to
produce within the time limit of a one-minute to 90-second video.
Storyboard guidelines
The storyboard should be between 12 and 18 images long. You should use this exercise to
focus on clearly communicating your ideas visually. The storyboard should present every shot
needed to construct the project and should be understandable to anyone reviewing it.
UACPAE-30-1
FILM CULTURES
Please note: you are required to complete BOTH elements of this component, even if you
have passed one of them previously.
**Please note that the Self-Evaluation Exercise must be submitted online.**
There are two elements to this component:


500 word self-reflection exercise
An individual presentation
Assessments are expected to show module knowledge, so make sure you prepare by referring
back to the teaching materials on the Film Cultures resit site on Blackboard. If you have any
questions, e-mail Kathrina.Glitre@uwe.ac.uk. Please note, other module tutors will not be
available for advice, and Kathrina will be taking a holiday at some point, so make sure you allow
plenty of time: don’t expect instant responses at this time of year.
1. Self-Evaluation Exercise (500 words) 10%
Question
What makes an effective presentation? Your answer should consider:
•
•
•
•
•
the role of appropriate research
organisation and structure
communication skills
use of audio/visual materials
reflection on how to improve your own presentation skills
Assessment Criteria
The self-evaluation will be assessed in relation to the following criteria:
•
•
•
Ability to identify strengths and weaknesses of presentations
Ability to reflect on how to improve your own presentation skills
Clarity of expression and accuracy in spelling, grammar and punctuation, including correct
referencing, bibliography and filmography.
2. Individual Presentation 25%
The presentation will take place during the exam resit period between 13-24 August 2012.
The exact date, time and place will be announced via MyUWE and Blackboard. You will be
presenting to two members of the Film Studies staff.
Document1
5
The presentation aims to assess your understanding of Block 3: Cultures of Production and
Consumption and Block 4: Film and Society. You should not repeat your previous
presentations (including the trial-run presentation), so please choose a new topic from the
following:
•
•
•
•
•
•
•
•
Audiences and consumption
Art cinema
Art, exploitation and cult cinema
Cinephilia and fandom
Social problem films
Radical filmmaking
Identity politics and film
Digital reproduction
Please note: these are intentionally very broad topics. The aim here is to give you space to
specialise: you should focus on an area within the chosen topic that particularly interests you.
So for example:
• If you pick ‘art cinema’, you could then do a presentation on a specific film or director from
the period in order to explore the critical issues around art cinema.
• If you pick ‘radical filmmaking’ you could do a presentation focusing on the Black
Film/Audio Collective, or something like radical feminist film-making.
The narrower the focus, the better.
The presentation should be about 10 minutes including any clips. This is not very long, so
focus on going into depth, rather than trying to cover lots of different ideas. You should focus
on one or two films only. The presentation should engage with relevant critical arguments to
develop the issues. You can use the set readings as starting points, but you should also do
some further reading and independent research. Do not just repeat lecture materials.
Assessment criteria
The presentation will be marked according to the following criteria:
•
•
•
•
Content: ability to identify and organise relevant ideas and information, showing attention
to issues around film and culture
Communication skills: ability to present and communicate ideas and information clearly
Use of audio/visual materials: ability to select appropriate materials and use them
effectively to support the presentation
Evidence of independent research, including appropriate referencing of sources during the
course of the presentation.
UACAHB-30-1
SCREEN WORLDS
Solo Presentation – 10 minutes in length
Date to be scheduled between 13 - 24 August 2012
Your tutor will e-mail you on your UWE address to confirm the date. If you do not receive a
message before July 30th then you must contact josie.dolan@uwe.ac.uk
Document1
6
The presentation brief:
For the presentation you are asked to offer a textual analysis of a short moving image clip
of your choice. This should last no longer than 3 minutes, so choose it with care. It may be
from any medium, such as film, broadcast TV, www, games.
In your presentation you must answer ONE of the following questions:
1. How does your clip establish a problematic gaze? How is the gaze established? In
what ways is it problematic? Which theoretical approach to the gaze best explains
these problems? Offer this explanation in addition to the criteria below.
2. Paying close attention to the star featured in your clip, what is his or her star image
and how is it produced? Your answer should draw on du Gay’s model of the circuit of
culture, in addition to the criteria below.
3. How does your clip represent fandom? Does your clip normalise of pathologise
fandom? Your answer should draw on Jenkins theory of DIY culture, in addition to the
criteria below.
Your presentation will be marked according to the following criteria, regardless of
which question you answer:




Content: ability to identify and organise relevant ideas and information, showing
particular attention to key concepts suggested by the question.
Communication skills: ability to present and communicate ideas and information clearly
Use of audio/visual materials: ability to select appropriate materials and use effectively
to support the presentation
Evidence of independent research, including appropriate referencing of sources.
UACPRJ-30-1
TOPICS IN FILM HISTORY
Examination (1 ½ hours). Seen paper. 25%
You must complete BOTH sections of the exam.
SECTION A (Compulsory)
1.
Question
(50 marks)
What were the most influential factors in the development of early cinema? Discuss the
interaction of economic, technological and cultural factors in this development. As part of your
answer consider how these affected the experience of cinema had by early film audiences.
SECTION B (Answer ONE of these questions)
1.
Question
(50 marks)
What advantages and disadvantages were brought about by the introduction of synchronised
sound to the film industry? Discuss these in relation to the use of sound in M (Fritz Lang
1931, Germany). In your answer consider the economic, technological and formal aspects of
the introduction of synchronised sound.
Document1
7
2.
Question
(50 marks)
Discuss some of the different uses of colour in cinema. Using All That Heaven Allows
(Douglas Sirk 1955, USA) as your main example, analyse the differing approaches and
priorities of the use of colour in mainstream cinema in the wake of the introduction of the three
strip Technicolor system in the 1930s.
3.
Question
(50 marks)
Describe the state of the Hollywood studio system in the 30s and the way Hollywood
collaborated with the US government during World War Two. Using To Have and Have Not
(Howard Hawks 1944, USA) as your main example, discuss the way Hollywood films were
used as propaganda in support of the war effort.
4.
Question
(50 marks)
Describe the development of any ONE of the following film movements in terms of the wider
historical and social context in which they arose using as an example the film screened for
that particular movement:
German Expressionism
Soviet Montage
British Documentary in the 30s and the GPO unit
Italian Neorealism
Document1
8
LEVEL 2
UACPAH-30-2
CURRENTS IN FILM THEORY
Individual Presentation 25%
During the examination period, you will be expected to give a 15-20 minute presentation that
demonstrates your comprehension of the main ideas in a specific week’s set reading and your
ability to apply them to a reading of that week’s screening – this will require you to select a
relevant short clip from the film and demonstrate how the theoretical material provides insight
into it and vice versa. When selecting your clip(s), do not merely pick the most obviously
striking moment, or a clip discussed in your seminar or whatever happens to be available on
YouTube. Choose a moment which will establish key themes/issues/concepts that you wish to
discuss – and ensure that you know how to navigate to it from the DVD menu (or burn it to a
disc or embed it in a PowerPoint presentation). As well as evaluating how the reading helps
you to understand or analyse the film you are also encouraged to think how the film supports
or questions the main ideas described in the reading. You must not simply summarise the
reading but explain, engage with and develop its theoretical argument. Your presentation
should end with you setting at least TWO questions intended to develop further your
discussion of the theoretical material and the film. These questions must not be too general or
un-theoretical (questions like ‘did you like the film?’ or ‘ Do you agree with the reading?’ are
not acceptable) but must be designed to help the other students test their understanding of
the theory and their ability to apply it to the text. They might develop from an analysis of a
quote from the reading, or a relevant further reading, a definition of a concept, or from a
specific moment or clip from the set film or from another relevant film. You should think about
the reaction you think your questions/clips will provoke in order for you to productively
manage the subsequent discussion. After your presentation, you must give the marker a copy
of your notes/script, including a complete bibliography, filmography and a printout of your
powerpoint (use the ‘handout’ setting that prints six slides per page).
You will be assessed on:




the planning and delivery of your presentation (is it coherently structured? does it
develop a line of argument supported by evidence?)
your communication skills (were you concerned to communicate ideas and
information? were you in control of your material? did you engage your audience
through eye contact, clear audible speech, etc.?)
your use of Audio-Visual materials (was the presentation supported by appropriate
audio-visual material? was your clip well-chosen and it purpose clear? did you make
effective use of handouts, PowerPoint, etc? were these materials clearly presented,
relevant and useful?)
the content of your presentation (did you engage clearly and successfully with the set
reading and the film? have the key points been adequately explained and justified? are
the links between theoretical concept and film well made? have the limits of the ideas
or criticism of them been identified and/or explained? was their evidence of further
research? have you gone beyond the set reading and lecture material in researching
your presentation? are the sources from the ‘further reading’ or relevant material you
have found yourself? have you displayed discernment in your choice of sources?
Document1
9
UACAF5-30-2
FILM FORMS
Short video production (4 - 8 minutes, depending on form), plus production file (50%)
The video should engage critically with any of the film forms introduced in the module, and
demonstrate an awareness of the relationship between form (aesthetic, creative and technical
choices) and content (the story or subject-matter) and how, together, they operate to create
meaning. We are looking for work that challenges and explores, through practice, the formal
and theoretical possibilities of the medium, rather than derivative work. You will need to
submit an original piece of work (you cannot reuse work that you have already submitted in
your first attempt at the module).
Assessment Criteria
The video production will be assessed in relation to the following criteria:
 An intellectually challenging, original idea within an appropriate cultural context
demonstrating a critical understanding of the formal strategies and conventions used by
the different kinds of films studied on the module, and of the critical and cultural contexts
of these films and techniques.
 Technically effective and economic communication of the sound and visuals appropriate
to the production, demonstrating a critical understanding of the medium, including insight
into its imaginative and creative possibilities.
 Production file paperwork reflecting a dedicated and thorough approach to all aspects of
the production, demonstrating skilled engagement with technical equipment, imaginative,
effective and economic employment of skills, conventions and processes in the
production of media texts.
UACPAL-30-2
HOLLYWOOD
Examination (2 hours). Seen paper. 25%
The exam aims to assess your knowledge and understanding of Block A: The Dream Factory,
weeks 1-12.
Questions
For the resit paper each Section has only one question, and you must answer BOTH
questions.
Section A (Compulsory)
(50 marks)
How has the Hollywood industry organised production, distribution and exhibition over the
course of its history? Your answer should identify key phases in the industry’s development,
including some explanation of why changes came about.
Section B (Compulsory)
(50 marks)
Choose ONE of the following films, screened on the module.
•
•
•
•
The Night of the Hunter (1955)
Harold and Maude (1971)
X-Men (2000)
Kung Fu Hustle (2004)
Document1
10
•
Death Race (2008)
Analyse the film’s relationship to the industry’s economic organisation. Your answer should
demonstrate knowledge of more than one week of the module, putting the film into the context
of the industry as a whole during the period the film was made.
Preparation
If you failed the exam in January, please make sure you re-read the feedback carefully and
take this into account when preparing. To pass the exam you must demonstrate good module
knowledge, so make sure you refer back to the lecture notes, set readings and read the more
detailed advice on preparing and revising on the Hollywood Blackboard resit site.
Please note: For this particular exam only, I have added an Instruction to Invigilators on the
first page that says you are allowed to bring the following material into the exam:
 Essay plans (maximum one side of A4 paper) to be collected at end of exam.
The aim here is to allow you to prepare more effectively and to remove the need to memorise
plans or to spend time writing them out in the exam itself. Essay plans should be brief bullet
points identifying key ideas or spider diagrams – not detailed lists of facts and figures.
Both plans should be included on one side of A4. This will be collected at the end and taken
into account when marking. Students will be penalised if this material goes beyond planning
(e.g., providing a detailed summary that is then written out in full sentences).
Assessment Criteria
In addition to the general grading criteria, the exam will be assessed in relation to the
following:
 knowledge of the main phases of the development of the Hollywood industry, its
institutions, texts and audiences
 ability to analyse the relationships between economic organisation and the types of filmed
entertainment produced
 ability to structure and substantiate an argument in response to the question
 clarity of expression and appropriate referencing.
UACPRL-30-2
WORLD CINEMA
Examination (2 hours). Seen paper. 25%
Question:
Produce a detailed critical analysis of one film shown on the module. You must situate it in
relation to its national cinema and to relevant critical debates concerning questions of identity
(which might include one or more of these categories: national-, regional-, and/or local
identity; language groups; class; race; gender; sexuality).
Document1
11
LEVEL 3
UACPCM-30-3
BRITISH NATIONAL CINEMAS
Examination (2 hours). Seen paper. 25%
Please attempt BOTH sections of the paper. You should allow yourself approx. 60
minutes for each.
Section One:
Read the following passage from Sarah Street’s book, British National Cinema (London:
Routledge, 2001, p. 2). Then answer ALL of the questions in this section.
[D]espite the ascendancy of particular recurring filmic representations of British
people and aspects of their lives, for example in films which employed the
documentary realist tradition, the term ‘British national cinema’ is clearly not
homogenous. A person’s experience of being British will depend on a variety of
factors which influence their production and consumption of films: place of birth;
gender and sexuality; race; class, education and occupation. National cinema is
inflected with a multitude of different connotations, often implying a jingoistic,
nationalist imperative, while at other times challenging that view by giving a voice to
those who have had very different experiences of living in Britain. British film styles
and themes have not been totally uniform and in their different ways have contributed
to the cultural construction of Britishness. Some films are concerned with questions of
national identity at a more obvious level than others, so it is essential to examine
production as a whole, a wide-ranging spectrum of representation which might at
different time support, contest or ignore the dominant articulation of the imagined
British community.
Indeed, as Thomas Elsaesser has argued, British cinema “always functions
around another polarization – what one might call an ‘official’ cinema and an
‘unofficial’ cinema, a respectable cinema and a disreputable one” (in Friedman, 1993:
64)... despite the chronic instability of the industry’s economic infrastructure, the
range and diversity of British films suggests dynamism, not stasis...
Hollywood’s ascendancy is particularly significant in the British context.
American domination has had a profound impact on the British film industry, from
production to exhibition. Producers have been caught in a perpetual bind: should they
make films for the British market or for international export? Is it possible to aim for
both, at the risk of satisfying neither? Market decisions like this have a considerable
influence on a film’s style, subject-matter and perception of itself as a national
product. [End]
Make sure you spend 10 minutes reading and reflecting on the passage before you attempt to
answer the questions. Do not confine yourself to simply listing examples.
1) What reasons does Street offer for her claim that British national cinema is not
homogenous in terms of film styles and themes? Develop her argument with
reference to no more than three examples of specific films screened on the module.
2) In what ways might specific films be seen to ‘support, contest or ignore’ the dominant
articulation of the imagined British community? Support your answer with examples.
3) Explain what is meant by the ‘chronic instability’ of the economic infrastructure.
Document1
12
4) With reference to one film example from the module, consider the ways in which
American domination of the market has influenced its style, subject-matter or
perception of itself as a national product.
Section Two:
Attempt ONE question from the following:
1) How do traditions of British popular culture inform representations of gender and
class in Sing As We Go (1934)?
2) With reference to two films examine the different ways in which British cinema
engaged with Thatcherism in the 1980s.
3) What kinds of structural and economic challenges faced British filmmakers under
Thatcherism? How were these dealt with by different institutions or groups?
4) With reference to two films screened on the module identify any continuities of genre,
style or theme that you consider to be characteristic of British cinema.
UACAHD-30-3
CINEMA, RACE AND ETHNICITY
There will be an examination lasting 1 ½ hours. 25%
UACAHC-30-3
CINEMATIC PRACTICE
Moving Image Production (including production file and self-evaluation) 100%
1. 3-minute Pilot and Treatment - 30%
The pilot should present 3 minutes of shot and edited work that demonstrates the
preproduction and development of your project during first term. It should be presented in
such a way as to show the potential of the project and, in a sense, to sell it as an idea.
Technical Requirements: The pilot is to be submitted on a DVD with a printed copy of the
treatment accompanying the work. The treatment should be a short written presentation of the
project (approximately 2000 words) that shows the basics of the idea, how the idea is to be
realised in practice and demonstrates the work that has been done so far in the development
of the project. It should also demonstrate the wider artistic and theoretical context for your
idea. The treatment can include visual material in the form of stills etc, it should refer to the
pilot and should include scheduling information in an appendix, and an indicative bibliography.
For group work, there should be some indication of each crew role’s creative contribution to
the development of the project.
All students must submit a cover sheet with the group project.
Assessment criteria
Document1
13
The Pilot & Treatment will be assessed on you/your group's effectiveness in the following
areas:




theoretical context critical engagement with debates and issues raised by the module
demonstrating a complex understanding of the formal strategies and techniques available
to them as filmmakers and of the critical and cultural contexts of their practice;
realisation effective selection and application of these formal strategies and techniques
to their pilot demonstrating the ability to research, pre-visualise and produce an
imaginative, original and technically competent moving image production;
technical requirements the portfolio assignments should meet the set technical
requirements
professional practice organisation and presentation of pilot and treatment,
demonstrating a high degree of autonomy and professionalism, the ability to work
independently (both individually and as part of a team) and an understanding of the
feasibility and pre production planning needed to bring the project to fruition.
2. Moving Image Production & Production File 50% For this module you will work either in
groups or alone to produce a short video production, which should run a maximum of 10
minutes. The form and style of the project will be developed in consultation with the module
leader and tutor. Those working alone are required to also commit to a collaborative role on
the crew of another individual's project.
Production File
The production file is an integral part of the group project and should be submitted in a ring
binder, appropriately labelled and with no loose sheets. Each project should submit one
production file, but each member of the crew should have a clearly labelled section detailing
their contribution to the project. The file includes all paperwork and evidence of involvement
in your, or your group's project, including:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Table of Contents
Crew Details: main and secondary crew roles, student numbers and contact details of
all members of the production team
Minutes of production meetings, with attendees, apologies, dates and action points.
Proposal / Treatment
Creative Development of the project, including wider artistic and academic research.
Directing paperwork
 Shooting Script
 Shot lists / storyboard
 Scene breakdown
 Audition notes
Producing paperwork
 Shooting Schedule
 Casting Call
 Call Sheets
 Daily Production Report Sheets
 Location Site Surveys
 Contributor’s Release Forms (for actors and locations, including any original
music created for the project)
Camera paperwork
 Storyboard / annotated shot lists
 Camera Report Sheets
Sound paperwork
 Sound Report Sheets
 Sound Design Notes
 Copyright permission for pre-recorded music (if used).
Editing paperwork
 Rushes Log Notes
Document1
14
11.
12.
13.
 Edit Feedback Notes
Miscellaneous material: any other relevant material (research sources, e.g.
newspaper cuttings, images, mood boards).
EPK (Electronic Press Kit): production stills, stills from film, logline, synopsis, full cast
and crew list in both hard copy and on CD).
Marketing and distribution strategy, identifying key film festivals, deadlines...
(You may also include copies of relevant elements from your individual creative workbooks
relating to your crew role or the creative development of the idea and/or its practical
execution, as appropriate).
Assessment criteria
The Moving Image Production & Production File will be assessed on you/your group's
effectiveness in the following areas:



theoretical context research and reading, engagement with debates and issues raised
by the module demonstrating an independent ability to research, pre-visualise and
produce an imaginative, original and technically competent moving image production;
realisation Effective selection and application of these formal strategies and techniques
to produce an innovative, technically competent, and critically informed video project;
professional practice organise and prepare the project and research material, effectively
record working processes demonstrating a high degree of autonomy and professionalism,
the ability to work independently (both individually and as part of a team), as evidenced in
the Production File.
3. Self-Evaluation Essay 20%
Write a 2,000 word critical evaluation of the making of your project, its successes,
weaknesses and its reception by its audience. The evaluation should demonstrate what you
have learnt over the course of the year in both practical and theoretical terms.
It should include at least:



a referenced introduction which locates the piece within the theoretical concerns of the
critical practice approach to film.
an analysis of the work that gives an account how the piece mobilises ideas. This has to
be more than a simple description - what kind of techniques does it deploy? What ideas
are embodied in the project?
a critical account of the successes and failures of the piece. Take into consideration your
experience of the production of the project as well as the response of an audience to the
work.
The best evaluations will not only outline relevant theoretical issues, but apply these issues to
their analysis of the project. They should also reflect back on the theoretical issues – do these
conceptual frameworks and terms actually work?
Assessment criteria
The Self-Evaluation will be assessed on your effectiveness in the following areas:



critical context awareness of the wider cultural and theoretical contexts for the piece,
demonstrating a complex understanding of the formal strategies and techniques available
to them as filmmakers and of the critical and artistic contexts of their practice, drawing on
appropriate reading and viewing;
analysis structured discussion of how the piece generates meanings demonstrating an
ability to reflect critically upon creative practices, forms and conventions, including selfreflection and critical evaluation of the work produced on the module;
production contexts awareness of the technical, practical and aesthetic contexts of the
process of production and an ability to identify, engage with, and thoughtfully respond to
appropriate audiences for your work, demonstrating a critical awareness of short film
Document1
15

distribution and exhibition strategies, including involvement with the organisation of the
end of year show;
Presentation - Clarity of expression and accuracy in spelling, grammar and punctuation,
including accurate referencing, Bibliography and Filmography.
UACPRF-30-3
FILM GENRES
Seen Examination (2 hours) 25%
The exam is a summative assessment, aiming to gauge your critical and conceptual
understanding of the module as a whole. The exam is a seen paper. You are expected to
spend the full two hours answering your chosen question in depth, including detailed
examples to develop and support your argument.
Question
Answer one of the following questions:
1. What is genre? Your answer should engage with a range of genre critics and theorists
to demonstrate your conceptual understanding.
2.How do genres develop? Your answer should engage with relevant critical and
theoretical arguments, including consideration of national, international and transnational
contexts.
Assessment Criteria
The exam will be assessed in relation to the following elements:
•
•
•
•
•
Understanding of the concept of genre
Understanding of the complex ways in which genre is constructed by, and operates
across, industrial, popular and critical contexts
Ability to engage with a range of critical approaches to genre
Ability to structure a response to the question, supporting points with detailed examples
Clarity of expression and appropriate referencing
UACPCP-30-3
FILM STUDIES DISSERTATION
You are required to complete BOTH elements of this component, even if you have passed
one of them previously.
There are two elements to this component:
1. Portfolio exercises 10%
2. Dissertation (8,000 words) 90%
Document1
16
Students are strongly encouraged to logon to the Film Studies Dissertation resit site on
Blackboard for further advice. You can get limited supervisory support prior to submission, but
please be aware that academics undertake their own research during the summer months
and your original supervisor may well be on annual leave. Email josie.dolan@uwe.ac.uk as
soon as possible if you want to arrange additional supervisory support.
Component A, Element 1: Portfolio Exercises
The Portfolio has three parts, weighted equally:
•
•
•
Structured Proposal
Time Management Exercise
Records of Supervision Meetings (this includes meetings held over the course of the whole
module, not just the resit period).
You will be given a single mark for the Portfolio. If Parts are missing, your mark will be
dragged down badly, since you will not be meeting the full requirements of the brief.
Further advice on each of these parts is available on the Dissertation resit Blackboard site.
Assessment criteria
The Portfolio Exercises will be assessed in relation to the following elements:
•
•
•
Ability to design and develop an independent research project, identifying key texts
systematically
Effective time management and ability to work independently
Clarity of expression and accuracy in spelling, grammar and punctuation, including correct
referencing, bibliography and filmography
Dissertation (8,000 words)
The Dissertation is an independent research project that investigates a key issue in a topic
relevant to Film Studies. You must research your chosen topic thoroughly in order to
demonstrate familiarity with, and understanding of, the relevant debates, theories and
approaches to that topic within Film Studies.
For the resit, you should stick with your original topic and develop this further.
If you submitted previously and failed, make sure you have received and read the feedback
before embarking on the resit, to ensure the work improves.
Assessment criteria
The dissertation is assessed on the basis of your ability to:
•
•
•
•
•
Design and develop an independent research project
Demonstrate coherent and detailed critical knowledge about your chosen field of study
through research and argument;
Select, justify, apply and interpret appropriate research methods;
Analyse your object of study in relation to relevant critical and theoretical debates in Film
Studies
Accurately present research in an appropriate academic format, including referencing,
bibliography, filmography, accurate spelling and grammar, and illustrations (if any), and to
the required length.
Please also see the more detailed Dissertation Grading Guidelines on Blackboard, which
describe different levels of achievement (e.g., what a third class dissertation achieves,
compared to a fail).
Document1
17
UPZPMR-30-3
FILM AND PHILOSOPHY
There will be a seen exam lasting 3 hours.

Please see Blackboard for the exam questions.
General Guidance
The exam is three hours long and you will be expected to answer two questions of equal
weighting. The exam will assess your understanding of the philosophical underpinnings of
cinema as studied in Term I.
Document1
18