Sir Roger Manwood’s School
Film Studies
Film Studies A Level has established itself as a popular and very successful option in the sixth
form. In recent years there have been two groups in the Lower Sixth and two groups in the
Upper Sixth. The examination results have been very strong with a high % of A and B passes
achieved.
The position has become vacant because of the retirement of the member of staff who set up
the course in the school and who has been responsible for the vast majority of the teaching. In
the present academic year one other member of staff contributes to some of the teaching.
The teaching takes place in a dedicated Film Studies room.
A/S Level
“..reality at 24 frames per second..”
The emphasis is on studying British film and the global dominance of Hollywood and how this
“reality” is constructed.
We look at how films create meanings and produce both intellectual and emotional responses
and how we as individuals and as consumers and fans respond.
FM1
Unit requires the study of micro features of film:
a) mise-en-scene
performance
cinematography
sound
includes …setting; props; iconography; off-screen space etc.
includes …physical expression; vocal delivery etc
includes …photographic elements; camera position; lens; framing etc.
includes …organisation of time; non-diegetic sound; ambient sound etc.
Films screened for analysis from:
‘42nd Street’ (L Bacon. 1933 USA)/ ‘Chicago’ (2002 USA)
‘Casablanca’ (Curtiz 1943 USA)/ ‘Play it Again Sam’ (Allen 1972)
‘Bladerunner’ (Scott, 1982 USA)
‘Matrix’ (Wachowski Bros, 1999 USA)
‘Brick’ (Johnson, 2006 USA)
b) spectators:
producers:
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us – the audience and our role in constructing meanings etc.
how micro features are used by film makers etc.
ASSESSMENT.
A) Analysis of film extract of 3-5 minutes – 1500 words – focussing on one aspect of
cinematography; mise-en-scene etc. Own choice of film possible.
B) Creative project: outline and aims and context; photographed (digital or chemical)
storyboard of 10-25 frames from imaginary film – some may be imported; reflective
analysis of 750 words.
FM2
British and American Film.
Focuses on 2 key aspects of Film Studies:
1. producers and audiences and relationship between them.
2. role of macro features (narrative and genre) in constructing meanings.
CONTENT
1. Producers and Audiences – USA film industry specifically contemporary Hollywood and
its impact on UK audiences.
UK film industry – specifically contemporary industry and its independence and
profitability. We look at finance; organisation; production – distribution – exhibition
through case studies e.g. successful ‘rom-coms’ like ‘Bridget Jones’; ‘Love Actually’ …;
francise films like ‘Harry Potter’; ‘James Bond’…; CGI effects; Hollywood reliance on
high-concept blockbusters; convergence of different media – games, mobile phones …
Consumption of film – at home, on PC, digital technologies, the cinema experience .. film
demand and supply.
The importance of stars and image and genre for producer and audience.
How and why films are exhibited, marketing film as ‘product’ ….
C) BRITISH FILM CULTURE.
We shall examine the period 1963 – 1973 labelled “Swinging Britain” and particularly how
‘Britishness’ has been represented on screen and how has this changed.
2 films studied in depth possibly from :
‘Get Carter’ (Hodges 1971)
‘ If ’ (Anderson 1968)
‘Hard Day’s Night’ (Lester 1964)
‘ Blow Up’ (Antonioni 1966)
‘Performance’ (Roeg & Cammell 1971)
1. USA FILM – COMPARATIVE STUDY.
This involves a detailed study of 2 films of a similar theme or genre for comparison.
Possible films: “Rebel Without a Cause” (Ray 1956) & “Donnie Darko” (Kelly 2001)
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i.e. youth cult films which explored identity and individuality.
“Double Indemnity” (Wilder 1994) & ”Last Seduction” (1994)
i.e. noir genre films dealing with the femme fatale as products of their time.
“Invasion of the Body Snatchers” (1956 & 1978)
i.e. science fiction genre films which allowed significant socio-political events to
be explored.
Externally examined 3 questions in 2 hours 30 minutes. 40 marks each.
A2 Film Studies - 2010 Syllabus
FM3
Research and Creative Projects.
A)
Small Scale Research Project.
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based on one focus film and making appropriate references to at least 2 other films
area of investigation could focus on:
star/performer; genre; auteur’ gender issues; technology; social/political issues etc.
e.g. “An investigation into Scorsese’s use of De Niro in ‘Taxi Driver’ and his other 70’s New York
films”. The intention is that the research stems from the candidate’s interests.
This may involve a group visit to the British Film Institute Library, London as well as UKC Library
Assessment:
An Annotated Catalogue
A Presentation Script
15 marks
25 marks (delivered to class)
B)
Creative Project:
A film extract or complete short film – (3-5 minutes in length) Group work is possible
(maximum 4). Scripting; plotting; scheduling; filming started July (after A/S course) and
completed February. (45 marks)
Film is explained in written ‘Aims and Context’ and evaluated in written ‘Reflective Analysis’
(15 marks)
FM4:
Varieties of Film Experience – Issues & Debates
Content:
A) World Cinema
International Film Styles: Neo-Realism – focusing on Italy in 1940’s and considering recent
developments of the movement in the 3rd world.
Such films as:
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Ladri di Biciclette (Di Sica, 1948)
Ossessione (Visconti, 1942)
Roma Citta Aperta (Rossellini, 1944)
Battle of Algiers (Pontecorvo, 1960)
Time for Drunken Horses (Ghobadi, 2000)
One examined question 35 marks
B) Spectatorship Topics
Popular Film & Emotional Response
Focuses on 2 full length films – genre specific; popular films and an analysis of how they
produce powerful sensory and emotional responses from the viewer. What are cinematic
methods employed to ‘shock’ an audience etc.
Films to be confirmed.
C) Single film – Critical Study:
One from:
Fight Club (Fincher, USA, 1999)
Talk to Her (Almodavar, Spain, 2002)
Morvern Collar (Ramsey, 2002)
Solaris (Tarkovsky, USSR, 1972)
One examined question 30 marks
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