1. AS Film Studies –for first teaching 2008 - 2009
The launch of the revised AS Film Studies offers continuity and development from the specification
that came out of Curriculum 2000. It emerges out of a very extensive consultation exercise in which
feedback from teachers has been both very valuable and very encouraging. You will find that the
revised version offers even more choice and more freedom to devise a course that stimulates and
motivates students. At the same time the specification remains rigorous, providing the basis from
which students can develop further their interest in Film, both critically as spectators and creatively
as producers of imaginative moving image work.
The Specification encourages student-centred learning. Starting with ideas and experiences
students may well bring with them to the classroom as film fans, the two units make possible a
variety of activities leading to formal assessment which help them to better articulate these ideas
and experiences, both verbally and in audio-visual terms. By the end of their AS course, students
should be on the threshold of a broader exploration of different kinds of film from different cultures
and from different historical periods, films which may challenge and even undermine the
assumptions and expectations they brought with them at the start of their AS Film Studies.
The revised specification now takes the form of two units, one is assessed by means of internally
assessed work with a 40% weighting, the other is assessed by means of an examination with a 60%
weighting. The principal focus across the two units as a whole is the film as ‘text’, expressed either
through analysis or through creative work. This is supplemented by studies in film as business and
as social practice, as well as contextual studies that locate and enrich the understanding of
particular films. The emphasis on the close study of film’s micro features (especially in FM1) and of
film’s macro features (especially in FM2) distinguishes AS Film Studies. Strong personal responses
are produced by films and these are considered central rather than marginal to the different kinds of
learning and assessment that characterise the Specification as a whole.
AS Film Studies has proven very popular with teachers and students. We hope that the subject can
continue to provide rich learning experiences and develop the student’s creative and critical talents
– while engaging with a medium that continues to excite and amaze.
What follows are some guidance notes in the form of “frequently asked questions”. I hope you find
them useful. They will be up dated as we receive further feedback. The interaction between those
teaching the AS and those responsible for syllabus design and assessment is vital.
Patrick Phillips
Chief Examiner Film Studies
January, 2008
2. Is there more information on each of the Units?
2.A
Unit FM1 – Exploring Film Form
1. AS Internally assessed work – General Introductory Questions
(1.1)
What are the most important characteristics of FM1?
The unit requires an engagement with the reciprocal activities of studying
extracts of film in detail and making work.
The unit is designed to enable active learning – both through making work
and through the motivated analysis of extracts of film.
Key to this will be the focus on micro elements both in analysis and in their
application to creative work.
Precise and focused work with these micro elements will provide a firm
foundation for the further study of Film.
(1.2)
The focus in FM1 is on micro features of film form – but surely we must
deal with macro features, such as narrative and genre too?
Well, yes. The Specification notes that in practice it is impossible to separate
micro and macro features. For example, in looking at performance and
sound, it is self evident that different performance styles and different sound /
music elements characterise different genres. Likewise, it is clear that editing
and mise-en-scene perform narrative functions with implications for the whole
film, not just a specific sequence. This kind of insight should be encouraged
rather than repressed. The focus of FM1 is primarily but not exclusively on
micro features – and this true both of the analytical and creative components.
It may be useful to use think in terms of a series of ‘bridges’ between the more
micro focused FM1 and the more macro focused FM2.
(1.3)
Given that FM2 focuses on UK and US films, is it possible to study nonEnglish Language films for FM1?
The only requirement is to use films that enable teaching and learning to take
place around micro aspects of film form – and that this in turn stimulates
creative work. (See 2.13 below). If you think that your students would benefit
from being introduced to different kinds of films made in different cultures and
in different historical periods, then this is fine.
We have tended to argue that it is best to start with film experiences that the
student feels confident about handling – so it is possible to use US genre
films initially, as part of an induction programme, while also anticipating FM2,
Section C (see 9.7 below). However, as the course gets up and running, it is
recommended that students be exposed to a variety of film experiences. Of
course, this can be done perfectly well by reference to mainstream US and
Uk films – but you may come to the view that students should have some
exposure to World Cinema before the second year of the two year A level
course as a whole.
In short, the choice of which films to teach is open.
2. AS Internally assessed work – The Written Analysis
(2.1)
What do you mean by a ‘motivated’ analysis?
Students ask questions of a film extract (including work they have made
themselves) because they want to know the answers.:
- How does this sequence create suspense?
- How does the sequence move me emotionally?
- Why do I identify strongly with a particular character?
- Why do I find the message(s) contained in the extract so powerful?
In being encouraged to look for technical answers in the micro features of film
form and their deployment by the film’s creators, students are also being
asked to think about their role as spectators.
At the centre of the analysis is the interface between the formal systems at
work within the film (which may be intended to produce ‘preferred readings’
and responses) and the student as spectator. The latter is an active quirky
individual bringing his or her own expectations, desires and values to the film
experience. These will
(2.2)
So does this mean that there is greater emphasis on the individual as
spectator than on the idea of an audience as a whole?
There is a subtle but important distinction for sure. The makers of a film can
only work in relation to the generality of an ‘audience’, although formal
systems also try to control the responses of the individual spectator – so that
as far as possible spectator / audience become a single entity.
For the student it is important to recognise when her response is very close to
that of the audience as a whole – and when it is different. In both cases, the
issues that need investigating are at the interface between the film and the
individual.
A question that arises from this is how universal are responses – even if it
seems clear that the filmmakers’ deployment of micro features has been with
the precise intention of triggering the same response in all members of the
audience?
(2.3)
What is a "Written Analysis"?
A written analysis has sometimes in the past been described as a 'reading' –
an even more ambiguous term! For the purposes of this unit a written
analysis is a detailed study of one or more micro aspects of a short extract of
film. The questions to be asked focus on how the film communicates and the
kinds of requirements it makes of the spectator. Beyond this, the purpose is
to understand better the interaction between film and spectator.
The bottom line is that an analysis is more than a commentary. It is not
enough to identify and describe in formal / technical terms how micro
elements are deployed in an extract of 3-5 minutes or so. It is necessary to
address the question of how the strategies used by the filmmakers impact on
the spectator – with the possibility of a divergence between the effect
intended by the filmmakers and its actual effect on the spectator.
Indeed it is suggested that students start work on an extract by asking
themselves – what is happening to me as I watch this? Then to ask why, and
then to ask how far it is the use of one or more micro features that is
responsible for my response? It is in answering the second and third
questions that a study of film form is undertaken. This approach is potentially
more motivating, a more genuine enquiry. The student-as-spectator wants to
be able to explain adequately to themselves why the film extract affects them
as it does.
This latter approach may encourage a more personal voice and lead to
greater critical self-reflection. These are both qualities to be encouraged and
developed.
(2.4)
Does this mean that a personal, first-person response is preferred to a
more impersonal piece of written analysis that attempts to generalise
about audience response?
A good answer finds a balance between generalising about the audience and
identifying aspects of response that are particular to the individual. (Where
there is a variation between what appears to be the intended audience
response and the student’s actual response, this needs to be accounted for –
and may be the very heart of the discussion.)
‘Personal response’ is encouraged – but not some kind of slack, undisciplined
writing based on free association. Indeed the opposite is the case. The
investigation must always be focused on answering one or more specific
questions in a way that relies on a disciplined close analysis of selected
features. The writing is ‘personal’ in that the student is seeking answers to
questions the film sequence has prompted her to ask.
(2.5)
Is there an evaluative dimension to the written analysis?
The degree to which formal features ‘work’ opens up an evaluative
dimension. Again, students may wish to distinguish between the hypothetical
impact on an audience as a whole of formal features identified in the
sequence and the impact on them as individuals, exercising their own
aesthetic judgements.
(2.6)
One written analysis of 1500 words does not seem very substantial as a
means for demonstrating knowledge about micro features of film form.
Well, first of all, it is assumed that students will write more than one such
analysis – and that what is submitted as internally assessed work is their
most successful piece of work.
Beyond this it is worth noting that an entire written analysis may focus on just
one of the elements of micro film form listed in the specification – and that the
sequence may be as little as three minutes in length. In addition, students are
encouraged to use frame-grabs to reduce the amount of basic description
required and to increase the possibility of close referencing of visual features.
This means that within 1500 words a detailed approach is possible.
A degree of superficiality will become apparent in the work of weaker
students who try to engage with more than one micro element. It is worth
encouraging students to look to producing depth in exploring one micro
element, rather than taking a broad approach encompassing several micro
elements and finding the result fails to demonstrate their learning.
(2.7)
Can you say more about the reasons for including frame-grabs in the
Written Analysis?
The addition of frame-grabs is designed to save students from having to overdescribe a scene, thus allowing them to produce a more analytical piece of
work within the word limit. The important thing here is that the images must
not be decorative, but should have reference made to them and should be
integral to the analysis of the chosen micro feature. Thus an image showing a
specific composition, or an aspect of mise-en-scene, or two images showing a
transition would be relevant (as long as explained).
Frame-grabs must be distinguished from other kinds of images associated
with the film – such as a publicity still or movie poster –which would struggle
to achieve relevance.
(2.8)
How do Students frame grab?
Frame grabbing is possible using a variety of easily used and cheaply
(sometimes freely) available software.
A technical section will be available on the Film Studies website in Autumn 08
– enabling teachers to share information on hardware and software solutions
for all creative options at AS and at A2.
(2.9)
Can a "Written Analysis" be longer than 1500 words?
No. For purposes of comparability all students must keep to the prescribed
word limit – however frustrating this may be. If work does run over slightly, a
tolerance of 10% is allowed but above this further writing will be disregarded.
This points to the need for a task to be tightly focused
(2.10) So what is a suitable extract?
-
A suitable extract is one that is not too long or too short for a student
to feel intimidated in relation to the task set.
-
The characteristic feature or features that are the focus for the
analysis should be clearly recognisable.
-
The extract should be of genuine interest to the student – the work
should be motivated by a sense of personal enquiry.)
Ideally, the extract should be a self-contained sequence – or part of a
sequence which in itself has a definable beginning and end point.
(2.11) And the emphasis on the interaction between formal features and the
student-as-spectator means that the written analysis can avoid being
simply a commentary?
Exactly. It is an exploration. Or perhaps more accurately it is an investigation
‘motivated’ by the specific knowledge the student wishes to discover.
The key is to begin with a line of enquiry, and to fix this firmly to a micro
element as a route through the film extract.
(2.12) So a whole class assignment would not be appropriate?
In fact the Specification expressly prohibits the practice of setting a whole
class of students the same extract. However, an in-class, whole group, oral
deconstruction of the use of micro features in an extract may be useful as a
first stage activity.
(2.13) Allowing a completely free choice is fine in theory – but it may lead to
poor selection by the student and it may well prove too demanding to
supervise and assess so much different work. What do you suggest?
The Specification is designed to encourage student choice and self-motivated
study, but it would be foolish to not recognise the practicalities of large group
teaching. Whilst the ideal is free choice of film and extract, it is possible to
select three or four films, perhaps representing variety in genre and style, and
for each identify a number of potential sequences for the close analysis. This
retains a commitment to student choice and the pursuit of an individually
motivated investigation while allowing some sense of teacher control. To
identify five potential extracts from four different films – this itself gives up to
20 suggestions for students.
(2.14) Is it acceptable simply to title a piece of work as, for example, "An
analysis of an extract from Psycho"?
The title must name the feature or features that are the particular focus – e.g.
"An analysis of editing and sound in the shower sequence from Psycho
(1960)."
(2.15) What makes for a good Written Analysis?
The grade descriptions for different levels of attainment are available in the
mark scheme for FS1 in the specimen materials accompanying the
specification can be found on pages 56 - 59. I quote two sentences from the
grade A descriptor for the written analysis to illustrate the emphasis on
personal enquiry (specification, p.56):
"Personal response will be characterised by a high level of thoughtful,
reflective analysis on meaning 'production'. The interaction between film text
and spectator will be perceived as complex, subtle and resistant to simplistic
assumptions."
3. AS Internally assessed work – Written Analysis for the Creative Work
(3.1)
The writing to be submitted with the creative work is also described as
an ‘analysis’. Why is this?
This piece of writing is indeed intended as a second close reading of a piece
of film material – the essential difference is that this material has been
produced by the student. This investigation is from a producer’s perspective
(the student as producer of her own creative work) rather than from a
spectator’s perspective.
From a producer’s perspective the focus will be on the intended response of
the audience as a generality - to go back to the distinction made in (c) above.
(3.2)
So this is not the standard ‘evaluation’ so often required to accompany
practical work?
Correct. This is a further investigation, one that reflects on the deployment of
formal micro elements and their impact in producing meaning and response.
Students are challenged to think through her creative choices in relation to
intention and effect. It is ‘evaluative’ in the same way that the 1500 word
Written Analysis is evaluative: it will lead to some reflective judgements being
made on how effective are certain micro features.
If students have the opportunity to show the intended audience the creative
work and interrogate them about the way they made meaning from the use of
micro elements, then reflection on this could also be included in the reflective
analysis.
(3.3)
Overall, the Written Analysis and the Reflective Analysis should be seen
as complementary?
Yes, complementary – and asking for the demonstration of the same
knowledge and skills – but from different perspectives, one from a position of
spectator, receiving intended meanings and creating meanings from work
presented to them, and one as producer, using micro elements as tools to
make meanings that will be received and mediated by an audience.
(3.4)
The possibility of presenting this reflective analysis as a blog or a dvd
commentary seems problematic. Surely a blog will read like some kind
of production log while the dvd commentary will be precisely that – a
commentary. Previous answers have made it clear that neither a
production log nor a commentary are required – so I’m confused!
First of all it is important to acknowledge that these alternatives represent an
attempt to offer students the chance to communicate in a different mode.
Students producing a blog should be required to refer in each entry to very
specific creative choices they have made using micro elements of film form. A
major difference with a reflective short essay may appear to be that the blog
is the record of a process. However, it is recommended that the blog cover
the post-production / feedback stage in which reflections to viewer or reader
responses – with reflective comment – is central.
Commercially available DVD commentaries vary enormously – from anecdote
and gossip to academic thesis. It is recommended that students be exposed
to examples of more analytical commentaries, ones which reflect on creative
choices that have been made.
(3.5)
Can a dvd commentary be submitted to accompany the storyboard
exercise, possibly in the form of a podcast?
Yes, this is possible. As in 3.4 above, it is vital that the commentary is
appropriate.
(3.6)
Can there be a whole group blog or dvd commentary?
No, each member of a video production group should produce their own.
(3.7)
How should the blog and DVD commentary be submitted for
assessment?
The teacher should confirm that the blog does exist – and provide information
on when it was accessed for the purpose of internal assessment. For
moderation the link should be provided – but so should a print out of the blog
extracts.
The DVD commentary should be accessible on the video work submitted for
internal and external assessment. A transcript is not required.
(3.8)
What help is available for the technical aspects of producing a dvd
commentary?
A technical section will be available on the Film Studies website in Autumn 08
– enabling teachers to share information on hardware and software solutions
for all creative options at AS and at A2.
4. AS Internally assessed work – Creative Work
Video and Storyboard Options
(4.1)
The three creative options do not seem comparable either in terms of
the time needed to produce the work or in terms of the range of skills
required. Isn’t the Video Production option much more demanding than
the other two?
The three options are comparable in that they each (i) require the application
of learning about micro features of film form; (ii) require reflection on the
meanings and responses generated by the deployment of these micro
features; and (iii) offer the opportunity for investigative creative work – for
active learning about how film communicates and creates response.
It may appear that the range of skills is more extensive in the case of the
Video option. The first and pragmatic response to this observation is that
centres must choose whether to offer this option – and may well do so for
broader educational reasons. The second is that this option allows for indeed
encourages group work with different students taking responsibility for
different functions with the production / post-production process.
The other thing to say is that the demands of the Storyboard and Step Outline
options should not be under-estimated, as both will require detailed planning,
construction, and revision.
(4.2)
In Video group work an individual can probably identify the function that
they are primarily responsible for – such as cinematography or editing.
However, how can it be said that each takes responsibility for different
aspects of the resulting work in which the range of audio and visual
features work in combination.
Students should be encouraged to work collaboratively and to reflect on the
effectiveness of the work as a whole – reflect indeed on the effectiveness of
the collaborative process. However, it should still be possible to acknowledge
how different individuals had primary responsibility for mise-en-scene,
cinematography, sound and editing. In other words, students should focus on
a particular micro element (sensibly relating to their chosen role) in the
reflective analysis that accompanies the creative work.
In fact the only ambiguous role may be that of ‘director’ – who can be seen to
have some responsibility across all of these micro elements, as well as
managing performances. Or to put it differently, the role of director does not
offer a one-to-one correspondence with a micro feature.
(4.3)
What additional information should accompany the Storyboard?
The fact that a photographed storyboard is now required does not alter the
previous requirement that all necessary additional information conventionally
associated with a storyboard be included. This includes:
- A ‘slugline’ describing INT/EXT, location, and time (DAY/NIGHT will
usually suffice)
- Shot description (what is happening in the shot)
- Shot duration
- Camera movement within the shot (indicated in words underneath the
image or by arrows within the frame)
- Figure movement within the shot (indicated as above)
- Editing instruction (which may be linked to duration)
- Three soundtracks: speech*; diegetic noise/music; non-diegetic
noise/music
* Actual dialogue is not required. In an imagined sequence in which dialogue
is highly significant – a very brief commentary may be usefully added.
(4.4)
What more can you say about the incorporation of ‘found images’ into
the Storyboard?
The reason for permitting found images is to encourage the student to feel
that she is not limited to parochial subjects that can only be represented by
people, places and objects within the immediate environment. So for
example, work may be encouraged in the science fiction genre or a film may
be conceived in relation to its spectacle and special effects.
These found images may be taken from existing films or from image archives.
It is absolutely required that their origin be recorded and acknowledged in
order to avoid accusations of plagiarism.
It is also permissible for students to ‘commission’ images (including paintings
/ drawings etc.) as found images, but again it is imperative that the source for
these images is appropriately referenced.
(4.5)
Can found images also be used in the production option?
The short answer is yes. It is a little more problematic with video, as length
becomes significant (a student could deploy five ‘found’ shots that make up
90% of the whole production) and so it is important that these ‘found’ shots
are no more than contextualising shots (and therefore only occupy a relatively
small percentage of the overall screentime). Similarly, it is advisable to only
allow their inclusion when they could not easily or effectively be created by
the student (for example: the snow covered arctic, or deep space).
(4.6)
Can students submit drawn storyboards if they have the graphic artist
skills to do so?
We accept that the traditional industry practice of drawn storyboards
continues. However, for the purposes of AS internally assessed work there is
a drive to develop some basic skills that relate to micro features of film – such
as framing a shot using a camera.
Additionally, the storyboard option encourages students to show imagination
and initiative in creating the mise-en-scène for their work.
For these reasons, which also incorporate the requirement for comparability,
the drawn storyboard is not permitted.
(4.7)
Can students produce storyboard images that are entirely computer
generated such as in animation work?
The answer to this is not dissimilar to that for (4.6). We accept that a variety
of software packages exist for the production of images – and that these may
be particularly appropriate for students with an interest in animation.
However, for the purposes of AS internally assessed work there is a drive to
develop some basic skills that relate to micro features of film – such as
framing a shot using a camera.
(4.8)
How does a student conform to the image requirement if the kind of film
chosen has very few or a great many shots?
It is not possible to produce less than 15 or more than 25 different shots (as
indicated in the Specification) - and for the same reasons that were given as
an answer to (2.9) above. For purposes of comparability all students must
keep within the prescribed maximum/minimum – however creatively inhibiting
this me be. You are reminded, however, that you can use the same image
more than once – for example, in a shot/reverse shot sequence.
(4.9)
In the creative work is it better to encourage an extract from a longer
piece of work or a complete short film?
In general the advice is to go for an extract from a longer film. The reason is
that the complete short film is a specialist form of film / video whose
conventions students may well be unfamiliar with. On the other hand, if a
centre wishes specifically to study examples of short films as the basis for
encouraging creative work, then that is welcome. Focusing on the use of
micro elements removes the drive to produce a narratively complete
sequence, and so it is entirely possible to produce a sequence that is
narratively disconnected, but is a detailed and crafted exploration of micro
elements and their use in making meaning. Thus a sequence of a paper boat
floating down a stream should be more than sufficient to exemplify the use of
micro elements, without concern over any narrative questions raised.
(4.10) Is it possible to submit video and storyboard work in a variety of
formats?
No.
DVD work should be submitted in a standard format that will play in a
domestic dvd player. This must be checked before submission.
The Storyboard should be presented on A4 paper (portrait or landscape)
Step Outline Option
(4.11) The Step Outline takes an overview of a script – so is it not primarily
concerned with macro features – especially narrative?
It is true that a step outline sketches out the trajectory of a screenplay as a
whole, scene by scene – usually very succinctly. In such step outlines the
emphasis is clearly on narrative structure,
The specification asks for an extended step outline precisely in order to
distinguish it from the above. In the extended step outline it is expected that
there is much more detail describing audio-visual features of each of the 5 – 8
scenes required. So, for example, aspects of mise-en-scene and
cinematography will be carefully imagined, as will aspects of performance
and staging.
The first part of the template for each ‘step’ in the step outline contains
contextualising (largely macro) information and this receives no marks. The
second part describes the scene and makes explicit micro features (mise-enscène, cinematography, editing, sound, performance) in creating meaning
and produce response.
(4.12) Why not ask for a segment of a Screenplay?
The belief is that the extended step outline provides greater comparability
with the other two options – particularly in terms of students ability to visualise
a sequence and think through how filmic audio-visual communication works.
In fact the step outline is revealed as an invaluable first step in developing a
screenplay, and thus it should be seen as part of the discipline of the
screenwriter. As the extended step outline does not require dialogue
construction, the focus should be firmly on the application of micro elements.
A Screenplay option is available in FM3.
5. AS Internally assessed work – Some Assessment and Administration
Issues
(5.1)
Should a synopsis be included with creative work when that work is a
segment of an imagined longer film – in order to provide some kind of
narrative context?
A synopsis is not required. A much briefer statement referred to as “Aims and
Context” in the specification is required. This is submitted on a cover sheet
supplied by the WJEC and is a vital compulsory element in any internally
assessed work submission. This allows the student to provide a context for
the work against which it can be assessed. Quite simply, without it the work
cannot be marked.
(5.2)
What should be included on this “Aims and Context” cover sheet?
Quite simply whatever information will allow the assessor of the work to make
sense of the submission. So, for example, the context may include reference
to genre and audience, as well as a very brief statement as to where in the
film the extract occurs. Aims may include the particular impact to be made on
an audience (suspense, laughter, etc.), as well as the ways in which this
extract carries forward the narrative. It will, of course, include reference to
the chose micro element(s) that the student has selected as their focus
(5.3) Going back to issues of length/volume, what should be the response to
work which is over – or under by more than 10%?
Once the work has exceeded the 10% tolerance, the remainder should not be
assessed.
Work which is more than 10% below that required is not penalised as such.
The mark scheme takes into account work which is under-developed.
(5.4)
Should the internally assessed work be submitted with teacher
comments?
For purposes of moderation, it is important that there are comments that
indicate how you arrived at the mark you awarded. Or to put it differently,
‘clean’ copy is not useful in the moderation process.
As the WJEC cover sheet for all three components offers you the space to
write only the briefest of summary statements, you are advised to provide
detailed comments with the work, using phrases or paraphrases from the
marking schemes to anchor the grade in the grade descriptor. At the same
time student's work, creative work in particular, should be respected. For this
reason you may wish to attach comments rather than writing directly on the
work itself.
(5.5)
What are the rules on re-drafting?
If a piece of work is handed in as a clearly labelled first draft – the teacher
may provide written comments and advice. However, this first draft must be
attached to the second draft.
(5.6)
What happens if the plagiarism declaration is not signed by the student
and by their teacher?
The WJEC takes plagiarism very seriously and the penalties can be severe. If
the declaration sheet stating that the work is not the student’s own is not
signed by both the student and by her teacher, the internally assessed work
will not be accepted by the Moderator.
The significance of the teacher signing the declaration is that it is the
teacher’s responsibility to identify plagiarism in internally assessed work – not
that of the Moderator.
(5.7)
How do I go about awarding marks for the creative work?
For the AS creative project there is a marking grid on pages 35 & 36 of the
Specification. Use this as the basis for arriving at an appropriate mark.
(5.8)
Internal standardisation of assessment is, obviously, important. What
does the moderator require to demonstrate that this standardisation has
taken place effectively?
Certainly a process of internal standardisation MUST take place if work in
your centre (even within a single class) is being marked by more than one
person. The answer to this question is easy - your Moderator requires
consistency in the awarding of marks across the sample sent for moderation.
Consistency is vital, so that if the centre has awarded marks generously or
harshly, an adjustment can be made that applies to all candidates from the
centre. In a worst case situation one teaching set where marks have been
awarded in an over generous way may be adjusted, in the process pulling
down the marks of other candidates from teaching groups where assessment
has been much more in line with the criteria. If internal standardisation leads
to the marks for a teaching group (or a piece of work) being adjusted, then it
must be clear to the moderator what the final approved mark is and the total
mark must tally.
(5.9)
If there is only one teacher, how does standardisation occur?
Well, there is no need for standardisation as long as the marking is
consistent. There is the need, however, for some sense of relative standards
in order to guarantee the accuracy of the marking (although this will be picked
up by the Moderator). Local networks of teachers are encouraged to meet for
all kinds of useful reasons - but one of which may well be to offer some kind
of inter-centre standardisation. Unfortunately the Moderator is not in a
position to provide this service. You are only able to send work to the
Moderator for the purpose of moderation at the end of the marking process.
(5.10) How do I present marks for this unit as a whole?
Each piece of work should have the mark clearly indicated. There will also be
a cover sheet for entering marks, together with a total mark (FM1a).
(5.11) When should I have all of this done?
It is strongly recommended that you set your students a completion deadline
for all the required work by the last day of the Spring Term. This will
guarantee that you have plenty of time to mark, arrange internal moderation,
select your sample and complete the necessary administration before the
deadline set by the Awarding Body.
(5.12) How should the internally assessed work be presented for sending to
the Moderator?
The Specification says all pieces of internally assessed work must be
submitted together in a single folder. This folder and its contents should be in
as compact and lightweight a format as possible, and in a way that allows
easy handling.
Here are some specific considerations:
-
All work, including the storyboard, must be in A4 format.
-
All parts of a single piece of work should be stapled together.
-
Each piece should clearly indicate what it is.
-
In the case of the Written Analyses, it should have a specific title
identifying the nature of the task (see 2.14 above).
-
Every item must have the candidate's name and centre number on it.
All work, together with a copy of the cover mark sheet at the front,
should fit into a lightweight folder or wallet.
-
It is advisable to avoid the use of plastic wallets, as these make the
moderation task cumbersome – especially putting each separate page
of a submission in a separate wallet!
-
Video work should be submitted on a standard dvd disc which will play
in a domestic dvd machine. This must be checked before submission.
-
The summary cover sheet should be completed, a teacher comment
added and the plagiarism declaration must be signed off by both
teacher and student (see 5.6 above)
You may wish to photocopy creative work before sending originals by post to
the Moderator.
(5.13) What do I send to the Moderator and when?
All relevant information on procedures for marking internally assessed work,
selecting a sample, etc. is to be found on pages 43-45 of the specification. If
in doubt, or if you have some kind of disaster (!), contact your Moderator or
the Subject Officer.
2.B
Unit FM2 – British and American Film
6 British & American Film – Some General Questions
(6.1)
FM2 seems to require very different kinds of teaching and learning for
its different sections. What is the rationale for this unit?
All three sections are concerned with UK and US Cinema.
Section A has its focus on the relationship between the film / media industries
and audiences – and this may be extended to provide an important and
enriching set of contextual frames for the study of particular films in Sections
B and C.
The focus in Sections B and C is on how films communicate as storytelling
instruments and how they function as key sites for the study of
representation. These studies may enrich an understanding of the producer –
audience relationship in Section A. Also, as noted in the Specification, a focus
on stars and genre may unite all three sections of this paper in a particularly
coherent way.
It is true that the stimulus-response format of Section A requires different
kinds of learning activities from the close analysis and comparison of films in
Sections B and C. However, there is no reason why an active, investigative
approach cannot be carried over from FM1 to all three sections of FM2.
(6.2)
But surely this unit is much more dependent on the dissemination of
knowledge by the teacher?
Developing skills in problem solving and interpretation is at the heart of this
unit.
In both FM1 and FM2 teaching should exploit what students already know
and the skills they already possess. Teaching should be as much about
‘shaping’ this existing knowledge as disseminating new knowledge. Students
will have particular and distinctive experiences as people who participate in
film culture and who make meaning from the films that they watch. Much film
education at this level can be conceived as providing structures and a
language for making better sense of already familiar experiences and for
making more conscious, systematic and precise already well established
skills in film viewing.
Across all three sections it is likely that the most significant input of the
teacher is going to be in providing the kind of contextual knowledge that
enriches and deepens an understanding of the material being studied –
whether Producers and Audiences stimulus or a film.
In both FM1 and FM2 students can be taken toward less familiar material
from the security and confidence they possess in working with the more
familiar.
(6.3)
How absolute is the distinction between ‘micro’ study in FM1 and
‘macro’ study here in FM2?
Well, the distinction can never be absolute –perhaps 70 / 30 at most. So, in
FM1 there will be some significant reference to macro features (see 1.2
above) – and here in FM2 there will be some significant reference to micro
features in the study of specific films in Sections B and C. Broadly speaking,
however, the emphasis here will be on macro features of narrative and genre.
In addition, producer – audience issues explored in Section A are more likely
to be dealing with macro elements of film in relation to, for example,
marketing and fandom.
7. British & American Film – Section A
(7.1)
What is different about the Producers and Audiences section, compared
with the previous Specification?
Students only have to do one rather than two questions. Each question will be
based on three rather than two pieces of stimulus. Questions (and stimulus)
will require an equal engagement with producer and audience issues and the
relationship between them – rather than being weighted toward one or the
other.
The section continues to look not just at the relationship between producers
and audiences but between contemporary UK and US working practices. This
last element has been strengthened by the introduction of the study of US
films elsewhere in FM2.
(7.2)
So students now have to make sense of three pieces of stimulus, make
links between producers and audiences and possibly reflect on
differences between American and British Cinema as well. Isn’t this too
much – especially on an exam paper which requires quite different skills
in Sections B and C?
The demands of Section A may seem considerable if approached
conceptually. However, the reason for adopting a stimulus-response
approach is to work out from the tangible and the particular. Answers should
be based on the materials themselves, as well as on other relevant case
studies the student has explored. The materials will prompt and encourage
students to think in quite practical ways about, for example, the relative
availability of different kinds of film to an audience or the relationship between
internet fandom and star image.
Although there are nine types of case study listed in the Specification, these
can be reduced to very few basic ‘frames’ – one or more of which will allow
sense to be made of stimulus materials. These ‘frames’ include:
- the UK and US contemporary production contexts (finance, product, stars,
etc)
- the selling of film (marketing, distribution, exhibition) and the choice
available to audiences
- audience behaviour as consumers and fans
(7.3)
Ok, but each of these ‘frames’ is potentially a huge topic, no?
Yes potentially, but all that is required at this level is an introductory level of
knowledge – sufficient for students to begin to work meaningfully with
materials. Indeed in the early stages of preparing for Section A these
‘frames’ may themselves emerge deductively from the experience of
exploring stimulus materials and from students discussing their own
experiences and perceptions. (see 2.B - 7 below)
(7.4)
So, as in FM1, is the emphasis here on a certain kind of personal
response?
It was said above of FM1 written work that “the writing is ‘personal’ in that the
student is seeking answers to questions the film sequence has prompted her
to ask”. With regard to FM2 Section A much the same can be said. The
writing is ‘personal’ in that the student is asking questions the stimulus
material has prompted her to think about and find answers to. However, to be
successful this personal and ‘motivated’ enquiry requires an approach that is
organised and informed by the ‘frames’ listed above.
There are different ways of responding to stimulus, reflecting different
emphases and shaped by different case studies. These are very open
assessment exercises.
(7.5)
This kind of open assessment, combined with the wide variety of
stimulus that may appear, means that it is surely very difficult to
prepare students. What suggestions are there for preparing for Section
A of FM2?
The first thing to say is that students should become very familiar and
comfortable with using and responding to stimulus materials. So routinely the
following should be brought into the AS Film Studies classroom (by both
teacher AND students):
- visual materials (including marketing materials, images from the internet
and magazine publications)
- written materials (including extracts from trade journals, fan magazines,
internet sources and other media)
- tabular material (including numerical information)
Indeed much of the time there need not be any explicit focus on preparing for
Section A of FM2. Students should get used to the idea that this is simply
what they do – learn about aspects of contemporary cinema through finding,
sharing and discussing all kinds of material of interest. And that this is a key
way in which learning takes place on their Film Studies course.
For example, twenty minutes of one lesson every week could be spent
looking at some relevant, topical and interesting article, web site, statistical
information, etc. In addition, students could contribute to a noticeboard of
such materials or be encouraged to collect their own physical or online
‘scrapbook’ of materials of specific interest to them. (It is worth remembering
something else said earlier – that the whole of AS Film Studies consciously
builds on the experiences and knowledge students already possess.). Where
possible these activities could be linked to other learning and assessment
tasks in AS Film Studies – including contextual knowledge for films studied in
the British and US Cinema sections of FM2.
Second, the approach should be exploratory with an openness to different
kinds of meaning and significance that can be derived from a particular
material. The challenge of making sense of this material can become a
problem solving exercise – and one which is both challenging and enjoyable.
This approach allows a shift in the emphasis of learning toward transferable
skills development.
Third, it is valuable to think about how the basic knowledge required to ‘frame’
different kinds of material in Section A is developed and consolidated. It will
be necessary to teach about the contemporary UK and US industries and
how they operate. However, it is possible to balance this more systematic
kind of knowledge which is provided by the teacher or by a textbook with a
less systematic knowledge that is derived from repeated exposure to stimulus
material and from students reflecting on their own experience as movie-goers
and fans.
(7.6)
What do I need to teach about the contemporary UK and US industries?
With regard to the US film industry, the basics of:
- the ways in which ‘deals’ are made and projects put into production,
including the relative power of stars and directors
- the importance of genre and ‘series’ films
- global marketing and distribution
- conglomeration and its significance
- distinctions between ‘studio’ and more ‘independent’ films
With regard to the UK film industry, the basics of::
- ways in which UK films are financed and production supported
- characteristic types of UK film – including genre
- the marketing and distribution of relatively low budget films
- ways of finding international markets, and the tensions in doing so
- limitations of the UK film industry and policies for addressing these
(7.7)
So overall the implication seems to be that Section A should not be
taught as a discrete component at a particular point in the AS course,
but rather as an on-going activity throughout the AS year. Is this right?
To a significant extent, yes. The habit of using found materials and discussing
them can run through the whole AS year, informing different aspects of FM1
and FM2. (See 7.5 above.)
Some specific periods of learning will, however, need to be set aside too –
though the entire underpinning ‘taught’ knowledge for this Section could be
delivered in a couple of weeks.
The main learning in the latter part of the AS course should come from
working from actual stimulus-response exercises. Past papers provide an
obvious source – and though the old FS2 papers are slightly different, the
skills and knowledge being assessed are essentially the same.
Teachers will find it extremely useful to construct their own three part stimulus
questions – if only because it provides a very definite way into the mind of
those who set the examinations! You are recommended to have a look at the
two specimen examples provided by the WJEC – and ensure that you obtain
and use past papers from January, 2009 onwards.
(7.8)
So would you say that developing exam technique is particularly
important in preparing for this section of FM2?
Very much so.
Students need to be able to read and get an overview of the stimulus very
quickly and to make a vital decision as to which of the questions plays to their
strengths. This will obviously be an issue of topic – for example, one question
may focus on the use of stars and genre in selling films while the other may
deal with issues of film exhibition and audiences. However, just as important
is the judgement they make about which kinds off stimulus they feel confident
handling. For example, some students will find numerical information or textheavy stimulus relatively difficult to deal with in the time available. Students
need to be reminded to play to their strengths.
Also, important to remember is that there is always a specific question to
answer! The exam candidate can become so immersed in the stimulus
material that the question is ignored.
(7.9)
In the exam how much time should the candidate devote to Section A?
There is the same number of marks for Section A as for Sections B and C.
Two and a half hours allows 45 minutes for each question with 15 minutes
reading and planning time for Section A.
This question again highlights the importance of exam preparation. Students
will become more efficient in processing stimulus material and formulating a
response the more practice they get with mock, specimen and past papers.
8. British & American Film – Section B
(8.1)
In the British Film Topics section of FM2 is it correct to say that there
are no prescribed films and that centres have a free choice?
There are no prescribed films and centres are free to choose appropriate
films. However, in what follows are recommended films for some sections.
Centres should think carefully about teaching films not on these
recommendation lists as you may be putting your candidates at risk.
Of course, lists are never definitive – partly because of the fallibility of those
who make these lists, partly because lists need constantly updating. Revised
lists, incorporating recommendations from teachers and examiners, will be
posted annually by the WJEC.
Some considerations when choosing films include:
- are they British? (not always an easy question to answer!)
- are they obviously relevant to the topic in a way which is fairly transparent to
students?
- are they intrinsically interesting for the purpose of close study?
(8.2)
What is the purpose of the British Film Topics section?
A principal purpose is to promote an interest in British films while developing
skills in film analysis and interpretation. It is hoped that students will, as a
result of their studies, give greater acknowledgement to the quality and
diversity of this national cinema.
As an extension of this, the study of British film allows for reflections on
aspects of national / regional identity, on social and cultural and political
issues distinctive to this national cinema and, more generally, encourage the
student to engage with aspects of film representation.
Although representation often invites studies of micro features of film form,
broader macro features, such as narrative and genre, are just as significant.
So a further purpose – shared with Section C – is to consider in particular
macro aspects of film form, thus complementing FM1’s orientation toward
micro features.
(8.3)
Some of the topics seem to overlap. Is it possible to choose films that
allow students in the examination to have the option of choosing a
question from more than one section?
This is permissible – and indeed is encouraged. So, to take an obvious
example, two Ealing comedies could be studied for the “British Film and
Production Companies” topic and these films could also be admissible for the
“British Film and Genre” topic. Another example is that Julie Christie films
such as Billy Liar and Darling could be studies for “British Films and Stars”
and the Swinging Britain option of “British Film and Culture”,
As part of a regular review of centre choices, the WJEC will share examples
of good practice in overlapping films and topics. There are, no doubt, many
ingenious possibilities! In what follows any film that offers a crossover with
another topic is marked (+)
(8.4)
What would you highlight as important in considering the Genre topic
option?
The idea of genre is familiar in relation to US Cinema – but possibly less so in
relation to British Cinema. Further, ideas about what constitute key
characteristics of particular genres is very much determined by our
experience of US Cinema. This topic thus allows a fresh approach to genre,
inviting the question: what is specific about British (horror / comedy) genre
films?
Genre is closely related to production policies and so this topic articulates
well not only with another topic – “British Film and Production Companies” but
also with Section A: Producers and Audiences. A comparison with genre
study in US Cinema is also possible, thus making very explicit an articulation
with Section C.
With regard to the two options available until Winter 2012 – Horror and
Comedy – a decision can be made as to whether to choose a very native
product (e.g. Hammer horror or Ealing comedy) or films that are more transnational (for example, Repulsion as a horror film or Notting Hill as a comedy).
It is, of course, possible to choose one film which is more obviously British
and compare it very productively with one which derives from or is marketed
toward a more international market.
(8.5)
So what is the list of recommended films for the Horror Genre topic?
For this topic the choice is vast. In general, it must be remembered that the
study of narrative and representation is a key focus for all these topics and
that films should be chosen that enable these studies to be accessible and
rewarding.
So in relation to Horror the following questions may be usefully posed prior to
selection.
- Is the study to be of films with historical settings or of films set in the
contemporary period?
- Is the study to be of films with, for example, a quest narrative where a threat
has to be located and destroyed – or a narrative of entrapment?
- Is the study to be of films in which, for example, narrative is complex and
based on psychological states or films where the narrative is a loose structure
for spectacle?
There is no way that the 15 suggestions that follow can do anything more
than scratch the surface – and the categories are crude ones. However, they
may offer some orientation.
Traditional Hammer-style (examples)
Theatre of Blood
Plague of the Zombies
The Devil Rides Out
Dracula – Prince of Darkness (1965)
Blood on Satan’s Claw
At the time of writing there is available on DVD “The Ultimate Hammer
Collection” – a 21 disc box set (B000HN31KQ0)
Contemporary Horror (examples)
Deathwatch
Dog Soldiers
Creep
Wilderness
The Descent
Critically Complex / Hybrid (examples)
Dead of Night +
The Innocents
The Witchfinder General
The Wicker Man +
Don’t Look Now +
(8.6)
So what is the list of recommended films for the Horror Genre topic?
In choosing films for the Comedy option, some of the following questions may
prove useful:
- Are the films part of a series (such as “Carry On”) or one-off productions?
- What kinds of comedy are they. For example, are they in the farce or
spoof sub-genres or are they subtle comedies of manners?
- How far are the films vehicles for star comic performers (such as Norman
Wisdom, Rowan Atkinson)?
- Do the films extend from another medium, such as television?
- Are the films live action or animation?
The following is a list of comedy films that have been included on previous
versions of the AS Film specification:
Carry on Nurse
Chicken Run
East is East
The Full Monty
The Ladykillers
Withnail and I
A number of comedy films are also listed under production company Working
Title. (see below)
(8.7)
What would you highlight as important in considering the Star topic
option?
Star study has specific elements. Traditionally the distinction has been made
between actual person – roles – screen persona – wider media image.
Whether studying Julie Christie or Ewan McGregor films it should be possible
to explore the interesting tensions across these. However, the topic is more
modest in its ambition and, as with the other topics, focuses on narrative and
representation.
Here are two questions that can be asked:
• Is the star associated with a particular kind of narrative film?
• Does the star embody particular traits that relate to issues of
representation?
(8.8)
Why these two stars?
The choice was made on the basis that one star should be more historical,
the other more contemporary; one should be female, the other male. Beyond
this, issues revolved around the degree to which they actually conform to a
generally agreed notion of a “star” as opposed to a distinguished actor, and
the extent to which their films are intrinsically interesting.
(8.9)
What films are appropriate for studying these two stars?
Almost by definition a British ‘star’ will have made significant Hollywood films
– films like Doctor Zhivago and McCabe and Mrs Miller (Christie) and Moulin
Rouge and the Star Wars (McGregor) – that are not appropriate for this part
of the Specification. While it may be important to acknowledge such films as
significant in contributing to the overall star image, they should not be the
chosen films for close study.
Julie Christie’s career extends up to the present, but it may be useful to focus
on a body of British work from 1963 – 1973::
Billy Liar +
Darling +
Fahrenheit 451
Far From the Madding Crowd
The Go Between
Don’t Look Now* +
A full filmography is available at: http://www.imdb.com/name/nm0001046/
With Ewan McGregor’s work too, it may be useful to concentrate on a
particular period, such as 1996 – 2000:
Trainspotting +
The Pillow Book*
A Life Less Ordinary
Velvet Goldmine
Little Voice
Rogue Trader
Nora
A full filmography is available at: http://www.imdb.com/name/nm0000191/
* Should the Peter Greenaway directed The Pillow Book be included? The
question is less in relation to debates over whether this is a UK produced film
its subject matter and location. In situations like this, you must be clear about
your objectives in selecting the film. (Possibly some similar worries could be
raised over Roeg’s Don’t Look Now in the Julie Christie list.)
(8.10) In teaching the “Production Companies” topic, the Specification says
that the particular focus is on narrative and themes. Should the focus
not rather be on the policies, structures and economics of the chosen
option?
The point is taken. Some contextual knowledge will be very valuable.
However, this is not really an institutional study so much as another pretext
for studying films. There is a challenge for the teacher to find elements of a
‘house-style’ or recurring themes and ideological positions that make the
production company clearly identifiable. However, for the student it is enough
that they can make meaningful connections between the two films chosen for
close study. The primary focus remains on macro features (narrative, genre)
and on representation – as it is these elements that unite all the topics in
Section B.
Ideally the choice of films captures something of the distinctive institutional
ethos of the production company while also serving these other functions that
are held in common across the different topic options.
(8.11) Is it recommended that the two key films chosen to represent the work
of the chosen production company be in the same genre? And what
other general pointers can you provide?
You may wish to do this – though it is not particularly recommended. You
may, for example, wish instead to compare two films representing different
genres. Again, the principal guideline I simply that the films offer the
opportunity to consider macro aspects of film form and raise interesting
issues in relation to representation.
In mid-September, 2007, the Internet Movie Database listed 97 films made by
Ealing Studios between 1938 and 1959. See:
http://www.imdb.com/company/co0098353/
Please note that Ealing as a name was resurrected at the beginning of this
decade and productions include The Importance of Being Earnest (2002) and
Imagine Me and You (2005). The Specification is assuming that “Ealing”
represents the work of that studio during the 1940s and 1950s.
Ealing is associated with its famous comedy films such as Kind Hearts and
Coronets, The Lavender Hill Mob, The Man in the White Suite and The
Ladykillers. This represents a very clear and coherent body of work.
However, there are other ways of approaching Ealing, most obviously by
reference to their war and crime films:
War films include:
Went the Day Well and San Demetrio London, The Cruel Sea.
Crime films include:
The Blue Lamp and Port of London
At the same time, the Internet Movie Database listed 88 films produced by
Working Title, the most recent, at the time of writing, being Atonement – with
11 further films in production. It is suggested that you go through this list
yourself at:
http://www.imdb.com/company/co0057311/
You may wish to note that a significant number of films are, like those of
Ealing, also comedy genre films. For example:
Mr Bean’s Holiday +
Hot Fuzz +
Bridget Jones Diary+
Shaun of the Dead +
Four Weddings and a Funeral +
(8.12) Does the topic called “British Film and Culture” require a particular
emphasis on cultural history?
All of the topics require some kind of contextual study in order to frame the
chosen films. This particular topic requires no more or less contextual study
than, say the Star or Production Company options. What is distinctive here is
that the contextual knowledge is specifically historical. The films may or may
not accurately represent the chosen decade but they will be regarded as
broadly symptomatic of cultural changes, tensions, etc. going on at the time
of their production. In this respect the study of narrative and representation
should be highly productive.
(8.13) What is Swinging Britain 1963 – 1973 and what films are recommended?
To answer the first part of this question is difficult. How progressive was
Britain in the 60s and early 70s? How far did a social and style revolution
extend beyond the metropolitan areas? To some degree this topic is dealing
with a myth of cultural history and possibly inviting the question: how far did
cinema contribute to this myth?
The time frame of this option begins after the ‘kitchen sink’ new wave of the
late 50s and early 60s. The films for this option are nearly all characterised by
some radical or transgressive or fantasy element or mark a shift in social and
moral attitudes. The following is a selection:
Billy Liar +
A Hard Day’s Night
Darling +
Alfie
The Knack
Blow Up
The Italian Job
Wonderwall
If
Girl on a Motorcycle
Performance
Clockwork Orange
The Wicker Man +
(8.14) Thatcher’s Britain literally extended from 1979 – 1991 so is “the 1980s”
a loose rather than precise time frame from which films may be chosen?
The 1980s is the decade when a number of highly significant political and
social changes occurred – a different kind of social revolution from that
underpinning the “Swinging Britain” option. We will not quibble about the
selection of an appropriate film made in 1991.
Here is a selection of twelve films in chronological order:
Burning an Illusion
Chariots of Fire
Looks and Smiles
The Ploughman’s Lunch
Meantime
Defence of the Realm
Handsworth Song
My Beautiful Laundrette
The Last of England
Sammy and Rosie Get Laid
High Hopes
The Cook, the Thief, his Wife and her Lover
Hidden Agenda
(8.15) Can films made later than the 60s or 80s but which engage very directly
with the decade be chosen? Or do films have to be of the period?
There is much sympathy for the view that, for example, a film such as
Brassed Off (1995) or This is Britain (2007) can be used as a film to study
Thatcher’s Britain. However, to avoid any ambiguity, the requirement is that
you must choose films made during the designated period.
(8.16) Is the Socio-Political Study “Living with Crime” actually another genre
option?
Well, genre is an interest across all the topics in Section B of FM2. It may
appear, however, that this particular topic offers a specific invitation to study
the crime genre. In fact the interest is broader and is concerned partly with
social and political contexts within which crime occurs and partly with how
individuals behave within a criminal ambience. Centres are free to take either
of these as their particular focus. Of course, some of the films may directly
embody crime / gangster genre features – but others will not. Sweet Sixteen
is a good example of a film about characters living in a community
characterised by crime – but which cannot be described as a crime genre
film.
(8.17) For this topic it appears that films from different time periods may be
chosen?
Yes this is the case. However, it is important that the films do lend
themselves to genuine rather than forced comparison. As there is a rich body
of contemporary British films that fit the bill, it may not be necessary to look at
earlier work.
The films listed in the Specification provide a solid basis – some near
contemporary, others from a specific period in the past.
Older films to be considered may include:
Brighton Rock
The Long Good Friday
Stormy Monday
Cal
The Krays
Dirty PrettyThings +
Croupier
(8.18) The Identity topic seems to cover two quite separate themes – one to do
with immigration and the immigrant experience – the other to do with
regional identity within the UK. Is this right?
There is a singularity to this topic around the theme of the outsider and
nation. But you are right that this ‘outsider’ experience takes at leas two quite
distinctive forms. One is concerned with the immigrant / asylum seeker and
by extension with the so-called ‘immigrant community’. The second is
concerned with the conflict between regional identity and British identity,
which includes Scottish, Welsh and Irish national identities in opposition to
the idea of a “united kingdom”.
If this topic can be said to offer two for the price of one, it is just the same as
most of the other topic options – though without making it explicit. Looking at
recommended films makes clearer the different directions it is possible to go
in with this topic:
Films raising issues about immigration / asylum, etc
Last Resort
Yasmin
Dirty Pretty Things +
In This World
Ghosts
Gypo
Films raising issues about the nature of personal identity in a “United
Kingdom” include:
In the Name of the Father
Trainspotting +
A Way of Life
It is assumed that the interest will be in contemporary or near contemporary
films. However, it is possible to take a more historical approach with regard to
the second of this topic’s strands – and it is possible to consider a comic
perspective, such as Ealing’s:
Passport to Pimlico +
Whiskey Galore +
(8.19) The specimen examination paper appears to offer a choice between the
two questions for each topic. Can you say more about this choice?
Generally the second question is more specific to the content of the option –
including aspects of representation, while the first takes a broad view of
macro features - especially narrative.
(8.20) What characterises a good answer to a Section B question?
Information is contained in the Specimen Question Papers/Specimen Marking
Schemes.
The work of the best candidates will be “distinguished by excellent knowledge
and confident understanding of their chosen films and be able to make very
detailed and accurate reference to them.” In addition “there will be a good
knowledge of narrative and representation.”
(8.21) To go back to what was said earlier, how much time should the
candidate give to Section B within the overall two and a half hours
Earlier (7.9) suggested that equal time should be given for the written
answers to each of the three Sections: 45 minutes.
9. British & American Film – Section C
(9.1)
Is Section C any different from Section B – other than in the shift to US
Cinema?
The word “comparative” is in the title – and although there may be an
implication that the two UK films studied for Section B be compared and
contrasted, here in Section C it is explicit.
The second thing to say follows from this – the choice of films should lend
itself to a comparison. To quote from the Specification: “the films selected
should enable sufficient comparison and contrast to be made. One way of
ensuring this is to select films made at different historical moments.”
On the other hand, it has to be admitted that there are ways in which Sections
B and C are very similar in their learning objectives and each consolidates the
other in relation to studies in narrative, representation and genre.
(9.2)
The three different kinds of examples in the Specification are useful –
but can you suggest further examples:
Here are five further examples of each.
Historical genre comparison
Casablanca and Play it Again Sam
Donnie Brasco and The Departed
Foxy Brown and Jackie Brown
Gun Crazy and Bonnie and Clyde (or Natural Born Killers)
Re-makes
The Reckless Moment and The Deep End
All That Heaven Allows and Far from Heaven
The Manchurian Candidate
The Thomas Crown Affair
3:10 to Yuma
Shared theme
Red River and Brokeback Mountain (male relationships)
Sullivan’s Travels and The Player (film making)
The China Syndrome and Erin Brockovich (environmental
campaigning)
Rear Window and The Conversation (seeing/ hearing/understanding)
Do the Right Thing and Crash (race relations)
As was said in (12) above, there are likely to be many, many viable and
productive pairs of films which teachers will think up for themselves. The
WJEC will update this list of examples.
(9.3)
How important are contextual studies in informing study of the two US
films?
Contextual knowledge is important, especially if it simultaneously informs
teaching and learning for Section A (Producer and Audience) studies.
(9.4)
Section C questions on the Specimen Paper appear to offer a clear
differentiation between one on narrative/genre and the other on
messages and values.
That’s right.
(9.5)
What characterises a good answer to a Section C question?
This is the same as for Section B.
The work of the best candidates will be “distinguished by excellent knowledge
and confident understanding of their chosen films and be able to make very
detailed and accurate reference to them.” In addition “there will be a good
knowledge of narrative and representation.”
(9.6)
To go back to what was said earlier, how much time should the
candidate plan to give to Section B within the overall two and a half
hours
See above, 8.21
(9.7) Would it be wise to do more than one study for Section C?
Certainly the examination questions are very broad and candidates can offer
any one of a number of case studies. In practice it is difficult to see that there
is time to offer more than two studies.
It may be useful to start the AS year with a simple and clear comparison of
two US films – providing a general introduction to not only themes and ideas
but also key skills. Later in the AS year a second study, perhaps a more
complex and ambitious one, can be undertaken.
(9.8)
So Section C could start and finish the AS course?
Well, there are different ways of organising the AS course – and topping and
tailing with US film studies is one possibility.