Qualification Accredited

A LEVEL

Delivery Guide FILM STUDIES

H410 For first teaching in 2017

Component 2 – Section B: Documentary Version 1

www.ocr.org.uk/filmstudies Introduction would like OCRtowould develop, like pleaseemail you haveIf Guideorsuggestionsfor any feedback otherresources onthis Delivery you • • • topic andcontain: guidesare designed to representDelivery aboutteaching aparticular abodyofknowledge of Component 2:Documentary. This B guideoutlinesapproaches for andideas, the Section includinglearneractivities FILM STUDIES FILM A Level Film Studies A LEVEL A discrepancy please contact usonthefollowing pleasecontact discrepancy email address: there theresource between may becontradictions andthespecification,therefore pleaseuse theinformation onthe latest you specification atalltimes. donoticea If This resource wasdesigned usingthemost upto date information from thespecificationattimeitwaspublished. Specifications are updated over time, whichmeans DISCLAIMER learning styles orteaching approaches. styles learning classes, themes sothatdifferent which bestsuitparticular canbeselected activities Contextually:Thinking subject; understand theseconceptsandhow thistopic linksconceptuallyto otherareas ofthe difficulties students may have, approaches to teachingthatcanhelpstudents Conceptually:Thinking Content: Aclearoutlineofthecontent covered guide; by thedelivery A range of suggested teaching activities using a variety of Arangeofsuggested usingavariety teaching activities Expert guidance on the key conceptsinvolved, guidanceonthekey common Expert [email protected] [email protected] 2 Learner Resources –Activities Contextually Thinking Conceptually Thinking ContentCurriculum 9 8 4 3 Delivery Guide Delivery © OCR 2017 A Level Film Studies Delivery Guide

A brief contextual history of documentary film

The Documentary component is designed to engage learners in the close study of documentary film. Learners are required to study documentary film and the ways in which this form of filmmaking uses film form, narrative and generic conventions to represent reality and create representations of societies and cultures. Learners also need to critically debate the claims of naturalism and realism and the formalist and structuralist conception of film narrative in relation to documentary film.

In order to evaluate how documentary film constructs meaning, learners will also need to analyse how the social, cultural, political, historical and institutional contexts inform a wider understanding of this mode of filmmaking.

Learners will build upon their understanding of Component 01, with particular reference to the micro-elements of film form and the construction of meaning and response by both filmmaker and spectator.

Learners must study one set documentary film in depth and there is a choice of six set documentary films. These films cover a range of different stylistic and aesthetic approaches and draw from the different modes of documentary.

Finally learners are required to study the significance of the following two, contrasting filmmakers’ theories of film in relation to the set documentary film they study: Curriculum content Curriculum • John Grierson • D.A. Pennebaker.

As a summary assessment of this section and questions will focus on: • Representations (how they are constructed through film form, narrative and the generic conventions of documentary filmmaking) • Contexts • Spectatorship.

Critical debates on: • Representations of reality and claims of naturalism and realism • Film narrative • Filmmakers’ theories of film.

3 © OCR 2017 Thinking conceptually Approaches to teaching thecontent A Level Film Studies from thisperiod. sound effects. accounts for indocumentaries omniscientnarration theoften This partly voice soundwasoften caused difficulties. over thisperiod music and During narration, films asthecostandsizetechnical oftheequipmentboth problems to documentary example ofthis.considered asakey The advent ofsynchronous soundpresented the1930s, filmsduring HousingProblemsbegan to appearindocumentary canbe considered thefirstclassicsilent documentary. filmssynchronous As withfiction sound step wasin1922with forward The next of thetrainatCiotatStation). (Arrival This wasasimplestaticcamerafilming ‘real’ event. phase begins in1895with The pre-documentary films. hadontheproduction ofdocumentary that they filmmaking. documentary This is aligned to technological developments andthe impact ofdevelopment canbeidentifiedwithinwestern filmaloosehistory As withfictional filmmaking Contextual ofdocumentary history specificfocus on dueto itsvery documentary ‘actuality’. documentary. Arguably by ismore thisadoptionofapointview thespectator explicitin will potentially align themselves beingexpressed withthepointofview withinthe arespectators and encouragedto adoptthepositionandoutlookoffilmmaker We canalsouseindicate theway inwhich,through thechoiceofmodeandediting, through thefilm.Less for uptheirown willbeleft to mindabout. thespectator make willbeonamuchmore clearandthespectator fixed routenarrative structure will bevery mode where the thiswould contrastwithafilmusingtheexpository be lessimportant; editingwill the poeticmodewillplacelessemphasisonnarrative structure andcontinuity senseofit.For whichuses willneedtospectator beinmaking exampleadocumentary constructed. howThe modewillalsodictate obvious thenarrative isandhow the active willmotivate the The modeofdocumentary ‘story’ and the way the narrative is inunderstandingthefilm. the spectator beingmore filmsaswell astheapproach hastaken usefulto thefilmmaker documentary ‘mode’ instead; this isdueto areas thewideranging subject covered ofdocumentary by the classificationisthrough genre, itisbeneficialfor to thespectator considerthe are senseofwhatthey allow to film,where watching. thespectator make fiction Unlike filmswilluseasetofestablishedtechniques which film,documentary As withfiction General approaches Nanook oftheNorth L’arriveé d’untrain engare deLa Ciotat (Flaherty) whichcanbe (Flaherty)

4 1 Nicols, B. Nicols, (2001) it waspossibleto useasmall 16mm handheldsynchcamerato filmonlocationand possible to for areduction inthenumberofpeopleneededafilmcrew. the1960s In As technology improved gotsmallerandlighter itbecame andbothsoundcamerakit spectator make sense of what they are senseofwhatthey seeingandwhy. make spectator isto helpthe thenarration andillustrate thenarration; to support serve of documentary pointofview.structure andfocus poeticmode, onaparticular imagesinthismode Unlike of God’‘voice to through guidethespectator orauthoritativenarration thenarrative contrast to thePoeticIn modethisismuchmore structured, employing often a mode Expository content. beconsideredthis modecanoften ‘avant-garde’ dueto thestructure andpresentation of remains underdeveloped.element found inothermodesofdocumentary Films madein are andstories andtheirviewpoints characters notdeveloped.Individual The rhetorical in reflecting tone andmoodasopposedto imposinganarrative structure onthecontent. Films madeinthismodetend to focus more ontheaestheticelementsandare interested Poetic mode filmmaking. documentary These are asfollows: hisbook In ‘ filmmaking ofdocumentary Modes on content andmodeofaddress. filmbasedontechnology useditispossibleto baseit the classificationofdocumentary filmsthenratherthanapproach nature ofthesetdocumentary Given thecontemporary productions tobudget Hollywood animations. borrowing from techniques andstyles arangeoffilmgenres andforms includinglarge havedocumentaries adopted amuchmore fluidapproach to theirconstruction, to begunto suittheirneedsandaesthetic. mixstyles filmmakers Contemporary ‘ to produce filmmakers moreThis technological observational allowed shift documentary theirfilms. to make lighteradvantage ofthenew weight kit with minimalcrew members. oftheFrenchThe filmmakers New Wave hadalsotaken fly onthewall Introduction to Documentary Introduction to Documentary ’ as thatlater work becameknown ‘Direct Cinema’. From the1960sonwards . Indiana University Press. University . Indiana ISBN:978-0253214690 ’ 1 Bill Nichols proposes sixdifferent BillNichols modesof Delivery Guide Delivery © OCR 2017 Thinking conceptually A Level Film Studies Citizenfour Man onWire The Act ofKilling 5 Broken Cameras forSugarman Searching The Stories We Tell setfilmsfor thiscomponentare:The sixdocumentary place itinto continuum. ahistorical forframework how a filmcanbe considering ‘read’ to by ratherthantrying aspectator and classifyingitinamore structured way presents thanjustgenre acritical terms. It film aboutdocumentary pointforThese modesprovide thinking ausefulstarting orsubjects’ qualitiessurroundingsubjective thefilmmaker own experiences. this isaboutmore andevents butasmuchaboutadding thanjustdocumentingfacts as speakaboutourselves‘we to you’ oreven speakaboutourselves‘we to us’; essentially identifiesit thefilm.Nichols involved making asitisaboutthesubject withthesubject being modeislessaboutthefilmmaker modetheperformative theparticipatory Unlike Performative mode relation to whatisbeingpresented onscreen andthemannerinwhich itisbeingdone. modesandwillforce to thespectator question their ofthedocumentary self-questioning itself. ofthedocumentary construction This modeisthemostself-aware andalsothemost to anddrawsThis modeallowsengagewiththespectator attention thefilmmaker to the Reflexive mode situation. for to beinaparticular sense ofwhatitislike thefilmmaker onscreenappearing withthesubjects. This modeshouldallow to usasspectators gaina present andnothidden. questionsto asking This canrangefrom thefilmmaker hearing is andthesubject oftherelationship thefilmmaker thismodethevisibility between In mode Participatory considered to bea onthewall’‘fly documentaries. approach to making time have canbe greater whatissignificant indetermining inthefilmornot.It agency As we spectators are isseeingandatthesame meantto witnesswhatthefilmmaker andnonarration. there nomusic, isoften nointerviews noscenearrangement, expository thepoeticand is happeninginfront Unlike ofthecamerawithoutany intervention. what isobserving isthatthefilmmaker ofthismodedocumentary aspect The primary mode Observational (2014).Directed by LauraPoitras, 15 (2008).Directed 12 by Marsh, James (2012).Directed by Oppenheimer, Joshua 15 (2011).Directed Guy Davidi. by 15 EmadBurnat, (2013). Directed by SarahPolley, 12 (2012).Directed Bendjelloul, by Malik 12 5 Whilst very differentWhilst very ofcontent interms andtone of ‘truth’. ordealwiththeidea creative can tell astory approach to theway inwhichadocumentary awayshift from andDirect Cinemaapproach. boththe Grierson This alsoallows for amore Oppenheimer refers to thefilmasa ‘documentary oftheimagination’ whichsignifies a 1965-66. The reconstructions borrow from genres fictional to reconstruct memories; in inIndonesia inmasskillings focuses onanumberofindividualswhoparticipated such ascross-cutting, soundeffects, voiceover, reconstructions are musicandstylised all have allowed to spectators ‘read’ senseofthem. filmsandmake documentary Techniques grammar hasresulted in ‘mainstream’ filmand conventions beingappliedto documentary is noalternative filmlanguage specificallyfor documentary. film This adoptionoffictional therefilm, itdoesrely heavily filmmaking; onthelanguageandgrammar usedinfictional filmdoesnotfiteasilyinto thesamegenre usedby categories fiction Whilst documentary astext Documentary both collectively andindividually.both collectively thenarrative andhowto wishesto to how construct represent thefilmmaker herfamily, which are archive madeto looklike familyfilm. oftechniques isvital This useofavariety fromand friends, narration her ‘father’, archive footage andreconstructionsshotonSuper 8 anditsunreliable nature.with theideaofmemory with family The filmmixes interviews The in useofreconstructions isalsoevident response andgenerate meaning. film. soundtrackisalsousedto Throughout enhancespectator thefilmanon-diegetic alongsidereconstructions whichthemselves resemble sequencesfrom interviews athriller telling this in 1974.In ‘story’ itblendsarchive footage, head stillphotographs andtalking of Philippe Petit andhiswire the walkbetween Twin Towers ofthe World Trade Center to seehow thesetechniques canbeused. filmschosenforrepresentations closestudyitispossible thedocumentary intheirfilms. In to helpshapeanddirect bothnarrative structure and filmmakers by documentary as well. Cinematography, are editing, used soundandperformance mise-en-scène, offilmform therefore film The micro-elements documentary canbeseento underpin to createfilms madeinthisstyle narrativecoherence. onwards andwhilstthistechnique wasavoided inDirectCinemathere wasstillaneedfor ofthe have alwaysReconstructions beenpart ‘creative treatment’ from documentaries, theneedfor scenesto bereshot sothatthesynchsoundwould work. anarrative,need to through construct editing, manipulationduring for exampleorinearly ‘actuality’ to hasalways beensubject ofdocumentary ‘creative treatment’ through the fits withGrierson’s as definitionofdocumentary creative‘the treatment ofactuality’. The odds withafilmwhichisdealingreal events andreal people. Arguably though,it films. At facevaluetheuseofcinematictechniques canappearat used indocumentary Man onWire The Act ofKilling The Stories We Tell (Marsh 2008) focuses on the story 2008)focuses (Marsh onthestory (Oppenheimer 2012)which (Polley 2013)alsoplays Nanook oftheNorth Delivery Guide Delivery © OCR 2017

Thinking conceptually A Level Film Studies spectator tospectator reflectonthese issuesnow. is agoodexampleofhow a film can It of Killing ofsearchinguses thenarrative device for asingerto cover awiderrangeofissues. Sugarman poignant asitreflects onatimeandplace whichnolongerexist.Equally, protagonists,with thekey andarguably thefilmmore thisdeliberate omissionmakes interviews 9/11butthiseventafter isnever mentionedinthefilmeven incontemporary current social, cultural andpoliticalcontext. issuesandreframe pastevents withina to commentoncontemporary documentary past. around events historical canallow This reflection onthepastandframingstory the filmlastreleased analbumin1971and occurred in1965-66; documents anevent whichtook placein1974; on events whichare atthetimeofproduction: historical from extents. Allofthe filmsapart of thesetfilmsdothisto varying more andall filmisperhaps explicitinreflecting someofthesecontexts Documentary inwhichthe filmisproduced, andinstitutionalcontexts historical andviewed. distributed isinfluencedby includingsocial, a rangeofwiderfactors cultural,All filmmaking political, andwidermeaning Documentary more politicalandpolemical. suchas observational even onewhichisprimarily willbecompletely neutral; to beaware thatnodocumentary isimportant and values. It structurebecomevitalincommunicatingthefilmsmessages and where pacingandstory the order inwhichthisispresented iskey. sense to make willstart This iswhere thestory narrative isediting. choosesto How show information thefilmmaker thespectator and and story thedocumentary’s inconstructing micro-element Arguably themost important soundtrack whichhelpsto create tension andenhancetheatmosphere for thespectator. to signify Edward by anon-diegetic Snowden asatrappedpoliticalagent,thisissupported Edward program. Snowden andtheNSAsurveillance The useoftightlyframedshotshelp ofboth andscreen narration basedcommunicationsto tell thestory a mixofinterviews, politicaltopic dealingwithamore andovertly story. serious In suchassoundwillbeusedto enhancetheemotionwithin and how micro-elements hasmadeanaestheticdecisioninhow theoverall on Super8thefilmmaker filmwilllook with otherfootage shot archive headinterviews Mixing footageRodriguez. andtalking structureto shapeitsnarrative,uses ajourney following search fansasthey two for Sixto fromjourney thepersonal to thepolitical. helpsto structure device shapethenarrative, asthefilmbecomesa The useofthisdiary to oneofthefive linked brokencameras. narrative structurewitheachsection style a diary footage to helpguidethespectator. withaddednarration shotby EmadBurnat The filmuses 5 Broken Cameras deals with historical political issues but in a contemporary context forcing context the politicalissuesbutina contemporary dealswithhistorical covers a period of major political and social change within South Africa and covers Africa ofmajorpoliticaland socialchangewithinSouth aperiod (Burnat and David 2011) is also a personal story which uses observational whichusesobservational andDavid 2011)isalsoapersonalstory (Burnat Searching forSugarman Searching Searching forSugarman Searching The Stories We Tell Man onWire deals with a recording artist who prior to whoprior dealswitharecording artist The Act ofKilling 5 Broken Cameras wasreleased in2008,seven years Man onWire dealswithanindividual’s Citizenfour covers events which (Bendjelloul 2012) also 2012)also (Bendjelloul ultimately becomes Citizenfour examinesand (Portias 2014) use (Portias 2014)use Searching for Searching reflect The Act 6 A familybasedfocus isalsocentralto through ofonemanandhisfamily. theexperiences but doessoprimarily applied to issuesandevents. ofhistorical the representation andre-construction This canalsobe potentially beanagentfor facilitatingsocial, culturalandpoliticaldevelopments through Alongside this there was a reaction to the way documentary films hadpreviouslyAlongside this there been wasareaction to theway documentary technology hadimproved,when filmmaking wasmuch lighter andnow fullyportable. D.A. contrast to Grierson, In Pennebaker beganhiscareer inthe1960sandatatime Cavalcanti allofwhommadesignificant thisperiod. filmsduring figures includeHumphrey key Jennings,wider movement. Basil Other Wright andAlberto ofthe produced to bepart anditswiderrole buthewasnottheonlyfilmmaker insociety shouldbe ofdocumentary was instrumentalindeveloping theideaaboutwhattype time asignificant numberofsociallyfocused were documentaries produced. Grierson Grierson’s shouldbewasfrom which 1930-1952during ideasabout whatadocumentary filmsthataligned themselves for with period theproductionofdocumentary the key industry. From filmabouttheherring ashort this Board) andisonthesurface Marketing proved to beacritical, andacommercial success-itwasproduced by theEMB(Empire The firstfilmproduced whichbuiltonthesevalueswas by Grierson people, themixingofsocialclassesandindividual’s ofawidercollective. role aspart andpromote of individualswithinsociety asetofvaluesincludingtheheroism ofordinary Movement, amovement whichshouldusecinematicmeansto draw attention to therole Film canbearguablyGrierson beseenasthefounding memberofthe Documentary andpositionratherthanofferown practice aspecific theory. reflectupontheir often andinterviews aboutfilm,theirwriting anacademicwriting Unlike filmmaking. aboutdocumentary andinterviews andwritings accessible bodyofwork alsohave andthey an filmmaking different schoolsofthoughtwithindocumentary andD.A.As Grierson filmmakers, John Pennebaker canbeseento represent very two production; from shootingonSuper8to theneedto travel withminimalequipment. films andonboththeaesthetictechnical choicesthathave beenmadeduring andconstraints. production, financialandtechnological opportunities between This varies all of thesetfilmsreflect filmsattract Given thesmalleraudienceswhichdocumentary and representations, bothofindividualsandinstitutions. social, culturalandpoliticalattitudesallofwhichare explored withinthefilmsnarrative issuesandcanbeseenasafilmwhichreflects andcommentsoncurrent contemporary andrepresentations.characterisation contrastto this In beliefs dueto whichare thetopics andexperiences explored withinthefilmsnarrative, socialand culturalattitudestoward asameansofconstructing can act widerissuesand 5 Broken Cameras whichdealswithpoliticalissueswithininPalestine andIsrael The Stories We Tell whichisanexampleofhow afilm Citizenfour dealswithmuchmore Drifters Drifters (1929), which Delivery Guide Delivery © OCR 2017 Thinking conceptually A Level Film Studies inform analysisandunderstanding ofthismodefilmmaking. consideration ofhow thesocial, cultural, political, andinstitutionalcontexts historical filmwitha ofthedocumentary Learners framework willalsostudythecontextual film. relation to documentary naturalism andrealism conceptionof film narrative in andtheformalist andstructuralist film represents reality andcreates representations ofsocieties andcultures; theclaimsof to filmcontribute theways inwhichdocumentary conventionsgeneric ofdocumentary form (Cinematography, how narrativeand editing, soundperformance); mise-en-scène, offilm and willincludebutnotbelimited to: anunderstandingofthemicro-elements filmdraws from uponanddevelops learning thewholecourse The studyofdocumentary topic to setlearnersupfor topics later inthecourse Conceptual linksto otherareas ofthespecification –usefulways to approach this represents beingmore away academicallybased. asubtleshift from theory adocumentary. canbemadeandtheirapproach to making how adocumentary This thansearch for ofthefilmmaker’sRather of view asettheory, itismore ofasummary With thistopic over there to besomeconcern islikely therole astheorists. offilmmakers released screening. inacinemaeven ifitsubsequentlygetsa TV andone cinematically andthatthere on isadifference adocumentary between TV are thatlearners aware thatthefilmsstudiedwere isalso important releasedIt with biopicsandotherfilmsbasedontruestories. differences filmsbasedonreal thisandfiction events. between There confusion isoften filmisandthe for to beclearaboutwhatadocumentary learners isimportant It Common misconceptions ordifficultieslearnersmay have handheld cameramoves anda ‘gritty’ and ‘real’ look. intheuseof itsaestheticwhichisevident isperhaps Direct Cinemaondocumentary could beandwhatitcouldlooklike. from whatadocumentary The lastinginfluenceof isfeature It acoustic tour lengthand voiceover ofBritain. free change andoffers amarked realisedperhaps with which hefelt fitted better aboutwhatDirect Cinemashouldbe. withhisview This was followed asheranfor From ayoung Kennedy John election. films thishebegunto make Pennebaker wasamemberof ‘Drew Associates’ andinvolved in whichresultedmade andthelackofauthenticity asDirect Cinema. inamovement known Don’t Look Back (1965),hisfilmwhichfollowed onhisfinal Dylan Bob Primary (1960)which 7 Delivery Guide Delivery © OCR 2017 Thinking contextually A Level Film Studies how to present a particular viewpoint. viewpoint. how to present aparticular Pennebaker) inrelation to thesettexts, to creative exercises to thatallow explore learners and represent reality, and (Grierson ofthetheorists theviewpoints to considering films. filmsconstruct analysisofhowThese documentary rangefrom textual practising filmandcanbeappliedto anyof approaches ofthesixset to thestudyofdocumentary thatencourageavariety guideprovides opportunities arangeoflearning This delivery Approaches to teaching thecontent 8 Delivery Guide Delivery © OCR 2017 Learner Resources – Activities A Level Film Studies • • • • • • • D.A. Pennebaker (links) • • • • • (links) John Grierson differing ismostrelevant andseewhichviewpoint to views have thefilmthatthey studied. andpresentone aspect itto therest oftheclass. You couldalsohave theclassdebate the with relevant books, suggestionsare listed below aswell. You to research couldasklearners This isby nomeans exhaustive andwhere possibleitwould beusefulto supplementthis Below are linksfor to getyou eachfilmmaker started. can bereferred directly to thefilmstudied. andlinked to asthetopic isexplored further filmmaking. documentary To introduce to thisaskthemto learners file. complete afact This andD.A.Learners Grierson ofJohn shouldhave knowledge Pennebaker on andtheirviews Filmmaker astheorist Learner 1 Activity Bob Dylan Bob https://vimeo.com/21664518 https://www.youtube.com/watch?v=wii6fDmv50E http://phfilms.com/history/ Pennebaker from onlinemagazine Indiewire documentarian-is-still-driven-to-find-the-truth-in-people-510386/ http://www.indiewire.com/2016/05/d-a-pennebaker-why-the-90-year-old- hegedus-unlocking-the-cage http://povmagazine.com/articles/view/the-pov-interview-d.a.-pennebaker-and-chris- magazine music-documentary-da-pennebaker-looks-back http://www.bfi.org.uk/explore-film-tv/sight-sound-magazine/video/freewheelin- https://en.wikipedia.org/wiki/D._A._Pennebaker https://en.wikipedia.org/wiki/John_Grierson available online( Grierson John http://www.bbc.co.uk/programmes/b042rlbv watch?v=v6fWe0tpSSg a Lens: Film available online( Mob The Documentary http://www.bbc.co.uk/programmes/b012p53d ofStirling University http://libguides.stir.ac.uk/archives/Grierson ( http://www.griersontrust.org/about-us/john-grierson.html http://www.griersontrust.org/assets/files/articles/john-grierson-n-pronay.pdf ) -D.A. Pennebaker’s productioncompany - Greil Marcus interviews D.A. -Greil Marcus interviews Pennebaker aboutfilming - interview with POV magazine withPOV -interview https://www.youtube.com/watch?v=UQir-_RxlZ0 -Archive ofGrierson’s at the work - page Wikipedia - BBC 2 Documentary Documenting Documenting -BBC2Documentary - BBC 4 Documentary Britain Britain Through -BBC4Documentary - interview with Sight and Sound withSightandSound -interview - page Wikipedia - Interview withD.A. Pennebaker -Interview https://www.youtube.com/ - Grierson -Grierson Trust website - good article on -goodarticle ) ) 9 • • • Books • dp/1844573419 1844573419 ( Film Book The Documentary B0056HIOFU/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 (FaberMacdonald andFaber 2006)ISBN:0571225144( The FaberImagining Reality: BookofDocumentary Interviews-Conversations-Filmmakers-ebook/dp/B01C90QYE4 2015) ISBN:1628462027( of Mississippi amazon.co.uk/Documentary-John-Grierson/dp/0571113672 ‘ D. A.Pennebaker: On Documentary On https://www.amazon.co.uk/Documentary-Film-Book-Brian-Winston/ ) ’ (Faber Grierson John andFaber 1979)ISBN:0571113672( Interviews (Conversations withFilmmakersInterviews Series) Edited by Brian Winston Film (British 2013)ISBN: Institute https://www.amazon.co.uk/D-Pennebaker- Edited by Mark Cousins and Kevin Cousins Edited andKevin by Mark https://www.amazon.co.uk/dp/ ) ) ) (University Press (University documentary posters documentary examining wartime (right) Grierson John https://www. Delivery Guide Delivery © OCR 2017 Learner Resources – Activities wider issues. understand thattheirpersonalinterpretation isvalidandwillfeed into theircommentson thefollowingcan beusedduring tasks. Personal Learners should response isimportant. Watch thechosen filmthrough. notes watch asthey thefilm–these shouldmake Learners Viewing activities A Level Film Studies 4. 3. 2. 1. filmuseselementsfrom film. fiction responsespectator andhow documentary to elementsareThese identifyhow taskswillenablelearners structural usedto generate elementsIdentifying offilm andunderstandingstructural Learner 2 Activity do you respond to them? shot? How are positionedwithinthenarrative? How they are represented? they How film. Consider how theaudienceisguidedto respond to thecharacters. How are they from characters inthe thefilms. ofthecharacters Identify thekey Identifythefunction conventional narrative structure? notinwhatways isitdifferent?If Could you restructure thefilmsothatitfollowed a uploads/2016/06/paradigm.pdf see ifitusesaconventional narrative structure Learners andmapoutthe filmandto shouldusethefollowing to worksheet try http://hacktext.com/2011/09/story-vs-narrative-vs-plot-1205/ https://filmandphilosophy.com/2015/02/11/film-narrative/ https://5writers.com/2013/04/03/screenwriting-structure-the-three-act-paradigm/ works. similar three structure? act helpexplainwhatthisisandhowThe it following articles structured. Could thefilms narrative fitinto itusea amodelfor films? Does fiction Having shouldinvestigate watched thefilmlearners how thefilmsnarrative is thinkillustratesequences thatthey this. thinkthefocus they filmfits. 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10 of documentary film. of documentary analysisofspecificsequencesand This willmeanclosetextual offilmform elements are thestructural Identify how usedto themicro-elements construct Analysing key scenes Learner 3 Activity • • • • Possible questionsto consider: be usefulfor to thinkillustrate identifyspecificscenes whichthey learners theirpoints. Onedriveto drive, produceas Google resource. orMicrosoft a whole classlearner would It for thefocus soinwhatways doesitdothis? film.If You couldusecollaborative tools such Ask to investigate learners thesocial, economic, political, andinstitutionalcontext historical Beyond thetext Learner 4 Activity • • • • • Possible questionsto consider: how linkto they considering widerelementsofthefilm. commercially? How have uponhow impacted thefilmhasbeenreceived thesefactors and critically basedupontheinstitutionalcontext? viewpoint aparticular thefilmconstruct Does evident? sowhatisthisandhow isit If politicalviewpoint? thefilmrepresentDoes aparticular hassocial, hadonthefilmsproduction? What impact economicorpoliticalfactors How are framed?How characters iscinematography usedto tell thestory? sohow? soundused, If How issoundused?Isnon-diegetic spectator? beenused? dothesehave headinterviews What impact used? Have onthe talking What techniques have Have beenusedto reconstructions been tell thestory? events? How hasthefilmbeenedited?actual betrusted? How itreflect the reliable Does isthenarration? Can thedocumentary How are you positionedasaspectator? Delivery Guide Delivery © OCR 2017 Learner Resources – Activities A Level Film Studies https://www.youtube.com/channel/UCYsWPPZMhfI9EddYpPe6CYw http://www.desktop-documentaries.com/mini-documentary.html http://kino-eye.com/2014/11/17/structuring-micro-docs/ done andways to structure it: think aboutatopic couldeasilycover. thatthey linksbelow Some illustrate whatcanbe documentary. shouldbeableto Ideallythey limitthisto about60seconds. They should whichusesoneofthemodes Learners shouldattempt amicro to make documentary filmmaking Documentary Practical activity: Learner 5 Activity

11 views been guided by the filmmaker? How helpto donarrative andcharacter beenguidedby guidetheir views thefilmmaker? debates surroundingAsk to documentary. How considerthekey learners have their activity Summary Learner 6 Activity does their chosen film fit with or work against the views of Grierson andPennebaker? ofGrierson againsttheviews does theirchosenfilmfitwithorwork response? How doestheinstitutional, social, affect theirresponse? politicalcontext How Delivery Guide Delivery © OCR 2017 We’d like to know your view on the resources we produce. By clicking on the ‘Like’ or ‘Dislike’ button you can help us to ensure that our resources work for you. When the email template pops up please add additional comments if you wish and then just click ‘Send’. Thank you. Whether you already offer OCR qualifications, are new to OCR, or are considering switching from your current provider/awarding organisation, you can request more information by completing the Expression of Interest form which can be found here: www.ocr.org.uk/expression-of-interest

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