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Film Studies and a Programme of Activities and Resources to Prepare You to Start an a Level in Film Studies in September
A Level FilmA LevelStudies Geography Transition Booklet Transition Booklet 2021 This pack contains information about A Level Film Studies and a programme of activities and resources to prepare you to start an A Level in Film Studies in September. Please use this during the summer term and the summer holidays to prepare for your A Level course. 1 Please note the compulsory summer work which starts on page 3 About the course: The specification we teach is produced by Eduqas. The unit code is A670QS A (A level) and a full copy of this specification and other useful information is available at: https://www.eduqas.co.uk/qualifications/film-studies-as-a-level/#tab_overview The course consists of the study of eleven films over three components: Component 1: Varieties of Film Making Component 2: Global Filmmaking Perspectives Component 3: Non-examination assessment Films: Bonnie and Clyde (Penn, 1967) Vertigo (Hitchcock, 1958) The films of Buster Keaton (Keaton, 1915-1930) La La Land (Chazelle, 2016) Beasts of the Southern Wild (Zeitlin, 2012) Stories we Tell (Polly, 2012) This is England (Meadows, 2006) Trainspotting (Boyle, 1996) Pan’s Labyrinth (Del Toro, 2006) City of God (Mereilles, 2002) Pulp Fiction (Tarantino, 1994) Learners will study all of their chosen films in relation to the following core study areas. Area 1. The key elements of film form: cinematography, mise-en-scène, editing, sound and performance Area 2. Meaning and response: how film functions as both a medium of representation and as an aesthetic medium Area 3. The contexts of film: social, cultural, political, historical and institutional, including production. -
The Chatter Box
The Chatter Box Cover art by Amrita Kandaswamy Grade 7 The Chatter Box Content Writer Title Page No. Vibha V Religious festivals: In favour of the 5 environment, or not? Sanjeevaraman What is Swachh Bharat? 6 Meghana What does the Citizenship 7 Sudeesh Amendment Act mean for India? Ananya Who are the transrodni? 10 Pabbisetty (Transgender) Siva Sruthi BTS and the story of success 12 Vaishnavi Wonder: A book that tells you to have 13 Venkatesh confidence in yourself Amrita A small visit to ‘Thalappakatti’ 14 Kandaswamy Harshieth R Game Review: Last of Us 16 Thejeshwaran Review of ICC Cricket World Cup 17 Akash.S The flying shuttle: P.V Sindhu 20 Guru Meenakshi A look into Pro Kabaddi League 21 Sundaram Gokul Karthik Joy of playing football 22 Adhvika. D Is anyone watching movies in theatres? 23 Bavadhaarani Tweenagers and YouTube 24 Avyakt Vignesh My favourite Netflix shows and why I 25 Rajeshwaran love them Sarvajith Marvellous Mrs. Esha Matthew 26 Santosh Sivan Source: marketingland.com The Chatter Box Editor's Note Dear reader, What’s up? Most people don’t read the editor’s note, but if you're reading it, hooray! This is infused with happiness and good vibes. Moving on, this note is to tell you about our newspaper. My grade started writing this newspaper as a project for our chapters, Reading Newspapers 1 and 2. We were assigned topics, given choices, got designated roles and all the lot. We had an interesting experience doing this project. We had big ups and low downs. Most of us had very little experience writing articles and general journalism. -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
Conference Reports – October 2010
Scope: An Online Journal of Film and Television Studies Issue 18 October 2010 Conference Reports – October 2010 Table of Contents Bloodlines: British Horror Past and Present Michael Ahmed. .................................................................................... 3 IMAGEing Reality Stefano Odorico. ................................................................................. 8 The Moving Image: Reconfiguring Spaces of Loss and Mourning in the 21st Century Jenny Chamarette. ............................................................................. 11 NECS 2009 3rd Annual Conference: Locating Media Andrea Virginás. ................................................................................ 17 New Waves: XII International Film and Media Conference Hajnal Kiraly ...................................................................................... 21 Open Graves, Open Minds: Vampires and the Undead in Modern Culture Darren Elliott-Smith. .......................................................................... 25 Re-Living Disaster Ozlem Koksal. ................................................................................... 29 SCMS @ 50/LA (Society for Cinema and Media Studies): Archiving the Future, Mobilizing the Past Jason Kelly Roberts,. .......................................................................... 32 SCMS @ 50/LA (Society for Cinema and Media Studies) Martin L. Johnson. ............................................................................. 35 1 Conference Reports Straight Outta Uttoxeter: -
Special Events: Film and Television Programme
Left to right: Show Me Love, Gas Food Lodging, My Own Private Idaho, Do the Right Thing Wednesday 12 June 2019, London. Throughout July and August BFI Southbank will host a two month exploration of explosive, transformative and challenging cinema and TV made from 1989-1999 – the 1990s broke all the rules and kick-started the careers of some of the most celebrated filmmakers working today, from Quentin Tarantino and Richard Linklater to Gurinder Chadha and Takeshi Kitano. NINETIES: YOUNG SOUL REBELS will explore work that dared to be different, bold and exciting filmmaking that had a profound effect on pop culture and everyday life. The influence of these titles can still be felt today – from the explosive energy of Do the Right Thing (Spike Lee, 1989) through to the transformative style of The Blair Witch Project (1999) and The Matrix (The Wachowskis, 1999). Special events during the season will include a 90s film quiz, an event celebrating classic 90s children’s TV, black cinema throughout the decade and the world cinema that made waves. Special guests attending for Q&As and introductions will include Isaac Julien (Young Soul Rebels), Russell T Davies (Queer as Folk) and Amy Jenkins (This Life). SPECIAL EVENTS: - The season will kick off with a special screening Do the Right Thing (Spike Lee, 1989) on Friday 5 July, presented in partnership with We Are Parable; Spike Lee’s astute, funny and moving film stars out with a spat in an Italian restaurant in Brooklyn, before things escalate to a tragic event taking place in the neighbourhood. -
Shane Meadows' Country: This Is England (2006)
SHANE MEADOWS’ COUNTRY: THIS IS ENGLAND (2006) Carla Ferreira de Castro Universidade de Évora Portugal [email protected] This Is England is social realist film portraying racism and poverty in 1980s Britain through the eyes of Shaun, a 12 year old boy, who has lost his father in the Falklands war and as to come to terms with his own identity, the difficult transition from childhood to adolescence and the need to fit in a determined group/tribe/gang. The following article aims at analysing relevant aspects depicted from the film emphasizing the so much debated reality of life during 80s. In This is England Shane Meadows manages to rediscover his own self geography, by revisiting his adolescent years. It is a biographical film about the importance of peer pressure and the results of an excess of nationalism, at the same time it typifies some issues related to the 80s youth culture. This is England é um filme social e realista que descreve o racismo e a pobreza na Grã-Bretanha dos anos 80 através do olhar de Shaun, um rapaz de 12 anos, que perdeu o pai a Guerra das Maldivas e tem de gerir a busca pela sua identidade, a transição da infância para adolescência e a necessidade de pertencer a um determinado grupo/tribo/gang. O presente artigo visa analisar aspectos relevantes extraídos do filme enfatizando a tão debatida realidade da vida nos anos 80. Em This is England Shane Meadows reencontra a geografia do ser, através do revisitar dos seus anos enquanto adolescente. É um filme biográfico acerca da importância da pressão exercida pelos pares e o resultado de um nacionalismo excessivo, ao mesmo tempo que tipifica alguns aspectos relacionados com a cultura dos anos 80. -
Rannual Report 2019
ANNUAL REPORT 2019 3 Dorset Rise, London EC4Y 8EN 020 7822 2810 – [email protected] www.rts.org.uk RtS PATRONS PRINCIPAL PATRONS BBC ITV Channel 4 Sky INTERNATIONAL PATRONS A+E Networks International Netflix Discovery Networks The Walt Disney Company Facebook Viacom International Media Networks Liberty Global WarnerMedia NBCUniversal International YouTube MAJOR PATRONS Accenture IMG Studios All3Media ITN Amazon Video KPMG Audio Network Motion Content Group Avid netgem.tv Boston Consulting Group NTT Data BT OC&C Channel 5 Pinewood TV Studios Deloitte S4C EndemolShine Sargent-Disc Enders Analysis Spencer Stuart Entertainment One STV Group Finecast The Trade Desk Freeview UKTV Fremantle Vice Gravity Media Virgin Media IBM YouView RTS PATRONS Autocue Lumina Search Digital Television Group Mission Bay Grass Valley PriceWaterhouseCoopers Isle of Media Raidió Teilifís Éireann 2 BOARD OF TRUSTEES REPORT TO MEMBERS Forewords by RTS Chair and CEO 4 I Achievements and performance 6 1 Education and skills 8 2 Engaging with the public 16 3 Promoting thought leadership 24 4 Awards and recognition 30 5 The nations and regions 36 6 Membership and volunteers 40 7 Financial support 42 8 Our people 44 9 Summary of national events 46 10 Centre reports 48 II Governance and finance 58 1 Structure, governance and management 59 2 Objectives and activities 60 3 Financial review 60 4 Plans for future periods 62 5 Administrative details 62 Independent auditor’s report 64 Financial statements 66 Notes to the financial statements 70 Who’s who at the RTS 84 Royal Television Society AGM 2020 In light of the restrictions in place due to the Covid-19 crisis, the Society is reviewing the timing and logistics involved in holding its 2020 AGM. -
Shane Meadows' Children
`Stick that knife in me': Shane Meadows' children Article (Published Version) Lebeau, Vicky (2013) ‘Stick that knife in me’: Shane Meadows’ children. Journal of British Cinema and Television, 10 (4). pp. 878-889. ISSN 1743-4521 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/20805/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk ‘Stick that knife in me’: Shane Meadows’ Children Vicky Lebeau Abstract: This article brings Shane Meadows’ Dead Man’s Shoes (2004) into dialogue with the history of the depiction of the child on film. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
Media Level 3 Extended Diploma and Level 2 Diploma
Media Level 3 Extended Diploma and Level 2 Diploma Task Create a short creative piece revolving around the theme of ‘lockdown’. Choose one of the products below to create: • A documentary on your experience – interviews with those you live with/ video interviews/ home footage of your experience (2minutes) • A 10 photo photoshoot on the theme/s around lockdown – outline why you have chosen them • A stop motion animation (1minute) • A VLOG (2 minutes) • An opening to a short film (2minutes) Watch List • Every frame a painting (YouTube) • UK cinema films: • I, Daniel Blake (Ken Loach) • This is England (Shane Meadows) • Fish Tank (Andrea Arnold) • Shaun of the Dead (Edgar Wright) • Bait (Mark Jenkin) • Four Lions (Chris Morris) • The Full Monty (Peter Cattaneo) • The Wicker Man (Robin Hardy) • Under the Skin (Jonathon Glazier) • www.shortoftheweek.com Watch the Best Short Films | Short of the Week www.shortoftheweek.com Watch the most innovative stories—Documentary, Comedy, Sci-fi, Horror, Experimental, Animation, Inspiration, Student films, Award winners & more short films Useful Websites · https://www.spud.org.uk/spudfilm · The Guardian Film Online · Nofilmschool.com · Every frame a painting (YouTube) · Campaignlive.co.uk · Udemy.com Activities • Create a YouTube channel uploading any past video work onto it • Follow your favourite media influencers on social media (actors, film directors, animators, photographers etc) • Download and experiment with Adobe Apps such as Premier Rush, Photoshop Mix, Photoshop Express, Lightroom, Photoshop Fix • Use and follow (where possible) YouTube tutorials on how to use SLR cameras, Shot types, recording sound and lighting set ups • Take as many photos and record as much footage as you can (landscape on smart phones) • Watch a range of films that you wouldn’t usually watch (start with the IMDB top 250) and then read the reviews or watch the behinds the scenes on YouTube. -
Welcome to Film Studies
Film Studies Y11 into Y12 Martin Sheen in Apocalypse Now Welcome to Film Studies There’s been a real growth in the subject nationally and we’re delighted to offer it again at A-Level. This is just a quick booklet to give you a few pointers as to what we’ll be doing on the A-Level, how it’s laid out as a course and what you can do to prepare for starting the in September. There are activities designed to cover six weeks worth of time, but can be completed sooner if you were to combine them or do them in large chunks together. Note that the films included in this booklet are here for guidance and not necessarily the films that you will be studying. To help do the work, you will find a PowerPoint document which contains the clips and activity explanations you will need, as well as activities you can complete in the PowerPoint itself, or on paper if you prefer. If you’re still not sure about whether you want to do the course then please, have a read of this booklet. Pan’s Labyrinth 2 Component 1 The course is broken down below. You can see how you are introduced to how studying a film actually works and then the bulk of the examined work is covered. We study three paired sets of films and at the end of the year we introduce the coursework element of making a short film. Please note: the films included in this booklet are here for guidance and not necessarily the films that you will be studying. -
Made in Britain: Warp Films at 10
13/14 Made in Britain: Warp Films at 10 A 10th Anniversary celebration at BFI Southbank In spring last year BFI Southbank launched Made in Britain, an annual exploration of contemporary British Cinema. In April the strand returns with a selection of the most ground- breaking titles from Warp Films, as we celebrate this seminal production companyǯ ͳͲ anniversary. Warp Films have in their way defined a decade and are helping to shape the future of British cinema, offering the opportunity for highly original and exciting talent to make films that might otherwise be overlooked. BAFTA-winning films such as the This is England (2006), Four Lions (2010) and Tyrannosaur (2011) will all feature, but the season will launch with what promises to be a truly awesome event when ǯ (2004), directed by Shane Meadows, will screen with a live music accompaniment Ȃ featuring musicians from UNKLE and Clayhill plus Jah Wobble - at the Queen Elizabeth Hall on Friday 29 March. There will also be a Warp Films Shorts Programme, including work by Lynne Ramsay, Chris Cunningham and Paddy Considine plus a BUG: Warp Records Special, followed by an aftershow in benugo with Warp DJs hitting the decks. To complement this amazing showcase there will be an exhibition of newly designed Warp Film posters, by Sheffield-based artist Pete McKee, displayed exclusively in The Atrium at BFI Southbank. Warp Films have been at the heart of a new wave of filmmaking in the UK and have provided a platform for fresh, radical ideas and emerging talent from film and TV.