Film Studies A-Level Induction Work to Prepare You for September 2021

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Film Studies A-Level Induction work to prepare you for September 2021

Email Miss Potts or Mr Howse if you have any questions – [email protected] or [email protected] Component 1: Varieties of film and filmmaking - Exam – 2 ½ Component 2: Global filmmaking perspectives - Exam – 2 ½ hours – 35% hours – 35% Section A: Hollywood 1930-1990 (comparative study) Section A: Global film (two-film study) Group 1: Classical Hollywood 1930- Group 2: New Hollywood (1961- Group 1: European Film Group 2: Outside Europe 1960) 1990) - Life is Beautiful (Benigni, Italy, 1997, - Dil Se (Ratnam, India, 1998, 12) - Casablanca (Curtiz, 1942, U) - Bonnie and Clyde (Penn, 1967, 15) PG) - City of God (Meirelles, Brazil, 2002) - The Lady from Shanghai (Welles, - OFOTCN (Forman, 1975, 15) - Pan’s Labyrinth (Del Toro, Spain, 2006, - House of Flying Daggers (Zhang, China, 1947, PG) - Apocalypse Now (Coppola, 1979, 15) 2004, 15) - Johnny Guitar (Ray, 1954, PG) 15) - Diving Bell (Schnabel, France 2007, 12) - Timbuktu (Sissako, Mauritania, 2014, - Vertigo (Hitchcock, 1958, PG) - Blade Runner (Scott, 1982, 15) - Ida (Pawlikowski, Poland, 2013, 15) 12A) - Some Like It Hot (Wilder, 1959, 12) - Do The Right Thing (Lee, 1989, 15) - Mustang (Erguven, Turkey, 2015, 15) - Wild Tales (Szifron, Argentina, 2014, 15) - Victoria (Schipper, Germany, 2015, 15) - Taxi Tehran (Panahi, Iran, 2015, 12) Section B: American film since 2005 (two-film study) Section B: Documentary film Section C: Film movements – Silent - Sisters in Law (Ayisi, Cameroon, 20015, Group 1: Mainstream Film Group 2: Contemporary independent Cinema 12A) - No Country For Old Men (Coen, film - Keaton compilation (Keaton, 1922, US) - The Arbor (Barnard, UK, 2010, 15) 2007, 15) - Winter’s Bone (Granik, 2010, 15) - Strike (Eisenstein, USSR, 1924, 15) - Stories We Tell (Polley, Canada, 2012, - Inception (Nolan, 2010, 12A) - Frances Ha! (Baumbach, 2012, 15) - Sunrise (Murnau, US, 1927, U) 12A) - Selma (Duvernay, 2014, 12A) - Beasts of the Southern Wild (Zeitlin, - Spies (Lang, Germany, 1928, PG) - 20,000 Days on Earth (Pollard, UK, - Carol (Haynes, 2015, 15) 2012, 12A) - Man With a Movie Camera (Vertov, 2014, 15) - La La Land (Chazelle, 2016) - Boyhood (Linklater, 2015, 15) 1928) - Amy (Kapadia, UK, 2015, 15) - Captain Fantastic (Ross, 2015, 15) - A Propos de Nice (Vigo, France, 1930, U) Section C: British film since 1995 (two-film study) Section D: Film movements – Experimental Film (1960-2000) - Vivre sa vie (Godard, France, 1962, 15) - Secrets and Lies (Leigh, 1996, 15) - This is England (Meadows, 2006, 18) - Daisies (Chytilova, Czech, 1965) - Trainspotting (Boyle, 1996, 18) - Fish Tank (Arnold, 2009, 15) - Saute ma ville (Akerman, Belgium, 1968) - Sweet Sixteen (Loach, 2002, 18) - We Need To Talk About Kevin - Pulp Fiction (Tarantino, US, 1994, 18) - Shaun of the Dead (Wright, 2004, (Ramsay, 2011, 15) - Fallen Angels (Wong, Hong Kong, 1995, 15) 15) - Sightseers (Wheatley, 2012, 15) - Timecode (Figgis, US, 2000, 15) - Moon (Jones, 2009, 15) - Under the Skin (Glazer, 2013, 15) FILM CORE AREAS Specialist Areas of Study (studied in every film): 1. Spectatorship 1. Cinematography 2. Narrative (camera and lighting) 3. Ideology 2. Mise-en-scene 4. Auteur 3. Editing 5. Critical Debates 4. Sound 6. Film-makers’ Theories 5. Performance 6. Meaning and Response 7. Context FILM CORE AREAS (to be studied in every film): Cinematography (camera and lighting) Mise-en-scene, Editing, Sound, Performance, Meaning and Response & Context Component 1: Component 2: Section A: Hollywood (1930-1990) Section A: Global Film Auteur Core Film Areas only

Section B: American Film since 2005 Section B: Documentary Film Spectatorship & Ideology Critical Debates 1 & Film-makers’ Theories

Section C: British Film since 1995 Section C: Silent Cinema Section D: Experimental Film Narrative & Ideology Critical Debates 2 (1960-2000) Narrative & Auteur Specialist Areas of Study • Spectatorship Films are generally constructed to provide the spectator with a particular viewing position, most often aligning the spectator with a specific character or point of view. This in turn raises questions about how ‘determined’ spectators' responses to a film are and how far spectators can and do resist the position they are given. Learners will thus consider how far spectators are ‘passive’ or ‘active’ in their responses to film and how social and cultural factors, as well as the specific viewing conditions in which a film is seen, influence spectators' responses. Specialist Areas of Study • Narrative The study of narrative is one way of examining the story of a film and exploring how it is structured, ordered and why this has been done. Narrative also asks the viewer to consider from whose viewpoint we are experiencing the story and whether this has an effect on what we see, hear and experience. Specialist Areas of Study • Ideology The concept of a film as ideological involves exploring what ideologies are conveyed by a film as well as those which inform it which may, for example, reveal that a film reinforces or challenges dominant beliefs and attitudes within a society. Specialist Areas of Study • Auteur Sees filmmakers as creative decision-makers, responsible for the selection and construction process in films which experiment with narrative and film form. Learners should consider what ‘signatures’ can be identified for a film as a result of a more experimental approach to the filmmaking process. Specialist Areas of Study • Critical Debates Occurs in the exploration of the opposition between the realist and the expressive cinema (silent film) AND… The significance of digital technology in film (documentary) Specialist Areas of Study • Film-makers’ Theories The documentary film will be explored in relation to key filmmakers from the genre. The documentary film studied may either directly embody aspects of these theories or work in a way that strongly challenges these theories. In either case, the theories will provide a means of exploring different approaches to documentary film and filmmaking. Component 3 (Coursework) • Creation of a short film screenplay, inc. one of following: Narrative… i) twist, ii) begin with an enigma, iii) establish & develop a single character, or iv) portrays a conflict between two characters Length: 1600/1800 words – 7 pages / minutes Inclusion: Digital photograph storyboard of a key section of script (approx. 2 minutes of screenplay – 20 storyboard shots)

1.1 Identify the 1.2 Cinematography 1.3 Identify 1.4 Outline an 1.5 Explore how it sequence & pick Editing an element (i.e. example of how creates the a film technique Sound costume, prop, or this element is mood, style, or for the film shot Mise-en-scène setting) & standard used and the aesthetic of the shown  Performance meaning meaning created film (genre)? 3.1 3.2 Explore a theme from the Explore the film: how context of this characters / film: social, narratives cultural, reveal theme; historical, inc. similarities political, or & differences production

2.1 Name the 2.2 Todorov’s 5 stages 2.3 Outline the 2.4 Explore how 2.5 Explore how characters & pick Aristotle’s 3 acts roles of these your chosen aspect genre an aspect to Propp’s archetypes characters’ presents a key conventions are explore for the Strauss’ Opposition character types, message / value / used in each film film shown  Representation using the aspects theme 1.1 Identify the 1.2 Cinematography 1.3 Identify 1.4 Outline an 1.5 Explore how it sequence & pick Editing an element (i.e. example of how creates the a film technique Sound costume, prop, or this element is mood, style, or for the film shot Mise-en-scène setting) & standard used and the aesthetic of the shown  Performance meaning meaning created film (genre)? 3.1 3.2 Explore a theme from the Explore the film: how context of this characters / film: social, narratives cultural, reveal theme; historical, inc. similarities political, or & differences production