Moving Image Arts Controlled Assessment Task Unit 2: Planning and Making a Moving Image Product GMX21

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General Certificate of Secondary Education 2012

[GMX21]

DATE OF ISSUE TO CANDIDATES MONDAY 5 SEPTEMBER 2011

EXTERNALLY SET ASSIGNMENT

7529 TO THE TEACHER

The Externally Set Assignment (ESA) is allocated 40% of the total marks for this examination. The maximum number of marks for the ESA is 80.

The marks are distributed and weighted across the four assessment objectives as follows:

Assessment Objectives Marks AO1 Demonstrate personal creative goals within a moving 10 image context and make connections with the work of others; 5% AO2 Demonstrate the ability to organise a range of 20 resources to facilitate the realisation of a moving image product; 10% AO3 Use creative and technical skills to construct a 40 moving image product; 20% AO4 Analyse and evaluate moving image products 10

This ESA is divided into four distinct parts:

Part 1: Thinking Part 2: Planning Part 3: Making Part 4: Evaluating

The ESA must be completed within a period of 40 hours, to encompass the complete workflow of Thinking, Planning, Making and Evaluating.

Candidates are required to produce the following six items as evidence that they have completed each part of the assessment. The work undertaken must be entirely the candidate’s own. Teachers should be satisfied that a candidate has full creative ownership of their work and the teacher’s assistance should be limited to advice about technical matters.

Part 1: Item 1 Written Statement (400–600 words with illustrations, must include reference to the work of others)

Part 2: Item 2 Visual Studies Book (10–20 A4 pages or equivalent) which must detail the production design and planning for the Moving Image Product Item 3 Screenplay Item 4 Storyboards

Part 3: Item 5 A finished, two-minute Moving Image Product

Part 4: Item 6 An evaluation (400–600 words)

Candidates may need to collaborate with others, but they are individually responsible for all creative decisions and the production of their Moving Image Product.

This ESA is internally marked and externally moderated.

Please refer to the GCSE Moving Image Arts Controlled Assessment Guidance for further detail on Controlled Assessment requirements.

7529 2 [Turn over TO THE CANDIDATE

You should carefully read the instructions below before you begin your Externally Set Assignment (ESA). Your teacher may explain anything that you do not understand.

This Externally Set Assignment gives you the opportunity to create your own two-minute moving image product (either a live action film or an animation).

You are required to:

• Think about the film you are going to make; • Plan how it is going to look and what the story will be; • Make your film; and • Evaluate its emotional and visual impact.

There are six pieces of work which must be submitted for assessment. These are listed below along with the total marks available. Each piece of work represents a stage of the film production process.

(See the “Students’ Guide to the Externally Set Assignment” section of the GCSE Moving Image Arts Specimen Assessment Materials p. 49–52 for further guidance).

Total Marks Assignment Pieces Project Stage Available Project Outline Thinking 10 marks Visual Studies Book Screenplay Planning 20 marks Storyboards Film Making 40 marks Evaluation Evaluation 10 marks

This work must be your own unaided work and should not be copied. All of your editing and post production work must be supervised by your teacher and must not leave the centre.

You will be assessed using these assessment objectives:

• Demonstrate personal creative goals within a Moving Image context and make connections with the work of others (AO1 – Thinking). • Demonstrate the ability to organise a range of resources to facilitate the realisation of a Moving Image Product (AO2 – Planning). • Use creative and technical skills to construct a Moving Image Product (AO3 – Making). • Analyse and evaluate Moving Image Products (AO4 – Evaluating).

Your Moving Image Product must be developed as a direct response to the given theme for the current year.

7529 3 [Turn over EXTERNALLY SET ASSIGNMENT

The theme for this Externally Set Assignment is:

‘The Event’

“There is not any present moment that is unconnected with some future one. The life of every man is a continued chain of incidents, each link of which hangs upon the former. The transition from cause to effect, from event to event, is often carried on by secret steps, which our foresight cannot divine, and our sagacity is unable to trace.” Joseph Addison (1672–1719)

A sign, a single event that set this chain into motion? Was it a whisper in God’s ear? Survive. Adapt. Escape. And if we could mark that single moment in time, that first hint of the prophecy of approaching danger... would we have done anything differently? Could it have been stopped? Or was the die long ago cast? And if we could go back, alter its course, stop it from happening... would we? Heroes (2006 TV Series) Episode: Chapter Ten ‘Six Months Ago’ (2006)

Definition: Event noun • A thing that happens or takes place, especially one of importance. • A planned public or social occasion. • Each of several particular contests making up a sports competition. • Physics: a single occurrence of a process, e.g. the ionization of one atom.

What is an Event?

It is something important or unusual, a phenomenon or an extraordinary occurrence. Often an event is only the starting point, one event leads to another and this chain of events can lead us on some very interesting journeys. A key event might be the focus of your film, a single frozen moment in time that draws the viewer in and makes them ask how did we get to this point or where are we going from here. Alternatively the course of your film may lead the viewer to a climatic event whether this is foreseen or a sudden shock or surprise.

The quotes above and the information that follows are only here to aid you in developing your two-minute short film. They will help you distil your thoughts into a single idea suitable for developing into your production and pre-production materials.

7529 4 [Turn over In storytelling and film-making terms, what does ‘The Event’ mean to you?

You can use the questions below to explore your initial ideas before settling on the idea that you feel has the most potential. Remember to select a topic, theme or story that will suit the duration of your completed film. You are not making an epic movie with a huge budget; you only have two minutes to tell your story. Simple, well-constructed ideas tailored to the resources you have available often work best.

• What is ‘The Event’? Is it real or imagined? • Where will ‘The Event’ take place? • When will it happen? Is it now, in the future, or in the past? • How is ‘The Event’ revealed? Is it a personal revelation, a news broadcast or possibly a premonition or vision of the future? • Who knows about ‘The Event’? Is it a single character working alone, a group/gang, or do the audience know what is about to happen but the characters don’t? • Why is this happening? What is the purpose of ‘The Event’? How are you trying to make your audience feel?

The words, phrases and ideas on the following pages are to help you to respond to the theme ‘The Event’. They are not intended to be questions. Choose to work from one of the ideas suggested or use one of your own ideas in response to the theme ‘The Event’. Try to be as creative and imaginative as possible. Your Moving Image Product must focus on one or more of the genres or film language areas studied within the GCSE specification. These are:

Film Genres Film Language Areas The Western Camera Technique Romantic Comedy Sound and Music The War Movie Mise-en-scene

Action/Adventure Lighting Crime Editing Horror/Science Fiction Animation Post Production

Within your development work (Thinking/Planning) you must also make reference to the work of a relevant film-maker, artist or photographer. Some suggestions have been included at the end of this section.

Related Words

The Happening, The Occasion, The Occurrence, The Incident, The Outcome, The Episode, The Phenomenon.

7529 5 [Turn over Types of Event

Life changing events:

Scientific events:

The Big Bang | The Invention of... | The Discovery of Penicillin / Electricity

Global events:

Local events:

Celebrations | Sporting Events | Festivals | Competitions

Tragic events:

Plane Crash | Ship Wreck | Car Accident | Receiving Bad News

Extreme weather events:

Story Ideas

Stimulus ideas to start you thinking about your story: • One Moment in Time • Capturing the Moment • The Main Event • An Occasion to Remember • In the Unlikely Event that… • Event Horizon (the point of no return) • The Happy Event • A Chain of Events • A non Event • Impending Doom • Cataclysmic Event • An Event that Changed My Life • Cause and Effect (refers to the philosophical concept of causality, in which an action or event will produce a certain response to the action in the form of another event) • The Biggest Mistake of My Life • Countdown to…

7529 6 [Turn over Story Structure

Your film or animation may have a linear narrative, for example, with a beginning, middle and end. One event leads to another until the plot of your film is resolved. or a parallel narrative which cuts between two or more events taking place at the same time. or a non-linear narrative, where the film starts with the main event or the aftermath of an event and then jumps about in time through the use of flashbacks or flashforwards, revealing key plot points so that the viewer can piece the story together.

The possibilities are endless and the choice is yours. Select a story structure that is going to develop the narrative of your Moving Image Product in the most exciting way. Think about how you want to make your audience feel. Also think about how much information you want to reveal to your viewers at each stage of your story. Does the audience know everything from the beginning or are you keeping the main event as a surprise or shock at the end of your movie?

Film-Making Techniques

How are you going to reveal ‘The Event’ in your story to your audience? Here are a few techniques you may want to try:

Editing:

Continuity Editing (invisible editing): Events flow together and one action logically follows another. The editing does not draw attention to itself and lets the viewer move seamlessly through your story.

Montage Editing: Shots from many different angles are pieced together, but not necessarily in the right order. This works well when you want to distress or disorient your audience or to show your character’s state of mind, for example, apprehension, anxiety or fear.

Cross-Cutting: Link two or more events together by cross-cutting between them.

Jump Cut, Flashforward and Flashback: These are used to jump to different points of time in your story and may be an efficient way to reveal how a chain of events resulted in the climax of your film. Jump cuts can also be sequential shots of some subject taken from slightly different camera angles.

Freeze-frame: This is where the action stops on a particular frame but the sound continues under the freeze-frame. This allows the viewer to imagine what might have taken place had the action continued.

Lighting:

You can use lighting in creative ways to make your shots look beautiful or ugly, harsh or soft, artificial or real. Lighting can also help integrate shots of people or places shot in different locations, for example, moving a piece of card in front of a coloured light can give the impression of flames reflecting on someone’s face. This is particularly effective when combined with POV or Cut Away shots of flames. Your lighting can be used expressively or realistically.

7529 7 [Turn over Camera Technique:

Camera movement and camera angles can be a very effective way to reveal information about ‘The Event’ in your Moving Image Product.

Think about: • Tracking shots that follow an object or person through your shot. • Long slow zooms, or fast zooms, that show us the setting of your film and move in on the action. • Slow motion sequences that emphasise a dramatic moment or make a familiar action seem strange or magical. • A Hand-held camera that can give the impression of chaos or a sense of immediacy. Adding camera shake can also simulate crashes or earthquakes. • Point of view (POV) shots that place the viewer in the shoes of your character. • Long shots that let the viewer see the location or setting of your film. This can help them better understand your character’s situation. • Aerial or High-angle shots that give the viewer a bird’s eye perspective of events as they unfold. • Arc shots that enable the viewer to move around an event in a 360º motion, placing them in the scene and involving them in the event.

Sound:

The sound you use can be a very effective way of giving your film a sense of place or of portraying otherwise difficult to shoot scenarios such as car crashes or explosions. In some cases the viewer only needs to hear events, as they take place off camera. You can then cut to the aftermath of the events, after they have happened.

Direct sound: This is the sound recorded at the time of filming. These are very naturalistic sounds and can help create the appropriate atmosphere in your film.

Sound effects (SFX): These are sounds caused by something in your film that you want to draw the viewer’s attention to, for example, a passing train or a creaking door. You will have to record these sounds or find suitable sound effects. This will help when creating a multi-layered soundtrack for your Moving Image Product.

Voice-over narration: Narration is an excellent way of giving the viewer extra information about characters or events. Narration can also take the form of a commentary.

Silence: The power of silence in films is often under-estimated. Moments of silence can make us feel apprehensive or focus our attention.

Sound bridge: These are a great way to transition from one scene to another. Often we hear the audio from the next upcoming event before we see what is happening. For example, in Apocalypse Now (1979), the sound of helicopter blades is used to overlap with the next scene showing the spinning blades of a ceiling fan.

Mise-en-scene:

The location, costumes and props you use are a key part of making the world of your film or animation seem believable. Creative use of locations and camera angles can be combined to transport your viewers to another world, time or place. A convincing explosion only needs some camera shake, a sound effect and a cup of soil or dirt thrown up in front of the lens, while a little photo manipulation using appropriate software can create establishing shots or cut-aways for all manner of disasters and cataclysmic events. Think creatively and make full use of the people, places and objects you have available to you.

7529 8 [Turn over Reference to the work of others

Film Texts:

Wile E. Coyote and Road Runner (1948–present) Chuck Jones

A Matter of Loaf and Death (2008) Nick Park, Peter Lord

Chicken Run (2000)

The Great Escape (1963)

The Adventures of Prince Ahmed (1927) Lotte Reiniger

Werckmeister Harmonies (2000) Béla Tarr, Ágnes Hranitzky

My Sister’s Keeper (2009) Nick Cassavetes

Taken (2008) Pierre Morel

JFK (1991) Oliver Stone

Ocean’s Eleven (2001) Steven Soderbergh

The Quick and the Dead (1995) Sam Rami

The Good, the Bad and the Ugly (1966) Sergio Leone

World Trade Centre (2006) Oliver Stone

United 93 (2006) Paul Greengrass

Titanic (1997) James Cameron

Twister (1996) Jan de Bont

Deep Impact (1998) Mimi Leder

The Towering Inferno (1974) John Guillermin

Inception (2010) Christopher Nolan

The Perfect Storm (2000) Wolfgang Peterson

Groundhog Day (1993) Harold Ramis

Heroes (TV 2006–Present) Tim Kring

FlashForward (TV 2009–10) Brannon Braga, David S. Goyer

Sliding Doors (1998) Peter Howet

Slumdog Millionaire (2008) Danny Boyle

The Butterfly Effect (2004) Eric Bress

Africa United (2010) Debs Gardner-Patterson

7529 9 [Turn over Literature:

The Curious Incident of the Dog in the Night-time (2006) Mark Haddon

Frankenstein (1818) Mary Shelley

The Great Hunger (1930) Patrick Kavanagh

The Locket (1929) John Montague

The Boy in Striped Pyjamas (2006) John Boyne

A Christmas Carol (1843) Charles Dickens

Romeo and Juliet (1591–95) William Shakespeare

Robinson Crusoe (1719) Daniel Defoe

Treasure Island (1883) Robert Louis Stevenson

The Never Ending Story (1976) Michael Ende

Artworks:

Paintings:

Supper at Emmaus (1601) Caravaggio The Taking of Christ (c1602) Caravaggio The Scream (1893) Edvard Munch Ophelia (1851–52) John Everett Millais The Last Supper (1495-98) Leonardo da Vinci Whaam! (1963) Roy Lichtenstein Guernica (1937) Pablo Picasso The Execution of Lady Jane Grey (1833) Paul Delaroche The Dance (1909) Henri Matisse Nighthawks (1942) Edward Hopper Melancholy and Mystery of a Street (1914) Giorgio de Chirico The Food of the Dead for the Living (1945–46) David Olère Peace-Burial at Sea (1842) LMW Turner The Raft of the Medusa (1818–19) Théodore Géricault Christina’s World (1948) Andrew Wyeth

Photographs:

The First Atomic Bomb (1945) Jack Aeby Starnberger Street (1931) Eva Besnyö The D-Day Photographs (1944) Robert Capa The Soul (1930) František Drtikol Milk Drop Coronet (1957) Harold E. Edgerton To and Fro (1986) Teun Hocks The Hindenburg Disaster (1937) Sam Shere Flag Raising at Iwo Jima (1945) Joe Rosenthal

7529 10 [Turn over Print Making/Graphic Art/Illustration:

Lost and Found (2005) Oliver Jeffers The Great Wave (1829–32) Katsushika Hokusai Murderer (2010) Chow Hon Lam Treasured (front) and Treasured (Back) (2010) Chow Hon Lam Gran Calavera Eléctrica (1900–13) José Guadalupe Paradise Lost, Divine Comedy (1833–1883) Gustave Doré

Sculpture:

The Kiss (1889) Auguste Rodin Let the Dance Begin (2000) Maurice Harron Another Place (1997) Anthony Gormley

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