FILM STUDIES A LEVEL Specification
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A LEVEL
Film Studies
A LEVEL
Specification
FILM STUDIES
H410
For first assessment in 2019
Version 1.2 (August 2018)
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specification, therefore please use the information on the latest specification at
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resource please contact us at: resources.feedback@ocr.org.uk
We will inform centres about changes to specifications. We will also publish
changes on our website. The latest version of our specifications will always be
those on our website (ocr.org.uk) and these may differ from printed versions.Contents
1 Why choose an OCR A Level in Film Studies?2
1a. Why choose an OCR qualification? 2
1b. Why choose an OCR A Level in Film Studies? 3
1c. What are the key features of this specification? 4
1d. What is new in OCR A Level Film Studies? 5
1e. How do I find out more information? 6
2 The specification overview 7
2a. OCR’s A Level in Film Studies (H410) 7
2b. Content of A Level in Film Studies (H410) 8
2c. Content of Film History (01) 10
2d. Content of Critical Approaches to Film (02) 17
2e. Content of non-examined assessment Making Short Film (03/04) 25
2f. Prior knowledge, learning and progression 28
3 Assessment of A Level in Film Studies 29
3a. Forms of assessment 29
3b. Assessment Objectives (AO) 32
3c. Assessment availability 33
3d. Retaking the qualification 33
3e. Assessment of extended response 33
3f. Non-examined assessment 33
3g. Synoptic assessment 41
3h. Calculating qualification results 41
4 Admin: what you need to know42
4a. Pre-assessment 42
4b. Special consideration 43
4c. External assessment arrangements 43
4d. Admin of non-examined assessment 44
4e. Results and certificates 47
4f. Post-results services 48
4g. Malpractice 48
5 Appendices49
5a. Overlap with other qualifications 49
5b. Accessibility 49
5c. Accepted file formats 49
5d. Guidance on NEA productions (Component 03/04) 50
Summary of updates 52
© OCR 2017
A Level in Film Studies 11 Why choose an OCR A Level in Film Studies?
1a. Why choose an OCR qualification?
Choose OCR and you’ve got the reassurance that aim to encourage learners to become responsible for
you’re working with one of the UK’s leading exam their own learning, confident in discussing ideas,
1 boards. Our new A Level in Film Studies course has
been developed in consultation with teachers,
innovative and engaged.
employers and Higher Education to provide learners We provide a range of support services designed
with a qualification that’s relevant to them and meets to help you at every stage, from preparation
their needs. through to the delivery of our specifications.
These include:
We’re part of the Cambridge Assessment Group,
Europe’s largest assessment agency and a • A wide range of high-quality creative resources
department of the University of Cambridge. including:
Cambridge Assessment plays a leading role in • Delivery Guides
developing and delivering assessments throughout • Transition Guides
the world, operating in over 150 countries. • Topic Exploration Packs
• Lesson Elements
We work with a range of education providers, • . . .and much more.
including schools, colleges, workplaces and other
institutions in both the public and private sectors. • Access to Subject Advisors to support you
Over 13,000 centres choose our A Levels, GCSEs and through the transition and throughout the
vocational qualifications, including Cambridge lifetime of the specification.
Nationals and Cambridge Technicals.
• CPD/training for teachers to introduce the
Our Specifications qualifications and prepare you for first
teaching.
We believe in developing specifications that help you
bring the subject to life and inspire your students to • Active Results – our free results analysis
achieve more. service to help you review the performance of
individual learners or whole schools.
We’ve created teacher-friendly specifications based
on extensive research and engagement with the All A level qualifications offered by OCR are
teaching community. They’re designed to be accredited by Ofqual, the Regulator for qualifications
straightforward and accessible so that you can tailor offered in England. The accreditation number for
the delivery of the course to suit your needs. We OCR’s A Level in Film Studies is QN603/1120/4.
© OCR 2017
2 A Level in Film Studies1b. Why choose an OCR A Level in Film Studies?
OCR’s A Level in Film Studies has been designed present day, and different forms of film, including
to ignite a passion for film and encourage broader documentary, shorts and experimental.
cultural and historical perspectives on this academic
area of study. Feedback from teachers and other OCR’s A Level in Film Studies reinforces the
1
key stakeholders has been fully considered to relationship between academic theory and practice
ensure a diverse, inclusive and coherent course of through a synoptic creative production and evaluation
study that meets learners’ needs and allows them where learners are offered the opportunity to engage
to fully achieve their potential, preparing them to in practical work such as the production of their
make informed decisions about further study and own short film or screenplay in response to a brief
progression to Higher Education or employment. set by OCR, through the non-examined assessment
Component (03/04).
This course of study encourages learners to watch,
engage critically with and explore a wide range of It is our strong desire that OCR’s A Level in Film
film; to develop and sustain confident, personal Studies should inspire learners to continue learning
responses to film via textual analysis; and to enjoy beyond the confines of the classroom as well as
a variety of critically acclaimed films across the developing personal and interpersonal skills that will
major genres. These include films from different serve them well both in Higher Education and in the
cultural perspectives, films from the Silent Era to the workplace.
Aims and learning outcomes
OCR’s A Level in Film Studies will encourage learners • demonstrate knowledge and understanding of
to: how films generate meanings and responses
• demonstrate knowledge and understanding of • demonstrate knowledge and understanding of
a diverse range of film, including documentary, film as an aesthetic medium2
film from the Silent Era, experimental1 film and
short film • demonstrate knowledge and understanding of
the different ways in which spectators respond
• demonstrate knowledge and understanding of to film
the significance of film and film practice in
national, global and historical contexts • apply critical approaches to film
• demonstrate knowledge and understanding of • demonstrate an ability to apply knowledge and
film and its key contexts (including social, understanding of film through either
cultural, political, historical and technological filmmaking or screenwriting.
contexts)
1
“experimental film”: films which are non-narrative or which work against the conventions of narrative used in both
mainstream and independent film production practice.
2
“aesthetic”: the way a film’s visual and aural features are used to create essentially non-narrative dimensions of the film,
including the film’s ‘look’.
© OCR 2017
A Level in Film Studies 31c. What are the key features of this specification?
The key features of OCR’s A Level in Film Studies for • to allow the opportunity for a synoptic
you and your learners are: application of learning through practical work,
1 • to study a wide range of critically acclaimed,
including the production of a 5 minute short
film or a 10 minute screenplay for a short film
culturally and historically diverse films set by
OCR, including feature length fiction and • to research, plan and develop film production
documentary films and shorts (both or screenwriting skills through learners’
experimental and fiction) with a broad choice practical work
of set films offered to centres
• to develop skills to carry out an evaluative
• to develop a working knowledge and analysis of learners’ own productions in
understanding of the language and syntax of relation to other professionally produced work
film
• to reduce the burden of assessment for centres
• to interrogate how concepts such as narrative, by only requiring research and planning to be
genre, representation, spectatorship and submitted as authentication evidence for
aesthetics are used to create meaning by moderation with no additional requirements
deconstructing and creating film for centre marking
• to encourage a wider understanding of film by • to offer non-examined assessment set briefs
studying at least two film movements or that last for the lifetime of the specification
stylistic developments, characterised by the
significant contribution they made to film • to allow co-teachability with OCR’s AS Level in
aesthetics Film Studies by featuring a number of shared
set films
• to study of a wide range of critical approaches
to film • to support internal marking and preparatory
learning through the provision of clear marking
• to develop an understanding of the contexts in criteria for non-examined assessment.
which films are made, including the social,
cultural, historical, institutional, technological
and, where relevant, political contexts
© OCR 2017
4 A Level in Film Studies1d. What is new in OCR A Level Film Studies?
This section is intended for teachers using OCR’s A Level in Film Studies. It highlights the differences between A
Level Film Studies (H467) and the new version (H410) for first teaching from September 2017.
1
What stays the same? What’s changing?
• There is still a mix of examined and practical • Learners are now required to study a range of
non-examined assessments (NEA). critically recognised and culturally significant
set films from a range of different national
• Practical (NEA) work still offers learners the
cinemas, contexts and film forms (including
opportunity to produce a short film, or a
documentary, short and experimental).
screenplay for a short film with digital stills
together with an evaluation. • The micro-elements of film form
(cinematography, mise-en-scène, editing and
• For practical (NEA) work learners may still
sound) are still the primary tools of film
make use of others as long as the outcome
analysis but at A Level performance has been
can be assessed as the work of an individual
introduced as an additional micro-element.
learner.
• Learners must study set films from a range of
• Representation, messages and values, genre,
time periods from the silent era to present
narrative, style, theme, authorship and
day.
spectatorship are still key conceptual areas at
A Level. • Learners must study aesthetics and a range of
specified critical approaches, including two
• Learners still need to be aware of the contexts
filmmakers’ theories on film.
of the films they have studied (social, cultural,
political, historical and institutional). • Learners must study at least two major
movements or stylistic developments in film
• There is still a requirement to study film from
history.
more than one time period.
• The structure of the course has changed so
• There is still a requirement to study non-
that exams now comprise 70% of the course
English language film.
and practical (NEA) work now comprises 30%
• The A Level is still assessed via two examined (but there is no longer a requirement for
assessments lasting two hours and a practical research and planning to be assessed).
(NEA) production.
• The A Level is now a standalone, separate
qualification to the AS Level.
© OCR 2017
A Level in Film Studies 51e. How do I find out more information?
If you are already using OCR specifications you can Want to find out more?
contact us at: www.ocr.org.uk
1 If you are not already a registered OCR centre then Ask the Subject Advisors:
you can find out more information on the benefits of
becoming one at: www.ocr.org.uk Email: media@ocr.org.uk
If you are not yet an approved centre and would like Customer Contact Centre: 01223 553998
to become one go to: www.ocr.org.uk
Teacher support: www.ocr.org.uk
Twitter: @OCR_Media_Film
© OCR 2017
6 A Level in Film Studies2 The specification overview
2a. OCR’s A Level in Film Studies (H410)
Learners take three components: Film History, Critical Approaches to Film and Making Short Film to be awarded
the OCR A Level in Film Studies.
Content Overview Assessment Overview
2
Learners will develop knowledge of film form through the
study of at least three US set films from:
• the Silent Era
• 1930–1960 Film History 35%
• 1961–1990.
(01)
Learners will also study set films from two major
105 marks
of total
European film movements or stylistic developments:
• Experimental film (European surrealist film)
2 hour paper A Level
and either
• German expressionism or
• French new wave.
Learners will further develop knowledge and
understanding of key critical approaches to film and of
narrative, genre, representations and spectatorship.
Critical Approaches
Learners must study at least one set film from each of the to Film 35%
categories below:
• Contemporary British
(02)*
of total
• Contemporary US 105 marks
• Documentary 2 hour paper A Level
• Non-European non-English language
• English language (non-US)
• US Independent.
Learners must study one compilation of short British
fiction films. Learners have the opportunity to
demonstrate knowledge, understanding and skills through:
Making Short Film 30%
(03/04)*
• the production of a 5 minute short film or a 10
minute screenplay for a short film (incorporating a
90 marks of total
Non-examined
digitally photographed storyboard)
• an evaluative analysis of the production in relation
assessment (NEA) A Level
to professionally produced set short films.
*Indicates inclusion of synoptic assessment. See Section 3g for further details.
Learners who are retaking the qualification may carry forward their result for the non-examined assessment
component. See Section 4d for further details.
© OCR 2017
A Level in Film Studies 72b. Content of A Level in Film Studies (H410)
The OCR A Level in Film Studies will introduce • film poetics, as an understanding of film as a
learners to a wide range of films from different constructed artefact, resulting from processes
national cinemas, from the Silent Era to the present of selection and combination
day, incorporating different film forms (shorts, • film narrative, including the formalist and
experimental, documentary and fiction) and structuralist conception of film narrative
produced by a diverse variety of authors. • auteurism
2 • ideology (the concept of film as ideological)
Contexts and concepts • the claims of naturalism and realism as against
the expressive
Learners will be introduced to the contexts that • the significance of the digital in film and new
surround film-making and to the concepts of: possibilities for cinema
• the significance of at least two filmmakers’
• genre theories of film.
• representation
• narrative Film History (Component 01) offers learners
• aesthetics opportunities to:
• spectatorship.
• employ textual analysis skills to demonstrate
Learners will develop the critical tools to understand and apply their knowledge and understanding
how these concepts are used to create meaning in of film form in US cinema through the study of
film by both interrogating and creating film and by at least three set films from the Silent Era to
developing a working knowledge and understanding 1990
of the micro-elements of film form, which include:
• learn about two European film movements and
• cinematography (including lighting) their experimental nature and the stylistic
• mise-en-scène developments and contributions that they
• editing made to film aesthetics through the study of at
• sound least two set films.
• performance.
Critical Approaches to Film (Component 02) offers
Learners will also: learners opportunities to:
• develop the skills to analyse, interpret and • undertake a comparative study of at least two
compare films critically, communicating ideas set films (contemporary British and US) in
terms of genre, narrative, representation and
effectively through discursive argument
critical debates encompassing the significance
• be able to synthesise complex areas of
of the digital in film, viewing conditions and
knowledge
Auteurism
• show how knowledge of the ways in which
films reflect their social, cultural, political, • undertake a close study of at least one set
historical and institutional contexts informs documentary film to develop a knowledge and
analysis and understanding of set films. understanding of the conventions of this style
of filmmaking, the contexts that can influence
Critical debates it and two contrasting filmmakers’ theories on
documentary filmmaking
Learners will also be expected to apply the following
key critical approaches to film, using subject specific
• develop knowledge and understanding of the
terminology:
ideology within film through the comparative
© OCR 2017
8 A Level in Film Studiesstudy of at least three set films from the choose to show any material to children in the home.
following categories: non-English language, Merely showing an age restricted film to underaged
English language (non-US) and US Independent. persons – or allowing them to see one outside a
licensed cinema – is not in itself an offence.
Making Short Film (Component 03/04) is the non-
examined assessment (NEA) component where We would, however, strongly discourage such a
learners will produce a short film or screenplay and practice unless (a) the children in question are only a
an evaluation of their work. year or so below the age stated on the certificate, and
Set films
(b) there is a serious educational purpose to showing
the recording.
2
A choice of set films is provided by OCR. The set film Even in such cases clearly schools should seek
lists are given in Sections 2c, 2d and 2e of this parental consent prior to showing it. We would also
specification. recommend obtaining the approval of the Head
Teacher and Governors. It is vital to make sure that
The suitability and effectiveness of the set films will any children watching are not likely to suffer any ill
be reviewed after three years. Each set film will effects as a result of seeing the film.
remain on the list for the lifetime of the qualification,
unless the review process identifies a necessary Please see the BBFC website for more details:
change. If a film is to be removed from the list and http://www.bbfc.co.uk/education-resources/
replaced with another film, centres will be notified at teacher-guide
least a year in advance prior to first teaching of a two
year course. Good practice
Age ratings As good practice, it is recommended that teachers
provide further classroom support to learners
OCR’s set film lists for A Level Film Studies contain through practical filmmaking exercises, where
films with a mixture of certifications, including 18 appropriate, and through the screening of additional
certificate films. Centres are advised to take into extracts and clips throughout the course to help
account the advice from the British Board of Film further develop learners’ understanding of the films
Certification (BBFC) (quoted below in italics) and the studied – both contextually and in terms of how
maturity of their learners before showing any 18 meanings and responses are generated by film.
certificated films. In each set film list we have ensured
there are films with certifications below an age rating Resources
of 18 to ensure centres can still show set films to
learners for whom a 18 certificate may not be Before a centre begins this qualification, there is a
appropriate. The set film lists offer sufficient choice need for suitable viewing, film production and editing
for teachers to minimise potential offence and/or facilities (still or moving image). Learners should be
disadvantage to candidates with a particular taught how to use these facilities before embarking
characteristic. on their non-examined assessment (NEA). The
minimum resourcing requirements that a centre
The BBFC’s cinema age ratings only apply to films would be expected to have for the delivery of OCR’s A
shown in licensed cinemas. Level in Film Studies are appropriate cameras (either
still or moving image) that have the ability to be
The age rating for a DVD, video or Blu-ray explains the seated on tripods for capturing stable images and
audience we believe the film is suitable for and used handheld where appropriate (e.g. high end
applies to point of sale or rental, rather than to where mobile phones, iPads, Tablets, DSLRs and camcorders)
the material is viewed. It is not actually illegal for and software for editing (moving image or still image)
schools to show BBFC-rated videos or DVDs or Blu-ray and a reliable internet connection.
to its pupils of any age, just as parents may also
© OCR 2017
A Level in Film Studies 92c. Content of Film History (01)
Section A: Film Form in US Cinema from the Silent 1961–1990:
Era to 1990
2001: A Space Odyssey (1968). Directed by Stanley
This section focuses upon the micro-elements of film Kubrick. USA, U
form and the construction of meaning and response
by both filmmaker and spectator, with a particular Raging Bull (1980). Directed by Martin Scorsese. USA,
2 focus on US films from the Silent Era to 1990. 18
Learners will be required to study three set films E.T. (1982). Directed by Steven Spielberg. USA, PG
from US cinema in this section. Learners must study
one of the listed set films from each of the following Do the Right Thing! (1989). Directed by Spike Lee.
time periods: USA, 15
Silent Era:
The Conversation (1974). Directed by Frances Ford
Coppola. USA, 12
Birth of a Nation (1915). Directed by DW Griffith.
USA, 15
West Side Story (1961). Directed by Jerome Robbins/
The Gold Rush (1925). Directed by Charlie Chaplin. Robert Wise. USA, PG
USA, U
Knowledge and understanding of film form and its key
The Mark of Zorro (1920). Directed by Fred Niblo and terms will be developed through:
Theodore Reed. USA, U
• studying the micro-elements of film form
The General (1926). Directed by Clyde Bruckman, • identifying how these elements construct
Buster Keaton. USA, U meanings and contribute to the aesthetics
of film
Sunrise (1927). Directed by F.W. Murnau. USA, U • an appreciation of film poetics: film as a
constructed artefact, resulting from
The Wind (1928). Directed by Victor Sjostrom. USA, processes of selection and combination.
not rated
For clarity, it is reiterated that each set film chosen for
1930–1960: study must be from a different time period. A list of
set films is included below as a reference example of
Citizen Kane (1941). Directed by Orson Welles. USA, U
a selection meeting these criteria:
Singin’ in the Rain (1952). Directed by Gene Kelly/
The Gold Rush (1925). Directed by Charlie Chaplin.
Stanley Donen. USA, U
USA, U
Stagecoach (1939). Directed by John Ford. USA, U
Vertigo (1958). Directed by Alfred Hitchcock. USA,
Vertigo (1958). Directed by Alfred Hitchcock. USA, PG PG (1930-1960)
Double Indemnity (1944). Directed by Billy Wilder. E.T. (1982). Directed by Steven Spielberg. USA,
USA, PG PG (1961-1990)
All that Heaven Allows (1955). Directed by Douglas Further details of the assessment of this component
are given in Section 3a.
Sirk. USA, U
© OCR 2017
10 A Level in Film StudiesSection B: European Cinema History French new wave:
This section focuses upon the study of at least two The 400 Blows (1959). Directed by François Truffaut.
major European movements or stylistic developments France, PG
in film history, characterised by the significant
contribution they made and continue to make to film À Bout de Souffle (1960). Directed by Jean-Luc
aesthetics. Learners must study one compulsory, Godard. France, PG
distinctly experimental film movement (surrealist film)
and one other film movement from a choice of two. Cleo from 5 to 7 (1962). Directed by Agnes Varda. 2
France, PG
Experimental film – European surrealist film
The German expressionist and French new wave films
Learners must study a set pair of two experimental listed above, whilst displaying innovation in their
films from the European surrealist film movement of development of genre and use of the micro-elements
the 1920s and 1930s. of film are not considered experimental for the
purposes of this specification. The films listed for
This movement challenged conventional ideas about
these two movements do not necessarily work
filmmaking and its films were experimental in nature.
against the conventions of narrative used in
For the purposes of this specification ‘experimental’
mainstream and independent production practice, for
films are defined as those films which are non-
example, Metropolis, whilst helping develop a genre
narrative or which work against the conventions of
and using many innovative filmic ideas still consists of
narrative used in both mainstream and independent
an overarching, conventional narrative structure.
film production practice.
For clarity, it is reiterated that learners must study the
Un Chien Andalou (1929). Directed by Luis Buñuel.
set experimental surrealist film pair and at least one
France, 15
other set film from a choice of German expressionism
L’Age D’or (1930). Directed by Luis Buñuel. France, 15 and French new wave. The reference example below
shows a selection meeting these rules:
The set experimental film pair is equivalent in study
to one feature length set film. • Un Chien Andalou (1929). Directed by Luis
Buñuel. France, 15 (Experimental, surrealist
Other European film movements or stylistic film)
developments • L’Age D’or (1930). Directed by Luis Buñuel.
France, 15 (Experimental, surrealist film)
In addition to the above, learners must also study at
least one other set film. This film should be drawn and
from one of the other European film movements or
stylistic developments listed below: • Metropolis (1927). Directed by Fritz Lang.
Germany, PG (German expressionism)
German expressionism:
In this section learners are required to gain
The Cabinet of Dr. Caligari (1920). Directed by knowledge and understanding of:
Robert Wiene. Germany, U
• the contextual background to the two film
Nosferatu (1922). Directed by F. W. Murnau. movements or stylistic developments
Germany, PG studied, for example, how a movement or
stylistic development shares similar ideas
Metropolis (1927). Directed by Fritz Lang.
about style, aesthetics, or political or
Germany, PG
social-cultural objectives; and agrees on
© OCR 2017
A Level in Film Studies 11methods of furthering these through In this section learners will also develop the skills to
approaches to film narrative/style/genre critically debate:
• the experimental nature of film, with a • film narrative, including the formalist and
focus on narrative forms which reject the structuralist conceptions of film narrative
three-act structure, including non-linear
narratives and the significance of narrative • the claims of naturalism and realism as
structures which are alternative to and/or against the expressive.
2 in opposition to conventional narrative
structures. There is no comparative requirement in this section.
The focus of these critical debates is to help learners
Learners will also need to build upon the knowledge develop their knowledge and understanding of the
and understanding gained from the study of historic films they study. For example, learners would be
US Film in Section A and develop this in relation to expected to study the structural approaches to
historic European film movements or stylistic storytelling used within the set films, including
developments: looking at how the micro-elements of film were used
to create those structures in both conventional and
• the micro-elements of film form; and experimental ways.
• identifying how these elements construct Further details of the assessment of this component
meanings and contribute to the aesthetics are given in Section 3a.
of film.
© OCR 2017
12 A Level in Film StudiesThe table below contains the indicative subject content for Component 01 Film History.
Component 01: Film History
Topic Key Idea Learners should have studied:
Micro-elements Cinematography • camera shots including point of view (POV) shots, focus
of film form (including
lighting)
including depth of field, expressive and canted angle shots,
hand-held camera in contrast to steadicam technology 2
• the principles of 3 point lighting including key, fill and
backlighting
• composition, including balanced and unbalanced shots
• monochrome cinematography
• how all aspects of cinematography can generate multiple
connotations and suggest a range of interpretation
• how shot selection relates to narrative development and
conveys messages and values
• how lighting, including 3 point lighting, conveys character,
atmosphere, messages and values
• camerawork, including subjective camera, shifts in focus and
depth of field, mixed camera styles, filters
• chiaroscuro3 lighting and other expressive lighting effects
• how cinematography, including lighting, provides psychological
insight into character
• how and why different spectators develop different
interpretations of the same camera shots and lighting
• how cinematography including lighting can be indicative of an
auteur approach and can contribute to film aesthetic.
3
“chiaroscuro”: the dramatic effect of contrasting areas of light and dark in a shot through the use of controlled light
sources and props.
© OCR 2017
A Level in Film Studies 13Component 01: Film History
Topic Key Idea Learners should have studied
Micro-elements Mise-en-scène • how the principal components of mise-en-scène (setting,
of film form props, costume and make-up) can generate multiple
connotations and suggest a range of possible interpretations
(continued)
2 • how changes in mise-en-scène contribute to character and
narrative development
• how mise-en-scène conveys messages and values
• how the significance of mise-en-scène is affected by
cinematography, in particular through variation in depth of
field, focus and framing
• how mise-en-scène can be used both naturalistically and
expressively to communicate meanings
• the significance of motifs in mise-en-scène, including their
patterned repetition
• how staging, movement and off-screen space are significant in
generating response
• how and why different spectators develop different
interpretations of the same mise-en-scène
• how mise-en-scène can be indicative of an auteur approach
(director or designer) and can contribute to a film aesthetic.
Editing • the shot-to-shot relationships of continuity editing including
match editing, the 180° rule and the role of editing in creating
meaning including the Kuleshov effect
• how the principal components of editing can generate multiple
connotations and suggest a range of interpretations
• how editing implies relationships between characters and
contributes to narrative development including through editing
motifs and their patterned repetition
• how editing conveys messages and values
• how visual effects (created in post-production) are used,
including the way they are designed to engage the spectator
and create an emotional response
• montage editing and stylised forms of editing including jump
cuts
• how and why different spectators interpret the same editing
effects differently
• how editing can be indicative of an auteur approach (director
or editor) and can contribute towards a film aesthetic
• the use of visual effects (created in post-production) including
the tension between the filmmakers’ intention to create an
emotional response and the spectator’s actual response.
© OCR 2017
14 A Level in Film StudiesComponent 01: Film History
Topic Key Idea Learners should have studied
Micro-elements Sound • distinction between parallel and contrapuntal sound, whether
of film form diegetic or non-diegetic, foley sound and sound used
expressively
(continued)
• how the principal components of sound can generate multiple
connotations and suggest a range of interpretations
2
• how sound relates to characters and narrative development
including the use of sound motifs
• how sound conveys messages and values
• multitrack sound mixing and layering, asynchronous sound,
sound design
• how and why different spectators interpret the same use of
sound differently
• how sound can be indicative of an auteur approach (director or
sound designer) and can contribute to a film aesthetic.
Performance How meanings and responses are generated by film through
performance, staging and direction as set out below:
• the use of non-verbal communication including physical
expression and vocal delivery
• performance styles in cinema including method and
improvisatory styles
• the significance of casting
• the significance of the interaction between actors
• the role of directing as a ‘choreography’ of stage movement
• the relationship between performance and cinematography
• how and why different spectators interpret the same
performance differently
• how performance can be indicative of an auteur approach
(director or performer) and contribute to a film aesthetic.
© OCR 2017
A Level in Film Studies 15Component 01: Film History
Topic Key Idea Learners should have studied
Aesthetics The significance • the role of mise-en-scène, cinematography including lighting,
of aesthetics composition and framing in creating aesthetic effects in
specific film sequences
2 • the role of music and editing in conjunction with the above in
creating aesthetic effects
• the significance of the aesthetic dimension in film including the
potential conflict between spectacle and the drive towards
narrative resolution in film
• the aesthetic qualities of specific films and the concept of film
aesthetics
• the relation of a film’s aesthetics to the auteur critical
approach
• critical approaches to film aesthetics including the relationship
between film aesthetics and auteurism and ideology.
Narrative The ways in • how narrative construction reflects plot and expresses
which the key temporal duration and ellipsis
elements of
film are used to • narrational devices including voiceover, flashback, the framing
create narratives narrative, the open ending, repetition and other forms of
in film narrative patterning
• how the dramatic qualities of a sequence or scene are
constructed, including through dialogue
• how narrative construction provides psychological insight into
character
• narrative forms which reject the three-act structure, including
non-linear narratives
• the significance of narrative structures which are alternative to
and/or in opposition to conventional narrative structures
• ambiguity in narrative including the ambiguous relationship
between cause and effect and uncertainty over character
identification
• the relationship between screenplay and the realised film
narrative
• narrative conventions of mainstream screenwriting, including
the construction of dialogue, character and the use of images
and sound to convey narrative.
© OCR 2017
16 A Level in Film StudiesComponent 01: Film History
Topic Key Idea Learners should have studied
Contexts of Social, cultural, • the social, cultural, political, historical and institutional
filmmaking political, contexts in which the films studied are made.
historical,
institutional
Film movements Critical • film narrative, including the formalist and structuralist
2
and stylistic approaches to conceptions of film narrative.
developments film narrative
Critical • the claims of naturalism and realism as against the expressive.
approaches
associated with
film
2d. Content of Critical Approaches to Film (02)
Section A: Contemporary British and US Film • the significance of viewing conditions to
spectators4
This section focuses on contemporary British and US
• critical approaches to Auteurism and an
film, focussing on both film as a text and the contexts evaluation of its continued validity as a
that surround filmmaking, in particular the critical theory.
debates surrounding the production and exhibition of
contemporary film. In this section learners will be required to study two
contemporary set films, one of which must be from
Film as a text the British set film list below and one of which must
be from the US set film list below.
Learners are required to build on the skills from
Component 01 and develop a knowledge and Contemporary British set film list:
understanding of how film form, narrative and the
concept of genre (including generic conventions and Pride (2014). Directed by Matthew Warchus. Britain, 15
genre as a principal structuring element of narrative)
Gone Too Far (2013). Directed by Destiny Ekaragha.
contribute to the creation of representations of societies
Britain, 12
and cultures in contemporary British and US films.
Ex-Machina (2014). Directed by Alex Garland. Britain, 15
Contexts of contemporary filmmaking
The Angel’s Share (2012). Directed by Ken Loach.
Learners will also be required to develop a knowledge and Britain, 15
understanding of the importance of both the production
and exhibition of contemporary films, including: We Need to Talk About Kevin (2011). Directed by
Lynne Ramsay. Britain, 15
• critical debates on the significance of digital
in film and the new possibilities for cinema Skyfall (2012), Directed by Sam Mendes. Britain, 12
4
“viewing conditions”: the different technological and social conditions under which a film can be viewed such as on a
mobile phone, computer screen, television or in 3D at a cinema (technological) and individually, as part of a group of
friends or family, or as part of a mass audience (social).
© OCR 2017
A Level in Film Studies 17Contemporary US set film list the social, cultural, political, historical and
institutional contexts inform analysis and
Guardians of the Galaxy (2014). Directed by James understanding of this mode of filmmaking.
Gunn. USA, 12
There is a choice of six set documentary films.
The Hunger Games (2012). Directed by Gary Ross. Learners must study one set film from the list below:
USA, 15
Documentary set film list
2 Star Wars: The Force Awakens (Abrams 2015).
Directed by J.J. Abrams. USA, 12 The Stories We Tell (2013). Directed by Sarah Polley,
12
The Dark Knight Rises (2012). Directed by Christopher
Nolan. USA, 12 Searching for Sugarman (2012). Directed by Malik
Bendjelloul, 12
Zootopia (2016). Directed by Rich Moore, Jared Bush,
Byron Howard. USA, PG 5 Broken Cameras (2011). Directed by Emad Burnat,
Guy Davidi, 15
Jurassic World (2015). Directed by Colin Trevorrow.
USA, 12 The Act of Killing (2012). Directed by Joshua
Oppenheimer, 15
Section B: Documentary
Man on Wire (2008). Directed by James Marsh, 12
This section focuses on documentary film and
requires learners to gain a knowledge and Citizenfour (2014). Directed by Laura Poitras, 15
understanding of how film form, narrative and the
generic conventions of documentary film contribute Learners are also required to study the significance of
to the ways in which documentary film represents the following two, contrasting filmmakers’ theories of
reality and creates representations of societies and film in relation to the set documentary film they
cultures. Learners are also required to develop the study:
skills from Component 01 and debate critically the
• John Grierson
claims of naturalism and realism and the formalist
• D.A. Pennebaker.
and structuralist conception of film narrative in
relation to documentary film.
Section C: Ideology
Learners must study one set documentary film in
This section is synoptic and requires learners to study
depth and build upon learning from Component 01,
the ways in which film shapes and is shaped by
with particular reference to the micro-elements of
ideology. Ideology in this context is understood to be
film form and the construction of meaning and
a system of ideas, beliefs and values that form the
response by both film-maker and spectator.
basis of social, cultural and political theories or
systems5.
Learners will also study the contextual framework of
the documentary film with a consideration of how
5
This definition of ideology is paraphrased from the Oxford Dictionary of Film Studies (Kuhn & Westwell)
© OCR 2017
18 A Level in Film StudiesIn order to evaluate the validity of ideology as a Thematic categories have been created to help
critical approach in film, learners are required to facilitate a contextual and coherent comparison of
study a diverse range of set films from different ideological approaches between set films.
cultural backgrounds and national cinemas. Learners
will also need to develop the skills to compare how Learners must select one thematic category, e.g.
ideological messages and values in film are shaped Outsiders, and study three set films within that
by, and also shape the social, cultural, political and
category. Within a chosen theme one set film must
historical contexts in which they were made. Learners
be studied from each of the following categories:
will build upon all their previous learning from
Components 01 and 02 and, in addition, study how • US Independent 2
both narrative and micro-elements of film form can
be used to align6 spectators’ points of view. • English language (non-US)
• Non-European non-English language.
Learners will be required to study and compare three
set films which tackle challenging issues. The set
films for this section have been arranged into three
thematic categories:
• Family and Home
• Outsiders
• Conflict.
6
“align, alignment”: terms used in film studies to indicate the way in which film, particularly through cinematography and
narrative construction, encourages spectators to adopt the position and outlook of particular characters. Spectators are
thus encouraged to ‘align’ their responses, as well as in general their points of view, with particular characters and issues.
© OCR 2017
A Level in Film Studies 19Ideology set film list
Learners must select one of the thematic categories below
Family and Home Outsiders Conflict
US Independent Learners must study one Learners must study one Learners must study one
from a choice of two set from a choice of two set from a choice of two
films films set films
2 1. Moonrise Kingdom 1. A Girl Walks Home 1. The Hurt Locker (2008).
(2012). Directed by Wes Alone at Night (2014). Directed by Kathryn
Anderson. USA, 12 Directed by Ana Lily Bigelow. USA, 15
Amirpour. USA, 15
2. The Tree of Life (2011). 2. Whiplash (2015).
Directed by Terrance 2. Elephant (2003). Directed by Damien
Malick. USA, 12 Directed by Gus Van Sant. Chazelle. USA, 15
USA, 15
English language Learners must study one Learners must study one Learners must study
(non-US) from a choice of two set from a choice of two set one from a choice of two
films films set films
1. Room (2015). Directed 1. The Babadook (2014). 1. District 9 (2009).
by Lenny Abrahamson. Directed by Jennifer Kent. Directed by Neil
Canadian/Irish, 15 Australia, 15 Blomkamp. South Africa
2009, 15
2. Animal Kingdom (2010). 2. The Piano (1993).
Directed by David Michod. Directed by Jane Campion. 2. Mad Max (1979).
Australia, 15 New Zealand, 15 Directed by George Miller.
Australia, 15
Non-European Learners must study one Learners must study one Learners must study
(non-English from a choice of two set from a choice of two set one from a choice of
language) (World) films films two set films
1. A Separation (2011). 1. Yojimbo 1. Battle of Algiers (1965).
Directed by Asghar (The Bodyguard) (1961). Directed by Gilo
Farhadi. Iran, PG Directed by Akira Pontecorvo. Algeria, 15
Kurosawa, Japan, PG
2. Our Little Sister (2016). 2. The Grandmaster
Directed by Hirokazu 2. Y Tu Mama Tambien (2013). Directed by Wong
Koreeda. Japan, PG (2001). Directed by Kar-Wai. China, 15
Alfonso Cuaron.
Mexico, 18
© OCR 2017
20 A Level in Film StudiesFor clarity, it is reiterated that the three set films A non-permissible example from the ‘Family and
chosen for study must all be selected from the Home’ theme would be:
same theme but each set film must be from a
different category within that theme. For example, • Moonrise Kingdom (2012). Directed by Wes
a permissible selection of three set films within the Anderson. USA, 12 (US Independent)
‘Outsiders’ theme would be:
• The Tree of Life (2011). Directed by
Terrance Malick. USA, 12 (US Independent)
• A Girl Walks Home Alone at Night (2014).
Directed by Ana Lily Amirpour. USA, 15 • A Separation (2011). Directed by
2
(US Independent) Asghar Farhadi. Iran, PG (Non-European
Non-English Language)
• The Babadook (2014). Directed by Jennifer
Kent. Australia, 15 (English Language
Here, two set films have been chosen within a theme
(Non-US))
but a Non-US English language set film has not been
• Y Tu Mama Tambien (2001). Directed by selected. Further details of the assessment of this
Alfonso Cuaron. Mexico, 18 (Non-European component are given in Section 3a.
Non-English Language)
Learners will build upon the knowledge and understanding of the micro-elements of film form, aesthetics,
narrative, meaning and responses and critical debates on narrative and film poetics in Component 01 and, in
addition, study the topic areas identified in the table below.
Component 02: Critical Approaches to Film
Topic Key Idea Learners should have studied:
Film genre The ways in which the key • genre conventions
elements of film are used in
• genre as a principal structuring element of
relation to the concept of
narrative
genre
• modes of documentary filmmaking
• claims of naturalism and realism in relation to
documentary film.
Representations The ways in which the representations of:
micro-elements of film form
• cultures
and the concepts of genre
and narrative contribute • societies
towards representations • the ideological implications of
representations in film.
© OCR 2017
A Level in Film Studies 21Component 02: Critical Approaches to Film
Topic Key Idea Learners should have studied:
Contexts of Social, cultural, political, • how films studied can act as a means of
filmmaking historical and institutional reflecting social, cultural and political
attitudes towards wider issues and beliefs
2 explored within a film’s narrative,
characterisation and representations
• how films studied can act as a means of
constructing social, cultural and political
attitudes towards wider issues and beliefs
explored within a film’s narrative,
characterisation and representations
• how films studied can act as a means of
reflecting historical issues and events
• how films studied can potentially be an agent
in facilitating social, cultural and political
developments through the representation
and re-construction of historical issues and
events
• how films studied are influenced by social,
cultural and political history through
intertextual7 references
• how films studied reflect their production,
financial and technological opportunities and
constraints.
7
“intertextual”: the way aspects of a particular film relate to another and thus accrue additional significance.
© OCR 2017
22 A Level in Film StudiesComponent 02: Critical Approaches to Film
Topic Key Idea Learners should have studied:
Meanings and Spectatorship • how the spectator has been conceived both
Responses as ‘passive’ and ‘active’ in the act of film
viewing
• how the spectator is in dynamic interaction
with film narrative and film features designed
2
to generate response
• reasons for the uniformity or diversity of
response by different spectators
• the analysis of narrative, visual, musical,
performance, genre and auteur cues in
relation to spectator response
• the impact of different viewing conditions on
spectator response
• the possibility of preferred, negotiated,
oppositional and aberrant ‘readings’ of film.
• how spectators’ responses are affected by
social and cultural factors.
Key critical Filmmakers’ theories • the significance of the following two
approaches filmmakers’ theories of film:
• John Grierson
• D.A. Pennebaker.
© OCR 2017
A Level in Film Studies 23Component 02: Critical Approaches to Film
Topic Key Idea Learners should have studied:
Key critical The significance of the digital • how visual effects (created in post-
approaches in film and new possibilities production) are used, including the way they
for cinema are designed to engage the spectator and
(continued)
2 •
create an emotional response
how visual effects (created in post-
production) are used, including the tension
between the filmmakers’ intention to create
an emotional response and the spectator’s
actual response.
Auteurism • the relevance of auteurism to film-making as
an essentially collaborative practice.
Ideology • how the micro-elements of film form are
used to align8 the spectator and how that
alignment relates to spectator interpretation
of narrative
• how the micro-elements of film form
contribute to the ideologies conveyed by film,
including through narrative, representations
and messages and values
• how narrative construction is used to align
the spectator and how that alignment
encourages the adoption of a particular
spectator point of view
• the ideological implications9 of narrative
construction and narrative structure and
representations of different societies and
cultures
• how the construction of narrative contributes
to the shaping of ideologies and values in
film, including how narrative structure can
function as an ideological framework10.
8
“align, alignment”: terms used in film studies to indicate the way in which film, particularly through cinematography and
narrative construction, encourages spectators to adopt the position and outlook of particular characters. Spectators are
thus encouraged to ‘align’ their responses, as well as in general their points of view, with particular characters and issues.
9
“ideological implications”: the points of view implied by the way a narrative is constructed and the representations it
incorporates and the way those points of view can convey sets of values, attitudes and beliefs.
10
“how narrative can function as an ideological framework”: how, for example, the overall structure of a narrative can
affect the points of view, attitudes, values and beliefs being conveyed about its subject matter.
© OCR 2017
24 A Level in Film Studies2e. Content of non-examined assessment Making Short Film (03/04)
Making Short Film (Component 03/04) is a synoptic, relation to other professionally produced
non-examined assessment component that gives work.
learners the opportunity to produce their own
complete short film or screenplay for a short film. Learners will research, plan and produce one non-
examined assessment production in response to the
In this component learners will apply knowledge and set briefs outlined below:
understanding of the short film and its distinctive
NEA task:
2
narrative form in relation to the production of their
own fiction-based short film.
1 Preliminary Activities (non-assessed)
Learners will also be required to build upon and
develop their knowledge and understanding of genre, Even though there are no marks attached to the
representation and how the micro-elements of film preliminary activities it is essential for learners to
form contribute to these and also to aesthetic effect, carry out these activities in preparation for their
spectatorship and film poetics. More specifically, chosen production task so that each individual
learners must: learner’s work can be authenticated. Failure to carry
out sufficient research into short films and adequately
• apply knowledge and understanding of plan a chosen production is also likely to restrict a
elements of film to the production of film learner’s ability to meet the higher levels of the
or screenplay (AO3) (60 marks) production and evaluation marking criteria.
• apply knowledge and understanding of 1 (a) Research
elements of film to analyse and evaluate
own work in relation to other professionally In preparation for the production task, learners must
produced work (AO2 strand 3) (30 marks). watch and make notes on each of the set short films
listed below. The running time of the set short film
The non-examined assessment will provide the list is equivalent to one feature length film.
opportunity for learners to demonstrate that they:
British set short film list
• can apply their knowledge and
• Fiction (total running time 87 minutes)
understanding of the micro-elements of
film form to the production of a film or • Slap(2015). Directed by Nick Rowland. UK
screenplay and analyse and evaluate their (25 mins)
own work in relation to other professionally https://www.shortoftheweek.
produced work com/2016/06/11/slap/
• have the ability to use the micro-elements • TightJeans (2008). Directed by Destiny
of film form to independently create their Ekharaga. UK (9 mins)
own complete short film or screenplay for a https://www.youtube.com/
short film watch?v=BcPBCrUc8YI
• The Ellington Kid (2012). Directed by Dan
• have research, planning and production Sully (5 minutes)
skills through the independent realisation https://vimeo.com/60639863
of their own complete short film or
screenplay for a short film • Over(2015). Directed by Jörn Threlfall. UK
(14 mins)
• can develop the skills to carry out an https://www.shortoftheweek.
evaluative analysis of their production in com/2016/04/16/over/
© OCR 2017
A Level in Film Studies 25• Echo(2011). Directed by Lewis Arnold. UK 1 (b) Planning
(17 mins)
https://vimeo.com/44040317 Learners should produce planning materials for their
individual NEA productions which outline the
• Operator (2015). Directed by Caroline
intentions of their final production. Centres are
Bartleet. UK (6 mins)
encouraged to explore appropriate ways of producing
http://www.operatorshortfilm.com/
relevant planning materials based upon their own
• Arrival(2016). Directed by Daniel strengths and resources.
2 Montanarini. UK (5 mins)
https://www.shortoftheweek. The following list of planning materials is purely
com/2016/06/10/the-arrival/ indicative:
• TheFly (2014). Directed by Jack Doolan.
• a draft script
UK (6 mins)
https://www.shortoftheweek. • writing a location report
com/2015/09/21/the-fly/
• notes on casting considerations
The purpose of this activity is to research and further
develop knowledge and understanding of narrative in • a storyboard
short film, including:
• a series of screen tests with notes.
• the narrative conventions of the short film,
including the three act structure 2 Individual NEA Production (60 marks)
• how the dramatic qualities of a short film
There are two different individual production options.
are constructed through a wide range of
Learners must choose one of the following:
narrative techniques, including through the
use of dialogue, character development • a complete, new short film
and dramatic devices (4–5 minutes)
• how narrative can convey points of view,
or
both intended meaning and those of the
spectator. • a screenplay for a new short film (10 pages,
equivalent to 10 minutes of screen time) 11;
In addition learners may also carry out some of the
including
following research activities:
• fieldwork (e.g. a location recce for filming • a digitally photographed storyboard of a
or digitally photographed stills) key section of the screenplay, illustrating,
through careful construction of mise-en-
• internet or paper-based research as scène and shot selection, how the
appropriate screenplay would be realised (20 digitally
photographed key frames).
• interview potential cast members.
There is no set genre or theme for the short films or
screenplays. However, teachers are expected to guide
learners in selecting appropriate genres and/or
themes for learners’ productions.
11
Learners must reference the micro-elements of film form, including sound, across the screenplay, and digital stills. For
example, sound direction may be mentioned in notes accompanying the digital stills.
© OCR 2017
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