FILM STUDIES A LEVEL Specification

 
FILM STUDIES A LEVEL Specification
A LEVEL
Film Studies

A LEVEL
Specification

FILM STUDIES
H410
For first assessment in 2019

Version 1.2 (August 2018)

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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                                                                         1
1       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 Studies
1b. 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                                                                                                          3
1c.     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 Studies
1d. 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                                                                                                5
1e. 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 Studies
2          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                                                                                      7
2b. 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 Studies
study 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                                                                                              9
2c.     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 Studies
Section 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                                                                                           11
methods 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.

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    12                                                                                               A Level in Film Studies
The 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.

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A Level in Film Studies                                                                                                    13
Component 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.

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    14                                                                                        A Level in Film Studies
Component 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.

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A Level in Film Studies                                                                                      15
Component 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.

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    16                                                                                          A Level in Film Studies
Component 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).

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A Level in Film Studies                                                                                                   17
Contemporary 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)

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    18                                                                                                            A Level in Film Studies
In 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.

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A Level in Film Studies                                                                                                      19
Ideology 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

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    20                                                                                               A Level in Film Studies
For 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.

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A Level in Film Studies                                                                                            21
Component 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.

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    22                                                                                                            A Level in Film Studies
Component 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                                                                                        23
Component 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.

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    24                                                                                                          A Level in Film Studies
2e. 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/

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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
    26                                                                                                         A Level in Film Studies
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