Richard Gent | Wednesday August 24, 2011
Categories: EDUQAS A2, EDUQAS A Level, EDUQAS AS, A Level, Hot Entries, Legacy
Legacy Resources Welcome to Edusites Film’s comprehensive resources and materials link covering every aspect of the WJEC AS and A2 Film Studies specification. Studying film is a skill and a pleasure for both students and teachers focussing on key areas of academic study and we like to think we have covered all bases. This includes in depth schemes of work with embedded links, mini student schemes of work, student guides and many, many, many case studies to kick start or embed the topic.…
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Richard Gent | Monday March 11, 2024
Categories: EDUQAS A Level, EDUQAS AS, British Film, Horror, A Level, Hot Entries, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Genres & Case Studies
click on image to enlarge How do genre conventions in the films that you have studied link with messages and values? (40) My chosen genre is horror and the two texts I have chosen to focus on are The Wicker Man (1973) and 28 Days Later (2002). The Wicker Man falls into the sub genre of horror and psychological thriller, with its own recognisable codes and conventions. As a film that was seen as problematical then in 1973 (hence its X/18 certificate) it has since become a cult classic exploring…
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Rob Miller | Thursday November 19, 2015
Categories: EDUQAS A Level, EDUQAS AS, Horror, A Level, Hot Entries, Film Analysis, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis
Section B: British Film Topics – British Film and Genre To answer this question, students must show a detailed knowledge of a minimum of two films. This resource explores two contemporary British horror films and can be used in conjunction with the following other case studies and exemplars: British Film and Genre (Horror and Comedy) 28 Days Later Case Study The Wicker Man Case Study WJEC AS Film Studies FM2 Section B British Film Horror Exemplar Past Exam Questions Analysis of both films…
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Richard Gent | Friday November 13, 2015
Categories: EDUQAS A Level, EDUQAS AS, A Level
Does anyone have any suggestions for the case study films for British Film and Horror for the WJEC unit Section B of the exam? We have been looking at 28 Days Later & Shaun of the Dead but I feel like these are getting bit out dated & would like to update - any suggestions welcome! Many thanks,Tess Edusites Film has commissioned a resource to cover some more contemporary films. See: WJEC AS Film Studies FM2 Section B British Film: The Quiet Ones and Hush Richard Gent It’s no more…
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Rob Miller | Tuesday September 22, 2015
Categories: EDUQAS A Level, EDUQAS AS, A Level
The Marvel Cinematic Universe “No longer will an MCU simply be known as a Medium Close Up? Marvel Cinematic Universe is a relatively new franchise, formed in 2007. In 1944 Captain America was technically the first film based on Marvel Comics. It was escapist serialised film in 15 chapters designed to be a diversion from America’s involvement in the battlegrounds of World War Two (Captain America fought Nazis in the comics but not in the film). There have also been many TV adaptations of…
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Rob Miller | Tuesday September 22, 2015
Categories: EDUQAS A Level, EDUQAS AS, Comedy, A Level, Film Analysis, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis
Independent Film Case Study: The Inbetweeners Movie (Palmer, 2011) This resource focuses on one crossover independent film, The Inbetweeners Movie. It is intended to be used as stimulus in helping to understand the definitions of independent film. For a full guide on Section A please access WJEC AS FM2 British & American Film Producers and Audiences Resource Items. The Inbetweeners Movie (Inbetweeners) from 2011 crosses over from independent to mainstream film even in title: the name having…
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Rob Miller | Wednesday September 16, 2015
Categories: EDUQAS A Level, EDUQAS AS, Drama, Horror, Romance, A Level, Film Analysis, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis
Independent Film Case Study: Only Lovers Left Alive (Jarmusch, 2014) This resource focuses on one independent film, Only Lovers Left Alive. It is intended to be used as stimulus in helping to understand the definitions of independent film. For a full guide on Section A please access: WJEC AS FM2 British & American Film Producers and Audiences Resource Items. Only Lovers Left Alive (2014) was directed by Jim Jarmusch and starred Tilda Swinton, Tom Hiddleston, John Hurt and Mia Wasikowska.…
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Rob Miller | Monday September 07, 2015
Categories: EDUQAS A Level, EDUQAS AS, Drama, Crime, Thriller, A Level, Hot Entries, Film Analysis, Films & Case Studies, Hollywood Films, Genres & Case Studies, Analysis
FM2 British and American Film Section C: US Cinema Comparative Study For further details of assessment requirements and past Section C exam questions, please go to FilmEdu’s Gilda (1946) and L.A Confidential (1997) Comparative Case Study and FilmEdu’s Minority Report and Blade Runner Comparative Study for other comparison resources. Taxi Driver Like No Country for Old Men, Taxi Driver is a film about nihilism – with 31 years between them both films have characters that…
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Rob Miller | Monday September 07, 2015
Categories: EDUQAS A Level, EDUQAS AS, Crime, A Level, Ridley Scott, Genre, Narrative, Audience, Film Analysis, Film Language, Representation, Films & Case Studies, Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
Goodfellas (1990, Martin Scorsese) American Gangster (2007, Ridley Scott) Centres can choose from a range of different American film texts. The three main areas of study are Messages, Themes and Values, Narrative and Genre, Representation of Time and Place (often linked to Messages and Values) and Representation of Character. You can compare in Section B but in Section C you must. The above choice of texts reflects films belonging to the same genre but it is very possible to explore two films…
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Rob Miller | Thursday July 16, 2015
Categories: Cinematography, EDUQAS A Level, EDUQAS AS, Micro Analysis, A Level, Hot Entries, Key Skills, Mise-en-Scene, Macro Analysis, Up, Gravity, Grand Budapest Hotel, The Shining, Skyfall, Genre, Narrative, Editing, Pre-Production, Planning, Production Zone, Shot Analysis, Moving Image Production, Film Analysis, Representation, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Analysis, Film Opening Analysis, Key Concepts
Overview Analysis of a 3-5 min Film Extract – Mise-en-Scene, Cinematography and Editing only: (30 Marks) Creative Project – Planning, Producing and Editing a 2 min approx. film sequence of between 10-25 shots (50 Marks) Reflective Analysis – (10 Marks) Edusites Film recommends a logical time to introduce the FM1 coursework is in week 6, the second week in October, 1 week before the Half Term. By then, students will have learnt skills of textual analysis in regards to micro and macro…
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Rob Miller | Wednesday November 12, 2014
Categories: OCR A Level, EDUQAS A Level, EDUQAS AS, A Level, Film Industry, Hot Entries
Associated Resources Edusites Lesson Plan Template.docx NB. Please note this is a suggested template, your school may require a different layout. Length of Lesson (minutes): 60 Lesson Title: An Introduction to the Film Industry Context This lesson would be delivered in the first week after induction of an AS Film Studies course, whether WJEC or OCR. It is a generic introduction to the core Film Studies concepts underpinning this academic subject. Aims and Objectives To introduce students to…
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Rob Miller | Friday November 07, 2014
Categories: OCR A Level, EDUQAS A Level, EDUQAS AS, A Level, GCSE, Hot Entries
Welcome to FilmEdu’s Film Studies Induction Resource – please find belowsuggested only ways of introducing WJEC and OCR AS Film Studies students, and also GCSE students to the study of Film. Schemes of Work and assessment deadlines are tight these days but there is always/should always be an Induction Week, or week and a half at the very start of the course when the students/pupils can grapple with the fundamentals of the subject. What is Film Studies? In one sentence, write down what you…
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Rob Miller | Thursday November 06, 2014
Categories: EDUQAS A Level, EDUQAS AS, Drama, Comedy, A Level, Hot Entries, Film Analysis, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis
click on image to enlarge FM2 Section B: British Film Topics – British Film and Culture When we use the term ’British film and culture’ we are stating, or at least implying a connection between specific films and how they are partly, and in significant ways the product of a wider national cultural discourse and identity. In this context, a film can contribute to the way that a nation communicates messages and values about itself. In terms of film, these messages and values find expression…
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Rob Miller | Thursday October 30, 2014
Categories: EDUQAS A2, EDUQAS A Level, EDUQAS AS, A Level, Hot Entries, Production Zone, Moving Image Production, Film Analysis, Analysis
click on image to enlarge FilmEdu recommend that AS-A2 Transition is introduced on or around 18th May 2015, after FM2 examined unit is complete and after FM1 coursework has been assessed with the marks submitted to WJEC. For centres whose students stay on until the end of term, this means a valuable 8 weeks of study that can potentially mean the difference between grades in terms of final assessment. During this period, students should enjoy, as much as expand their understanding of film…
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Rob Miller | Wednesday October 08, 2014
Categories: EDUQAS A Level, EDUQAS AS, British Film, A Level, Film Industry, Hot Entries, Film Distribution, Film Marketing, Genres & Case Studies
FM2: British and American Film ‘How to Respond to Section A - Producers and Audiences: Resource Items’ This resource examines approaches to Section A of FM2 in terms of areas of questioning but specifically, how to respond to the range of stimulus WJEC could use, and expect students to refer to in Part A and Part B of the resource items. The section title, ‘Producers and Audiences’ is important in letting students know the type of response expected in the exam – an equal…
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Rob Miller | Monday October 06, 2014
Categories: EDUQAS A Level, EDUQAS AS, British Film, A Level, Film Industry, Hot Entries, Film Distribution, Film Marketing, Film Publicity, Genres & Case Studies
Associated Resources WJEC AS Level Film Studies FM2 Exemplar Resource Material A.docx WJEC AS Level Film Studies FM2 Exemplar Resource Material B.docx Instructions Section A refers to the resource material (see associated resources) This is a Section A exemplar only Each question carries 40 marks You are reminded that assessment will take into account the quality of written communication used in your answers Section A: Producers and Audiences EITHER: 1. Study the items in Part A of the…
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Rob Miller | Monday October 06, 2014
Categories: EDUQAS A Level, EDUQAS AS, Mystery, Science Fiction, Action, Thriller, A Level, Film Industry, Hot Entries, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Film Analysis, Films & Case Studies, Hollywood Films, Genres & Case Studies, Analysis
Introduction One of the most interesting ways to engage with genre is to select two films from the same genre and compare and contrast them. Critically, select two films produced in significantly different time periods and places - by doing this kind of analytical exercise we’re able to go some distance in identifying some of the ways in which a genre evolves. Science fiction film certainly seems to offer a particularly rich case study in terms of what kinds of ideas texts can be encoded…
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Rob Miller | Wednesday March 19, 2014
Categories: EDUQAS A Level, EDUQAS AS, A Level, Hot Entries
click on image to enlarge
Open WJEC AS Film Studies Revision Quiz
Click on the back button to return to FilmEdu when you’ve finished using the quiz.
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Emily Hughes | Tuesday March 18, 2014
Categories: EDUQAS A2, Theory, EDUQAS A Level, EDUQAS AS, Spectatorship Theory, A Level, Hot Entries, Audience, Film Language, Representation, Key Concepts
click on image to enlarge The movies: flickering images running past our eyes at 24 frames per second. They have the power to make us cry, make us sit on the edge of our seat, exhilarate and infuriate but how? The narratives that unfold in front of us are products, made up stories. The events we see on screen are just actors pretending to be other people, increasingly a lot of what we see is so devoid of reality that it is created on a computer through CGI, it’s all just make believe. So…
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karenardouin | Monday March 17, 2014
Categories: EDUQAS A Level, EDUQAS AS, A Level, Hot Entries, Audience, Film Analysis, Film Language, Representation, Analysis, Key Concepts
click on image to enlarge Section B: British Film Topics Choose one question from this section. British Film and Stars You should discuss a minimum of two British films in your answer and base it on one of the following: Julie Christie or Ewan McGregor. 5. What are the star qualities that your star brings to the roles they play in your chosen films? [40]Example Answer The big five studios were vertically integrated during the Hollywood Studio era from 1930 to 1948. They not only owned the…
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karenardouin | Monday March 17, 2014
Categories: EDUQAS A Level, EDUQAS AS, A Level, Hot Entries, Audience, Film Analysis, Film Language, Representation, Analysis, Key Concepts
click on image to enlarge Section B: British Film Topics Choose one question from this section. British Film and Stars You should discuss a minimum of two British films in your answer and base it on one of the following: Julie Christie or Ewan McGregor. 5. What are the star qualities that your star brings to the roles they play in your chosen films? [40] Example Answer Stars have much more freedom today, as they used to be part of a 7-year contract under the Hollywood Studio system that ended…
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karenardouin | Monday March 17, 2014
Categories: EDUQAS A Level, EDUQAS AS, British Film, A Level, Hot Entries, Audience, Film Analysis, Film Language, Representation, Genres & Case Studies, Analysis, Key Concepts
click on image to enlarge Answer three questions – one from each section Section A – Producers and Audiences Study the items in Part B of the resource material, which include:Poster for Cowboys & Aliens, released in 2011 Extract from a blog discussing film genre Forum discussion on movie genres. Use this material, together with your own studies, to answer the following question: How important is genre for audiences and producers? [40 marks] Item 1: Poster for Cowboys and Aliens,…
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Rob Miller | Friday March 14, 2014
Categories: EDUQAS A Level, EDUQAS AS, A Level, Hot Entries, Production Zone, Audio Production, Print Production, Moving Image Production, Film Analysis, Films & Case Studies, Non-Hollywood Films, Analysis
Overview 20% of A Level Qualification, 40% of AS An Analysis of a Film Extract: (30 Marks) Creative Project: (40 Marks) Reflective Analysis: (10 Marks) FM1 Unit Introduction WJEC: “This unit focuses on the micro features of film and the construction of meaning and emotion?. Macro features form the basis for the examined AS module, FM2 although it is accepted by the exam board that it is often difficult to separate macro features narrative and genre from a micro analysis. In this regard,…
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Rob Miller | Tuesday March 11, 2014
Categories: EDUQAS A Level, EDUQAS AS, British Film, Comedy, A Level, Hot Entries, Genres & Case Studies
click on image to enlarge Resource Material
Study the items in Part A of the resource material for use with Section A Question 1.Item 1: Newspaper article: ‘British cinema is booming
’ British cinema is booming You have only got to listen to Jonathan Ross when interviewing British film actors – the British Film Industry is booming.British films such as 12 Years a Slave, Gravity, Philomena and Skyfall have been winning awards and achieving critical and commercial success all around…
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jclarke | Tuesday February 11, 2014
Categories: Theory, Film Theory, EDUQAS A Level, EDUQAS AS, British Film, Production Companies, A Level, Film Industry, Hot Entries, Film Distribution, Film Marketing, Film Publicity, Audience, Film Promotion, Film Analysis, Film Language, Representation, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
click on image to enlarge While we often first think and refer to contemporary examples of film stars when we study film, it’s useful and valuable to consider film stars whose work has featured across several decades. More specifically for us as British audiences, it’s of particular interest to consider British film stars both in terms of the interest of their performances, and also in terms of how these performances offer representations of national identity and gender in combination.…
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Richard Gent | Wednesday December 04, 2013
Categories: EDUQAS A Level, EDUQAS AS, British Film, Horror, Production Companies, Comedy, A Level, Film Industry, Hot Entries, Film Distribution, Censorship & Regulation, Film Marketing, Film Publicity, Audience, Film Promotion, Film Analysis, Film Language, Representation, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
click on image to enlarge The British Film Industry is successful and thriving but as Jill Nelmes identified in An Introduction to Film Studies can be defined on a number or levels and by a range of “disparate films, genres and movements?. In addition to this there are arguments over what is a British Film and as such, there have been many attempts to define British Film over the years. A useful definition that the BFI proposed in 1996 was that films could be described and culturally…
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jclarke | Tuesday December 03, 2013
Categories: EDUQAS A Level, EDUQAS AS, Sport, Drama, History, Comedy, Romance, A Level, Film Industry, Hot Entries, Censorship & Regulation, Film Marketing, Film Publicity, Audience, Film Promotion, Film Analysis, Film Language, Representation, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
click on image to enlarge One of the key issues to be explored in our study of film is that of representation. As such, it’s fair to say that there’s an established, and largely agreed upon, understanding that film, like other media and forms of cultural expression, can reflect back to us aspects of the conditions in which we live or have lived with. Certainly, there’s scope for us to think about how British cinema has, in more or less ‘obvious’ ways, reflected back to us a point of…
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jclarke | Wednesday November 27, 2013
Categories: EDUQAS A2, OCR A Level, EDUQAS A Level, OCR A2, EDUQAS AS, Production Companies, World Cinema, A Level, Film Industry, Hot Entries, Film Distribution, Censorship & Regulation, Film Marketing, Film Publicity, Audience, Film Promotion, Film Language, Representation, Films & Case Studies, Hollywood Films, Key Concepts
click on image to enlarge Film is technology. It’s an obvious point, and an essential one. Film established itself as a symbol of the modern, mechanical age of the late nineteenth and early twentieth century and so it is particularly interesting to now witness how the medium is moving into the digital age. Indeed, we should perhaps talk not of new technology but of now technology because it is so quickly ever changing and evolving. In Western Europe we live in an increasingly digital and…
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Amy Charlewood | Tuesday November 19, 2013
Categories: EDUQAS A2, Theory, EDUQAS A Level, EDUQAS AS, Experimental, Avant-Garde, Documentary, Spectatorship Theory, Cinema Verite, A Level, Hot Entries, Audience, Film Analysis, Film Language, Representation, Genres & Case Studies, Analysis, Key Concepts
click on image to enlarge Definition and Introduction As one might expect the term experimental cinema is difficult to define clearly and by its very nature avoids simplistic categorisation. Within the movement itself there has been frequent debate over its definition. Fred Camper discusses experimental film-makers such as Peter Kubelka and Stan Brackage who questioned titles like ‘Avant-garde’ for suggesting experimental cinema is intrinsically European, ‘different…
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jclarke | Tuesday November 19, 2013
Categories: EDUQAS A2, Theory, Film Theory, OCR A Level, EDUQAS A Level, OCR A2, EDUQAS AS, Auteur Theory, A Level, Hot Entries, Film Analysis, Films & Case Studies, Analysis
click on image to enlarge As we know, there are a fascinating range of ways in which to explore what cinema is; for example: how it achieves its impact on an audience, how technology informs creative choices and how a particular film can tell us something of the culture that produced it. These are all ways of understanding the relationship between text and context. However, the concept that remains perhaps most popular, accessible and fundamental to our thinking about cinema, perhaps because it…
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jclarke | Thursday November 14, 2013
Categories: EDUQAS A2, OCR A Level, EDUQAS A Level, OCR A2, EDUQAS AS, A Level, Film Industry, Hot Entries, Censorship & Regulation
click on image to enlarge Britain is one of the most highly regulated nations in the ‘west’ in terms of what can be shown at cinemas and in this resource we will explore aspects of the institutional roles of film regulation and classification and the dynamic that is legally required to operate between the institutions of the British Board of Film Classification (BBFC) and the film industry. To put it very simply, if you want your film distributed and shown to the paying public, at a cinema…
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jclarke | Wednesday November 13, 2013
Categories: EDUQAS A2, OCR A Level, EDUQAS A Level, OCR A2, EDUQAS AS, A Level, Hot Entries, Audience, Key Concepts
Everyone seems to enjoy talking about movies. Why is that? Not everyone enjoys talking about sport or politics or literature or cookery or healthcare for example. The variety of movies we talk about is diverse. Films are made to be watched by audiences. It’s the most obvious fact to state but it does remind us of a set of fundamental concerns. This resource will concern itself with a number of issues that you can also revisit in more detailed in several of our other FilmEdu resources. For…
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Rob Miller | Friday October 04, 2013
Categories: EDUQAS A2, EDUQAS A Level, EDUQAS AS, World Cinema, A Level, Hot Entries, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Genres & Case Studies
AS Film Studies Films to teach Core Concepts/British Film Topics/Comparative Study The Shining (1980): Film Form/Mise-en-Scene Beautiful Lies (2010): Genre Avatar (2009): Production, Distribution but also representation and genre Cowboys and Aliens (2011): Hybrid Genre Hot Fuzz (2007): Hybrid Genre, British Film Production Companies Warm Bodies (2013): Hybrid Genre Milk (2008): Independent American Social Realism Precious (2009): Independent American Social Realism About Time (2013): Working…
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jclarke | Friday March 22, 2013
Categories: EDUQAS A Level, EDUQAS AS, Social Realism, British Film, Crime, Production Companies, Thriller, A Level, Film Industry, Hot Entries, Film Distribution, Audience, Film Analysis, Film Language, Representation, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis, Independent, Key Concepts
click on image to enlarge Crime and cinema have a longstanding relationship. Going right back to early cinema one of the landmark silent films was The Great Train Robbery (1903). There is a shot in that film which is overtly referenced as the last shot that we see in the American crime film GoodFellas (1990). click on image to enlarge However, whereas we might argue that the criminal life that’s represented in the Hollywood-produced GoodFellas is somewhat glamourised and told in an overtly…
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jclarke | Friday March 08, 2013
Categories: EDUQAS A Level, EDUQAS AS, Social Realism, British Film, Production Companies, A Level, Film Industry, Film Distribution, Film Analysis, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis
click on image to enlarge Introduction National identity and cinema are inextricably connected around the world. Within this national cinema dynamic is to be found the question of what it might mean to ‘be British’, or, more specifically, English. It’s a question that’s the basis of a longstanding narrative that relates powerfully to our filmic identity and, more immediately, our identity as an island nation, physically and culturally (and economically) separate to the mainland of…
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jclarke | Friday February 01, 2013
Categories: EDUQAS A Level, EDUQAS AS, British Film, Production Companies, A Level, Film Industry, Genres & Case Studies
Institutional Context | Notes on the Background and History of Ealing Studios To understand the meanings, messages and values of any film as a text it’s important to also explore the institutional context from which it, or group of films, was produced. Context always helps us understand text. In terms of studying the films produced by Ealing Studios (Ealing being a suburb of west London) we need to have some understanding of the studio’s institutional context in two ways: (i) in terms of…
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vikiwalden | Wednesday January 30, 2013
Categories: EDUQAS A Level, EDUQAS AS, British Film, Production Companies, A Level, Film Industry, Genres & Case Studies
click on image to enlarge History of a British Studio British film has often been considered a cottage industry, which means it functions only “at home?. While it has booms, such as the early days of a studio system with the Rank Organisation, it also has disastrous busts. Many of the country’s film studios cannot sustain themselves. Unlike Hollywood, where the studios would be vertically integrated institutions, in Britain, studios have mainly been facility bases – places where people…
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jclarke | Thursday December 20, 2012
Categories: Theory, Film Theory, EDUQAS A Level, EDUQAS AS, Social Realism, British Film, Production Companies, A Level, Film Industry, Hot Entries, Film Distribution, Film Marketing, Film Publicity, Audience, Film Promotion, Film Analysis, Trainspotting, Film Language, Representation, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
Ewan McGregor is a major British film star who has appeared in a wide range of films that have been released globally since 1994. His career has combined performances in a range of lower budgeted feature films and work in highly budgeted, event films released by the major film studios. Over the course of almost twenty years McGregor has appeared in nearly fifty films. Professionally trained as an actor at London’s Guildhall, McGregor hails from Scotland and the narrative of his career…
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vikiwalden | Monday November 05, 2012
Categories: EDUQAS A Level, EDUQAS AS, British Film, Horror, A Level, Films & Case Studies, Hollywood Films, Genres & Case Studies
FM2: Close Study Topic British Horror: 28 Days Later Director: Danny Boyle Writer: Alex Garland Cast: Naomie Harris (Selena), Noah Huntley (Mark), Cillian Murphy (Jim), Bredan Gleeson (Frak), Megan Burns (Hannah), Christopher Eccleston (Major Henry West) Production Company: DNA Films and UK Film Council Distributors: 20th Century Fox and Fox Searchlight Pictures Release: 2002 Production Context With finance from both America’s Fox Searchlight and the UK Film Council the film had a promising…
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vikiwalden | Monday November 05, 2012
Categories: EDUQAS A Level, EDUQAS AS, British Film, Horror, A Level, Films & Case Studies, Non-Hollywood Films, Genres & Case Studies
FM2: Close Study Topic British Horror: The Wicker Man Director: Robin Hardy Writers: Anthony Shaffer (Screenplay), [David Pinner - Ritual novel] Cast: Christopher Lee, Edward Woodward, Ingrid Pitt, Diane Cilento Synopsis Sergeant Howie, a police officer from mainland Scotland, arrives on a remote island to investigate the disappearance of a young girl, Rowan. As he tours the island, questioning residents and looking for clues, he falls deeper inside the rabbit hole – discovering customs that…
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nicoleponsford | Wednesday September 12, 2012
Categories: EDUQAS A2, OCR A Level, EDUQAS A Level, OCR A2, EDUQAS AS, A Level, Hot Entries
Synergy Starter Ask students to come up with as many ways that they can use synergy to sell a film. You can give them the genre / narrative, or get them to come up with this. Works best in small groups. Compare and add to one another’s ideas. See What is Synergy? for assistance. Explore The Theory ICT Give the students a range of film theories to explore. You can share these out amongst the group, or get them to focus on one a lesson so you can discuss it later. Examples include Post…
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nicoleponsford | Monday September 10, 2012
Categories: EDUQAS A Level, EDUQAS AS, Action, Adventure, Crime, Production Companies, A Level, Film Industry, Audience, Film Analysis, Film Language, Films & Case Studies, Hollywood Films, Genres & Case Studies, Analysis, Action Adventure, Key Concepts
AS WJEC FM2: Producers and Audience For FM2, British and American Film each question is worth 40 marks, and there is 2.5 hours to answer three questions. The paper is made up from resource material and 12 page answer book. Candidates are asked to explore the relationship between film producers and audience. The resource material can include: Home page of a fan website Table illustrating box office figures Poster of a film Front cover of a magazine Press release Cinema programme Blog extracts…
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nicoleponsford | Tuesday September 04, 2012
Categories: EDUQAS A Level, EDUQAS AS, A Level, Hot Entries
The 1970s and 1980s saw a change in film; how we consumed it and how it consumed us. It is no surprise that an actor became the fortieth President of the United States in the early eighties (1981-89). Blockbusters, which were initially screened in the 1970s, over forty years ago, are still known (and loved) today all around the world. Jaws (1975), Star Wars (1977), The Exorcist (1973), and (1975) Bruce Lee films like Enter the Dragon are just a few examples. A combination of factors including…
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nicoleponsford | Monday September 03, 2012
Categories: EDUQAS A2, EDUQAS A Level, EDUQAS AS, A Level, Hot Entries
Where does cinema come from? What drives it? Truth, escapism, verisimilitude, ideas? Today we are aware of red carpets, box office figures and event-movies. Innovation and passion bring the ideas through images and audio. If we go back to the start of film, we see that it was this passion and innovation that led to the new (silent) art form. 1888 | The Birth of the Movie Camera and Projector It starts with the movie camera. The first patented moving image camera was designed by Louis Le Prince…
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vikiwalden | Tuesday November 29, 2011
Categories: EDUQAS A Level, EDUQAS AS, Social Realism, A Level, Hot Entries, Film Analysis, Films & Case Studies, Genres & Case Studies, Analysis
The examination is two hours and students need to answer 3 questions in total. In Section A there is an option of two questions while in Section B students must answer two questions. Section A requires students to understand seven macro features of two films, underpinned by micro analysis. The films must not be more than 10 years old with one of the macro frameworks being the basis for the questions. The seven frameworks are Representation, Messages and Values, Genre, Narrative, Theme, Style…
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vikiwalden | Tuesday November 29, 2011
Categories: EDUQAS A Level, EDUQAS AS, Precious, Magical Realism, Social Realism, A Level, Hot Entries, Film Analysis, Films & Case Studies, Genres & Case Studies, Analysis
There will be a choice of two questions for this final section of the exam; you need only answer one question. One usually asks you to focus on narrative and / or genre, whilst the other will reference themes or messages and values. Unlike the other exam questions, for Section C it is imperative that you compare the two texts, so you will want to clearly define similarities and contrasts between the two in your plan. You should quantify why such similarities and contrasts exist by referring to…
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Rob Miller | Tuesday November 08, 2011
Categories: EDUQAS A Level, EDUQAS AS, Social Realism, Drama, History, A Level, Film Analysis, Films & Case Studies, Genres & Case Studies, Analysis
Synopsis and Character Profiles Milk is a film based on a true story (narrative fact) about openly gay civil rights activist, Harvey Milk, who eventually - after many struggles and defeats - finally serves in public office as a San Francisco Supervisor in the Mayor’s Office. The film ends with his assassination in 1978 by political nemesis, Social Conservative Dan White. Played by Sean Penn, the film opens with 40 year old Milk in 1978 narrating and recording a monologue “only to be played…
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vikiwalden | Tuesday November 08, 2011
Categories: EDUQAS A Level, EDUQAS AS, Social Realism, Drama, Romance, A Level, Film Analysis, Films & Case Studies, Genres & Case Studies, Analysis
Section C: American Comparative Study Synopsis Kym awaits the arrival of her father and step mother, Carol to pick her up from rehab. When she arrives home the house is chaotic amidst her sister’s wedding arrangements. Kym and her sister, Rachel reminisces about their childhood and appear to have a close relationship. Paul, Kym’s dad, will not let her borrow a car because of a past incident, so Kym has to cycle to attend her addicts’ meeting and drugs test. When she returns and is…
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Rob Miller | Monday September 19, 2011
Categories: EDUQAS A Level, EDUQAS AS, A Level, Trainspotting, Films & Case Studies, Non-Hollywood Films
Released in 1996 Directed by Danny Boyle (Shallow Grave) Produced by Andrew Macdonald (DNA) Production – C4 (Film Four) & Polygram – budget £1.7m Written by John Hodge from a novel by Irvine Welsh Starring Ewan McGregor / Robert Carlyle Distributed by Miramax (US) and Polygram Trainspotting can be classified as an independent British film, produced by Film Four and distributed by the European distributor, Polygram Filmed Entertainment – Polygram were established in 1979 by the Dutch…
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