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Viewing entries from category: FM4

Spectatorship Experimental/Expanded Film: The Blood of a Poet »

Rob Miller | Friday September 09, 2016

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics

Past Exam Questions

  1. ‘The experience of watching experimental film is so different from watching mainstream fictional film that the spectator often feels unease and boredom’. Discuss this statement with reference to the films you have studied for this topic.
  2. Explore how distinctive elements in the experimental films you have studied have an impact on the spectator.
  3. Explore how far your viewing of experimental or expanded film/video has made you more aware of issues in spectatorship.
  4. ‘Experimental and expanded film/video most often offers artistic representations which...
[ read full article ] »

World Cinema Topics: Empowering Women | Pumzi (2009) »

Rob Miller | Friday September 09, 2016

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Pumzi, Genres & Case Studies, Science Fiction

WJEC A2 Film Studies FM4 Section A World Cinema: Empowering Women

Empowering Women Past Exam Questions:

  1. Discuss how persuasive you have found the different films you have studied for this topic in promoting female empowerment.
  2. In the films you have studied for this topic, how far can it be said that central characters and their situations are represented in similar ways?
  3. Discuss how far men are represented as enemies of female empowerment in the films you have chosen for this topic.
  4. Explore some of the ways in which film techniques are used to position audiences to identify...
[ read full article ] »

International Film Styles: Neorealism »

James Clarke | Friday September 04, 2015

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Non-Hollywood Films, Kes, World Cinema, Rome, Open City, Genres & Case Studies, Neorealism, Hot Entries, Key Concepts, Audience, Film Language, Representation

Across the varied and diverse ways in which a film text can encode and emphasise meanings and a specific viewpoint on or presentation of a subject, realism is a key aesthetic and formal choice and approach that has functioned as a key creative direction of so much western expression across literature and the visual arts. This resource, then, explores the characteristics of a particular film style that we call neorealism. It stems from post World War Two Italian cinema and its influence has been felt in cinemas around the world.

In exploring two films as our key texts in...

[ read full article ] »

Popular Film & Emotional Response: All That Heaven Allows & Far From Heaven »

Rob Miller | Wednesday July 01, 2015

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Film History, Films & Case Studies, Directors, Douglas Sirk, Todd Haynes, Hollywood Films, All That Heaven Allows, Far From Heaven, Hot Entries, Key Concepts, Audience

An Analysis of Two Close Study Films

This resource analyses two close study films All That Heaven Allows (1955) and Far From Heaven (2002) in relation to the FM4 Spectatorship topic, Popular Film and Emotional Response while cross-referencing key points with Imitation of Life (1959). Todd Haynes’ 2002 American drama Far From Heaven makes clear intertextual references to Douglas Sirk’s 1955 and 1959 films All That Heaven Allows and Imitation of Life in terms of style and themes although arguably ‘paints’ using a broader, more contemporary ‘brush’ when...

[ read full article ] »

Exemplar WJEC A2 Lesson Plan | Introduction to Bollywood as a National Cinema »

Rob Miller | Monday November 17, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Genres & Case Studies, Bollywood, 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 Bollywood as a National Cinema

Context

This lesson would be delivered in the first or second week after the Christmas break with the assumption that students are close to completing their FM3 projects – an understanding of World Cinema has been embedded but needs to be revisited at the start of the lesson before this specific, examined Section A: World Cinema...

[ read full article ] »

The Battle of Algiers (1966) Case Study »

Rob Miller | Wednesday October 29, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, World Cinema, The Battle of Algiers, Genres & Case Studies, Crime, Drama, History, War, Hot Entries, Key Concepts, Audience, Film Language, Representation

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FM4 Section C Single Film - Critical Study

The whole film can be watched here.

In 2010, The Guardian newspaper published a story entitled “Algeria (national football squad) prepare for World Cup battle by watching The Battle of Algiers.”. Given the centrality of football to our contemporary popular culture, this incident might offer some suggestion of the cyclical power of cultural discourse and the transmission of a given film text’s thematic content in terms of the process of how it is decoded and appropriated by particular audiences at...

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Happy Together (Hong Kong 1997) Case Study »

James Clarke | Tuesday October 07, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Film Industry, Film Distribution, Film Marketing, Films & Case Studies, World Cinema, Happy Together, Genres & Case Studies, Drama, Romance, Hot Entries, Theory, Auteur Theory, Queer Theory

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FM4: Varieties of Film Experience – Issues and Debates Section C: Single Film – Critical Study

Introduction

Happy Together is a feature film directed by Wong Kar-wai. It was released in 1997, the year that Hong Kong’s governance from Britain ended and governance from China began. The fact that Happy Together begins with passports being stamped might well resonate with Hong Kong audiences particularly with when the film was released. We might suggest that a passport is a very tangible symbol of national identity. The film is encoded...[ read full article ] »


Solaris (Soviet Union 1972) Case Study »

Rob Miller | Wednesday October 01, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, World Cinema, Solaris (1972), Genres & Case Studies, Drama, Science Fiction, Hot Entries, Key Concepts, Audience, Film Language, Representation

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There are key areas of study that WJEC recommend are explored for FM4 Section C – Solaris, and they are as follows:

  • As a philosophical film about identity and memory

  • The role and function of Hari

  • The undemonstrative character of Kris and the reasons for this

  • Issues of representation in relation to conventions of the Sci-Fi genre

  • The significance of the earth sequences – including the emphasis on nature
  • The overall pace and length of the film

  • Spectatorship issues related to the above and to narrative development

  • The film as...
[ read full article ] »

Movern Callar (2002) Case Study »

James Clarke | Friday September 26, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, Non-Hollywood Films, Movern Callar, Genres & Case Studies, British Film, Drama, Hot Entries, Key Concepts, Audience, Film Language, Representation

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FM4: Varieties of Film Experience – Issues and Debates Section C: Single Film – Critical Study

Introduction

Lynne Ramsay, the director of the film Morvern Callar has made the valuable observation that “I love to see great dialogue in the cinema but I hate to see ‘Film TV’. When I go to the cinema I want to have a cinematic experience….I like dialogue when it’s used in a way where the body language says the complete opposite…” [1] Ramsay’s emphasis on the importance of the non-verbal is highly relevant in relation to Morvern...

[ read full article ] »

Approaches to Single Film Critical Study Workshop »

Richard Gent | Thursday September 25, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Hot Entries

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This WJEC A2 Film Studies dedicated, interactive workshop, offered both as a full or half day option provides a platform for further study in relation to FM4 Section C: Single Film – Critical Study. It is expected that centres will inform FilmEdu of their chosen film available for study so that the half day, or full day workshop will be dedicated to that specific text. We can guarantee an expert on each available text to ensure assessment requirements, and all areas of questioning are covered.

Cost

  • Half Day (3 Hours Contact Time): costs from...
[ read full article ] »

Documentary and Spectatorship Workshop »

Richard Gent | Wednesday September 24, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Genres & Case Studies, Documentary, Hot Entries

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Documentary, of all genres has a profound impact on spectatorship. This dedicated, interactive WJEC A2 Film Studies Section B: Spectatorship topic explores historical and contemporary genre pieces from Vertov’s Man With a Movie Camera through to Senna, Grizzly Man and Marley ensuring that key theories e.g. the work of Dr Bill Nichols are incorporated. It is expected centres will inform Edusites Film of their chosen texts so the session can be bespoke to their needs.

Cost

  • Half Day (3 Hours Contact Time): costs from £300
  • Full Day (6 Hours...
[ read full article ] »

International Film Styles Workshop »

Richard Gent | Wednesday September 24, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Hot Entries

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This WJEC A2 Film Studies dedicated, interactive workshop, offered both as a full or half day option provides a platform for further study in relation to the FM4 Section A: World Cinema, International Film Styles topic. It is expected that centres will inform Edusites Film of their chosen topic/topics, whether German Cinema, Soviet Cinema, Surrealism, Neo Realism or New Wave options so the session can be precisely tailored to the needs of the centre. We can guarantee an expert in each field of study.

Cost

  • Half Day (3 Hours Contact Time): costs...
[ read full article ] »

Sweet Sweetback’s Baadasssss Song (1971) Case Study »

Rob Miller | Monday September 22, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Film Industry, Censorship & Regulation, Film Distribution, Film Marketing, Film Publicity, Films & Case Studies, Non-Hollywood Films, Sweet Sweetback's Baadasssss Song, Genres & Case Studies, Crime, Drama, Independent, Thriller, Hot Entries, Key Concepts, Representation

FM4: Varieties of Film Experience – Issues and Debates Section C: Single Film – Critical Study

Section C of FM4 offers students the ability to engage in a critical study of a single film, within a synoptic framework – this means the micro and the macro features need to be studied, as well as issues of representation. Useful will be placing the film in an institutional and cultural context in reference to production, funding distribution, audience, audience reception but also genre and narrative. WJEC do provide, on request a short Reader on each film with a number...

[ read full article ] »

International Film Styles: Surrealism »

Rob Miller | Friday September 19, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, Directors, Louis Bunuel, World Cinema, The Discreet Charms of the Bourgeoisie, Un Chien Andalou, Genres & Case Studies, Comedy, Fantasy, Silent, Surrealism, Hot Entries, Key Concepts, Audience, Film Language, Representation

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Sample Questions

  • How far does cinematic style support themes and ideas in the films you have studied for this topic?
  • Discuss how far the development of your chosen international film style can be seen as the work of particular creative individuals?
  • Discuss characteristic features of casting and/or performance, exploring how far these features contribute the overall effect of the films you have studied.
  • What is the relationship between visual style and the subject matter of the films you have studied?

WJEC Say

“This topic focuses on the...

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Recommended A2 Film Studies Theorists »

Rob Miller | Monday September 15, 2014

Categories: A Level, OCR A Level, OCR A2, WJEC A Level, WJEC A2, FM3, FM4, Section A: World Cinema, Section B: Spectatorship Topics, Section C: Single Film Critical Study, Hot Entries, Key Concepts, Audience, Representation, Theory, Theorists

The following theorists represent a selection of film theorists (from many) whose work can be cited in both A Level Film Studies coursework and external assessment, for both WJEC and OCR. For example, OCR Film Studies Section B F633 suggests: “candidates are encouraged to engage with critical frameworks relevant to the topic area” e.g. Film Regulation, Authorship and Film and Audience Experience while WJEC Film Studies FM4 states that students should: “apply key concepts and critical approaches gained throughout the course to explore film in a synoptic manner”.

In...

[ read full article ] »

WJEC A2 Film Studies FM4 Section A World Cinema Bollywood A Grade Exemplar »

Rob Miller | Wednesday September 03, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Dilwale Dulhaniya Le Jayenge, Shree 420, Genres & Case Studies, Bollywood, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Auteur Theory

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By comparing the cinematic styles used in the films you have studied for this topic, is it possible to identify a distinctive ‘National Cinema’?

Indian cinema means different things to different people and there are a lot of different cinematic styles originating from the Indian subcontinent. Stereotypically, when western audiences without cultural capital or knowledge think of Indian films the iconic name ‘Bollywood’ comes to mind, or less widely known outside of India, as Hindi films. Bollywood films have come to represent a national...

[ read full article ] »

Vertigo (Hitchcock 1958) Case Study »

James Clarke | Monday August 18, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Film Industry, Film Marketing, Film Publicity, Film Promotion, Films & Case Studies, Hollywood Films, Vertigo, Genres & Case Studies, Mystery, Romance, Thriller, Hot Entries, Key Concepts, Audience, Film Language, Representation

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Understanding the relationship between the micro and the macro elements of a film is an essential part of our analysis of movies. Every shot, every sound accumulates to form the expression of an idea. Thinking about movies in this way might prompt us to acknowledge that a camera move for example, can express a character’s psychology, sometimes more forcefully and memorably than a line of dialogue could ever do. In the opening scene of Vertigo (1958) as the film’s protagonist Scottie looks down from a great height during a chase, a camera move...

[ read full article ] »

Modern Times Case Study (Chaplin 1936) »

James Clarke | Monday May 19, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, Hollywood Films, Modern Times, Genres & Case Studies, Comedy, Drama, Hot Entries, Key Concepts, Audience, Film Language, Representation

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The first image that we see in Modern Times is of a clock - a symbol of the workplace and productivity as Chaplin’s Little Tramp struggles in the modern, industrialised world of which he is so critical during the time of the Great Depression, see more on that here. As such the image is emblematic of the entire film. Modern Times is a silent film comedy that is as ideologically rich and meaningful as a wide range of far more ‘serious’ dramas about ‘serious’ subjects; as evidenced by films such as Schindler’s List (1993) and 12 Years A...

[ read full article ] »

WJEC A2 FM4 Section C Single Film Critical Study | Talk To Her - Almodovar, 2002 »

James Clarke | Friday May 09, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Talk To Her, Genres & Case Studies, Comedy, Drama, Romance, Hot Entries, Key Concepts, Audience, Film Language, Representation

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In this resource we will consider the film Talk To Her (2002) and explore some aspects of its film style, by which we mean the choices made by the filmmakers in their deployment of sound and visual elements in the construction of the narrative. As such, we are considering how storytelling devices express a range of meanings and values embodied within the drama. Talk To Her offers an opportunity for us to think about how film (and non Hollywood films, particularly) might have more opportunity than the Hollywood-produced film (typically conservative...

[ read full article ] »

WJEC AS/A2 Film Studies Suspension of Disbelief Believing in Make Believe »

Emily Hughes | Tuesday March 18, 2014

Categories: A Level, WJEC A Level, WJEC AS, FM1, WJEC A2, FM4, Section B: Spectatorship Topics, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory

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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 how then, does cinema make us believe in the worlds it crafts and care about the...

[ read full article ] »

Bollywood 1990 - Present »

Rob Miller | Friday March 14, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Dilwale Dulhaniya Le Jayenge, Shree 420, Genres & Case Studies, Hot Entries, Key Concepts, Audience, Film Language, Representation

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WJEC A2 Film Studies FM4 Section A World Cinema: Aspects of National Cinema

This section of FM4 Section A: World Cinema does not require a comprehensive study of the period as long as there is some significance in the films chosen, and their relationship to the national cinema to which they belong. It is expected two principal films will be chosen, supplemented by briefer reference to one or two other films. As such, this resource (not an exemplar exam response) will focus on the following texts to give a historical and then a more contemporary...

[ read full article ] »

Les Enfants du Paradis (Carne 1945) »

James Clarke | Thursday March 13, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, World Cinema, Les Enfants du Paradis, Genres & Case Studies, Drama, Romance, Hot Entries

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WJEC A2 Film Studies FM4 Section C Critical Study Les Enfants du Paradis

Typically, in many of our Edusites resources we identify contexts that inform the potential meaning of a given film text. In the case of Les Enfants du Paradis this is an especially powerful and relevant aspect of how we approach the film.

In this resource, we will broadly sketch out a particular political context, then move on to describe something of the production and conceptual development of the film and finally consider aspects of the film’s formal qualities (macro...

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German Cinema »

James Clarke | Monday March 10, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Metropolis, Nosferatu, The Cabinet of Dr. Caligari, Genres & Case Studies, German, Hot Entries, Key Concepts, Audience, Film Language, Representation, Posters, Film Poster Analysis

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WJEC A2 Film Studies FM4 Section A World Cinema International Film Styles: German Cinema of the 1920s

Introduction

One of the most rewarding aspects of Film Studies is to be found in recognising how films produced at one, quite distant moment in time often made long ago, continue to influence more contemporary films with which we might all be more familiar. This is certainly true of the impact of some examples of German cinema produced in the 1920s. If you watch Edward Scissorhands (1990), Bram Stoker’s Dracula (1992), Bringing out the Dead...[ read full article ] »


Iranian Cinema »

James Clarke | Thursday March 06, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, At Five in the Afternoon, Blackboards, Close Up, The Apple, The Wind Will Carry Us, Genres & Case Studies, Iranian, Hot Entries, Key Concepts, Audience, Film Language, Representation

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WJEC A2 Film Studies FM4 Section A World Cinema Aspects of a National Cinema: Iranian Cinema 1990 - Present

Introduction

Let us start with a piece from what could serve as possible further reading beyond this resource as it suggests the complexity of the subject we are exploring: “for many pious families, going to the cinema was tantamount to committing a sin. The main reason for this was that cinematic representations of women and love upset the delicate dualism which had long attended these topics in Iranian culture.” [1] It seems fair to...

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Spectatorship and Early Cinema Before 1917 »

James Clarke | Saturday November 30, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory

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Cinema is now nearly 120 years old and it’s a magnificently broad, deep, complex and exciting subject.

It’s understandably easy to think that the way films are now is how they have always been, in terms of their technology and particularly how they organize (tell) their stories. However, this isn’t the case and so it’s important for us to be aware that all forms of cultural expression evolve across time and that they are subject to many influences, intended or not. Understanding how cinema began might, in fact, give us some feeling for...

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Aspects of National Cinema: Japanese Cinema »

James Clarke | Monday November 25, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Film Distribution, Production Companies, Films & Case Studies, World Cinema, Grave of the Fireflies, Seven Samurai, Genres & Case Studies, Japanese, Hot Entries, Key Concepts, Audience, Film Language, Representation

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WJEC A2 Film Studies FM4 Section A World Cinema: Aspects of National Cinema

Japanese cinema can be understood as a major presence in the international film style context, not only in terms of its own achievement but also for the influence it has exerted on cinema far beyond its borders.  It’s a national cinema with a very specific set of concerns and stylistic traits and with a number of particular contexts that allow the film texts to be understood in all the more interesting ways. In saying that there is such a thing as international cinema,...

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Spectatorship Experimental/Expanded Film: Meshes of the Afternoon & Tarnation »

Amy Charlewood | Tuesday November 19, 2013

Categories: A Level, WJEC A Level, WJEC AS, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Genres & Case Studies, Avant-Garde, Cinéma Vérité, Documentary, Experimental, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory

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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 cinema’ was used for a while but rejected for sounding like it’s at odds with ‘normal cinema’ and even...

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Popular Film & Emotional Response: How Film Produces Emotional Responses »

James Clarke | Monday November 11, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Hot Entries, Key Concepts, Audience, Film Language, Representation

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All films manipulate audiences and this is one fundamental reasons why we choose to watch a film. It is because we want to experience a change in our emotional condition - we may want to be provoked into laughter, tension, sadness, fear or happiness.

One of the key issues underpinning our exploration of film and the experience of an emotional response to it is the understanding that emotions can be argued to be culturally formed. Chris Barker writes “Emotions are not simply matters of individual interpretation of experience but inevitably a...

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WJEC A2 Film Studies FM4 Section B Spectatorship Documentaries Exemplar »

Karen Ardouin | Monday June 10, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Films & Case Studies, Non-Hollywood Films, Fahrenheit 9/11, Grizzly Man, Marley, Senna, Super Size Me, Touching The Void, We Are The Lambeth Boys, Genres & Case Studies, Adventure, Biography, Comedy, Documentary, Drama, History, Independent, Music, Sport, Hot Entries, Key Concepts, Audience, Film Language, Representation, Mock Exams, A Level Mock Exams

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With reference to the films you have studied for this topic, how far can it be said that different kinds of documentaries offer different kinds of spectator experiences?

The spectator experience is dependent on a number of factors including environment of reception for example (where it is seen) and specifically purpose, whether to entertain, inform, educate or persuade. Documentaries are diverse in content and can suggest degrees of realism. Mediated content is often apparent in terms of the selection and construction of material or a wholly...

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WJEC A2 Film Studies FM4 Section B Spectatorship Fahrenheit 9/11 Kurt and Courtney Exemplar »

Karen Ardouin | Monday June 10, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Films & Case Studies, Non-Hollywood Films, Bowling For Columbine, Fahrenheit 9/11, Kurt & Courtney, Genres & Case Studies, Biography, Documentary, History, Music, War, Hot Entries, Key Concepts, Audience, Film Language, Representation, Mock Exams, A Level Mock Exams

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‘A common experience for the spectator when watching a documentary is to be manipulated by the filmmakers’. How far do you agree with this statement? (35)

Generally, documentaries are created in order to impart information and, in the main, to persuade the audience into believing a particular viewpoint. The contract between audience and filmmaker is considered along with the code of ethics with regard to documenting the real. For example, there are questions around the time and space created within the story and the structure and chronology of...

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WJEC A2 Film Studies FM4 Section A World Cinema Mexican Cinema Exemplar »

Rob Miller | Monday June 03, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Amores Perros, Y Tu Mamá También, Genres & Case Studies, Mexican

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Key Texts

  • Amores Perros (Love’s A Bitch) 2000
  • Y Tu Mama También (And Your Mother Too) 2001

Compare some of the stylistic features in the films you have studied discussing how far they make for a distinctive kind of cinema.

The study of so-called World Cinema tends to focus on common themes e.g. power, poverty and conflict, social class, gender representation et al within the confines of what has to be described as Hollywood Hegemony. Ironically ‘international film styles’ or World Cinema has heavily influenced Hollywood and continually...

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WJEC A2 Film Studies FM4 Section C Single Film Critical Study Fight Club Exemplar »

Rob Miller | Monday June 03, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, Hollywood Films, Fight Club, Hot Entries

Despite the gesture of destroying symbols of corporate power at the end, Fight Club is a film about power and control, not liberation. How far do you agree?

Fight Club is a pre millennium, 1999 film directed by David Fincher. Fincher admits to wanting to create a discourse on corporate power, advertising and a crisis in masculinity which is developed also through the novel’s homoerotic connotations. The film’s screenplay was developed by Jim Uhles and as such, remains close in narrative content to book.

The whole idea of pre millennium angst was a crucial theme for the...

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Popular Film & Emotional Response: Understanding Emotional Responses »

Viki Walden | Monday March 25, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Analysis, Film Analysis, Films & Case Studies, Hollywood Films, Schindler's List, Non-Hollywood Films, World Cinema, La Vita è Bella, Genres & Case Studies, Action, Biography, Comedy, Crime, Drama, History, Romance, Science Fiction, Thriller, Key Concepts, Audience, Film Language, Representation

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Students can find studying spectatorship challenging.  There are many theories of spectatorship, but starting with the theory can lead students to list theoretical ideas rather than engage with the texts. Let’s not forget this A2 Film Studies unit is about “emotional responses” more than critical ones.

This is a good place to start with students. What is “emotion”? What is “popular film”? And what elements of the film experience trigger emotional responses?

Emotion and Popular Film

The term emotion, as commonly used today, has...

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International Film Styles: French New Wave »

James Clarke | Thursday March 21, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Film Distribution, Production Companies, Films & Case Studies, World Cinema, À Bout de Souffle, Les Quatre Cents Coups, Genres & Case Studies, French New Wave, Key Concepts, Audience, Film Language, Representation

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In 1950, when he was only nineteen years old, Jean-Luc Godard, one day to become one the great filmmakers, wrote a piece for the French publication Gazette du Cinema called Towards A Political Cinema. Even at this young age, Godard was aware of cinema’s power to communicate ideas.

Jean-Luc Godard examines a strip of film

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Film history describes a wide range of film movements that have each had an often-short lifespan that’s been quite specific but the legacies of which have endured.

A movement in film, or indeed...

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International Film Styles: 1920s Soviet Cinema »

James Clarke | Friday March 08, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Film History, Film Industry, Film Distribution, Production Companies, Films & Case Studies, World Cinema, Battleship Potemkin, Man With A Movie Camera, Genres & Case Studies, Documentary, Realism, Social Realism, Soviet Montage

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Cinema is always evolving.

The constantly changing quality of film styles is exciting and since the beginnings of film history many nations around the world have developed their own distinct cinematic style and this continues today in the twenty-first century.

During the early part of the twentieth century one country that contributed very significantly to the development of early cinema, was Russia and now, in 2013, almost a century later, the particular film style that emerged from Russia continues to be an essential stylistic approach that...

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World Cinema Topics: Empowering Women - Volver (2006) and Amores Perros (2000) »

Amy Charlewood | Monday February 04, 2013

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Amores Perros, Volver, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Film Theory

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It is important to firstly consider the context of this unit as an exploration of world cinema. World cinema is difficult to define; with most definitions reverting to that it can be defined simply as any cinema outside of the globally dominant industry of Hollywood or any non English language cinema. Often discussed as an alternative to Hollywood’s ‘dream factory’, World cinema tends to be perceived as possessing certain features offering an insight into another country’s culture, a low budget gritty representation of real life or having more artistic merit than...

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Mexican Cinema 1990 >> »

Viki Walden | Tuesday November 06, 2012

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Film History, Films & Case Studies, World Cinema, Cronos, Y Tu Mamá También, Genres & Case Studies, Mexican

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Background: The Beginnings

To fully comprehend any one period in a country’s cinema, there needs to be some contextualisation. Early Mexican filmmakers profited from the turbulent times the country faced at the turn of the century. The civil war was the subject of many silent films; several significant battles were documented on camera. As the country began to stabilize during the 1930s, filmmakers had a myriad of social issues to choose from as themes for their films. However, they preferred a detachment from reality and this tradition would continue.

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After the Second...

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La Haine Case Study »

Viki Walden | Friday September 07, 2012

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, La Haine, Genres & Case Studies, Beur, Classic, Drama, New Realism, Social Realism

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Urban Stories | Power, Poverty & Conflict | Case Study 2 | La Haine (Mathieu Kassovitz , 1995)

Synopsis

La Haine (Hate 1995, France) focuses on a single day in the lives of three twenty-something friends from immigrant families, living in an impoverished and multi-ethnic French housing project. The housing project, or la banlieues (ZUP - zone à urbaniser en priorité), hosts a riot after a young man is shot by a policeman. The film follows the young trio in the immediate aftermath of the riot. Vinz, who is Jewish, is filled with rage. He sees himself as a gangster, ready to...

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Amores Perros Research Questions »

Rob Miller | Thursday November 10, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Amores Perros, Research, Film Research

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Amores Perros Research Questions.doc




Supersize Me Case Study »

Rob Miller | Tuesday November 01, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Analysis, Film Analysis, Films & Case Studies, Non-Hollywood Films, Super Size Me, Genres & Case Studies, Documentary

Spectatorship and Documentary

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Synopsis and Character Profiles

Supersize Me is a documentary by independent film maker, Morgan Spurlock, about Spurlock himself spending 30 days in sequence, in 2003, eating only McDonalds food, three times a day with the ensuing affect on his health – the title of film reflects his pledge of having to eat a Supersize meal (the largest on the menu) if asked. The film explores the fast food giant’s corporate influence, and lack of nutrition in its products, with the subjective view encoded by the Documentary make that their only priority is...

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Man with a Movie Camera Case Study »

Rob Miller | Tuesday November 01, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Man With A Movie Camera, Genres & Case Studies, Classic, Documentary, Independent, Silent

Spectatorship and Documentary

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Synopsis and Character Profiles

Man with a Movie Camera is an innovative silent 1929 Documentary, set in a number of cities in the Soviet Union, including Odessa (near where Eisenstein shot the iconic Odessa Steps sequence in Battleship Potemkin). Fundamentally, and on a manifest level, it is about a day in the life of a city and audiences are introduced to a city literally waking up – individuals washing and bathing, Tram Sheds opening, tramps waking up on park benches and men and women interacting with the machinery of modern life.

The...

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Fight Club Case Study »

Rob Miller | Monday October 31, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Films & Case Studies, Hollywood Films, Fight Club, Genres & Case Studies, Comedy, Drama, Film Noir, Romance, Thriller

A2 Film Studies Section C: Close Critical Study

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Synopsis and Character Profiles

Fight Club is based on a surprisingly short novel by Chuck Palahniuk, where it is suggested the desire for meaning drives civilisation. The film takes this as it essence, but offers a broader range of more complex representations.

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In terms of narrative, the film is initially about the life of a disillusioned office worker - played by the narrator, Edward Norton – he works for a car insurance company, who appraise accident damaged vehicles in terms of costing.

He finds his job boring and...

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Amores Perros (Love’s A Bitch) Case Study »

Rob Miller | Monday October 31, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Amores Perros, Genres & Case Studies, Drama, Gangster, Romance, Thriller

Urban Stories: Power, Poverty and Conflict

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Synopsis and Character Profiles

Amores Perros is a film about a three interconnected stories in Mexico City that borrow from, or arguably make, intertextual references to Pulp Fiction in terms of the non linear narrative.

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A car crash is the pivotal scene that involves, and effects, all three narratives and serves as a narrative arc – in Story 1 (like Pulp Fiction chapter headings are used) Octavio and Susana fall for each other, but not before Susana leaves Octavio’s brother, with whom she has a child.

Octavio falls in love...

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Fight Club Screening Questions »

Nicole Ponsford | Sunday October 23, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Films & Case Studies, Hollywood Films, Fight Club, Genres & Case Studies, Drama, Hot Entries

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Associated Resources

  • Screening Questions Pre-FM4 Close Study of Fight Club.doc

For each of the following films, you will need to be able to make notes on, compare and explain the following texts in relation to Fight Club.

Using American Beauty / Being John Malcovich / The Matrix you need to be aware of both the micro and macro features in relation to:

  • Narrative and Narrative Themes, Ideology
  • Changing Representations of Masculinity
  • Genre and Genre Conventions
  • Audience Responses, Critical and Commercial Success

These questions will help you to focus your critical reading...

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Metropolis Case Study »

Viki Walden | Saturday October 22, 2011

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Films & Case Studies, World Cinema, Metropolis, Genres & Case Studies, Classic, Expressionist, Independent

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Urban Stories | Power, Poverty & Conflict | Case Study 1 | Metropolis (Fritz Lang, 1927)

Synopsis

Freder has lived a naive existence as the son of the founder / owner of the city of Metropolis. He spends his spare time frolicking in the Club of Sons or Eternal Gardens, blissfully unaware of the tormented incarceration of the workers in the depths of the city. This is until, one day, Maria brings the children to see their richer “brothers”. Touched by the image of these poor, dishevelled children, Freder explores the under city. He is tormented by the images he sees- an...

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