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Viewing entries from category: OCR A2

Legacy OCR A Level Film Studies »

Richard Gent | Wednesday August 24, 2011

Categories: A Level, OCR A Level, OCR A2, OCR AS, Overviews

New OCR A Level Film Studies Resources

We are developing a series of new resources for the new A Level Film Studies specs. These are likely to include an overview planner, teaching guide, online slides, student workbook and a glossary. We hope to start publishing them in June.

Legacy Resources

Welcome to Edusites Film’s comprehensive resources and materials link covering every aspect of the OCR 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...

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OCR A2 Film Sec A Messages and Values in Global Film: Battleship Potemkin & Les Quatre Cents Coups »

Rob Miller | Tuesday September 15, 2015

Categories: A Level, OCR A Level, OCR A2, Analysis, Film Analysis, Films & Case Studies, World Cinema, Battleship Potemkin, Les Quatre Cents Coups, Genres & Case Studies, Crime, Drama, History, War

1. How is style and theme used in communicating messages and values in the films you have studied? (50)

The two films I have studied are Sergei Eisenstein’s Battleship Potemkin from 1925 and Francois Truffaut’s Les Quatre Cents Coups (The 400 Blows) from 1959. Both films are encoded with a filmmaking style that both reflects a period in cinematic history and also with narrative themes deeply embedded revealing underlying messages and values.

Potemkin’ is considered a classic of 1920s silent soviet cinema with Eisenstein directing films alongside famous...

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OCR A2 Film Sec B Critical Engagement with Film & Cinema: Authorship in Contemporary Cinema »

Rob Miller | Tuesday September 15, 2015

Categories: A Level, OCR A Level, OCR A2, Analysis, Film Analysis

2. How far do you agree with the statement that the director is the true author of the filmmaking process? (50)

An auteur implies someone with overall control and also someone with their own recognisable style. Audiences with cultural capital who watch a Hitchcock film may see immediately that it is directed by him because of the cinematography, mise-en-scene and visual style, sound but also importantly editing. It is the ‘look’ of the film that identifies his role and this is the primary role of the director. A film can have a number of authors that go beyond the...

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OCR A2 Film Studies Creative Investigation in Film »

Rob Miller | Monday September 14, 2015

Categories: A Level, OCR A Level, OCR A2

The purpose of this unit is to assess students’ ability to independently research, investigate and analyse a film based topic and present the findings and to assess the students’ application of knowledge and understanding to the planning and construction of a creative realisation. It is also designed to assess students’ application of knowledge and understanding in evaluating their own work. This project is produced independently but may have the assistance of others.

1. Research

a. Independent Research Project: Edusites Film Example - An Auteur Study of Martin Scorsese...

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OCR A2 Film Sec A Messages and Values in Global Film: Battleship Potemkin & Good Bye, Lenin! »

Rob Miller | Friday September 11, 2015

Categories: A Level, OCR A Level, OCR A2, Analysis, Film Analysis, Films & Case Studies, Non-Hollywood Films, Goodbye Lenin, World Cinema, Battleship Potemkin, Genres & Case Studies, Comedy, Drama, History, Romance, War

  • Battleship Potemkin (Russia, 1925)
  • Good Bye, Lenin! (Germany, 2003)

Battleship Potemkin

  • https://www.youtube.com/watch?v=UNT6xyopdBs (whole film)

Historical, Socio-political and Cultural Issues incorporating Authorship

Battleship Potemkin (Potemkin) is a film rooted in Russian history, a fragile peasant economy was ruled by a Tsarist autocracy until revolution and war in 1905 saw a wave of mass political and social unrest spread through the Russian Empire. This included strikes, peasant unrest and military mutinies. It was the latter that Potemkin explored by...

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Film Studies Revision Workshops »

Richard Gent | Thursday January 08, 2015

Categories: GCSE, WJEC GCSE, A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC A2, Analysis, Film Analysis, Consultancy and Workshops, Revision Workshops

Introduction

Welcome to Edusites Film’s Film Studies Revision Workshops link. Here you will find a range of workshops which can be tailored to your individual needs, whether at GCSE, AS or A2 or WJEC or OCR. To see an overview of all our Film Studies workshops please click here.

We also run workshops and CPD for GCSE and A Level Media Studies via MediaEdu, our dedicated support site for Media.

Click on the links below for further information on our Film Studies Revision Workshops:

GCSE Film Studies Revision Workshops

  • WJEC GCSE Film Studies Superhero and Film Outside...
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Exemplar OCR A2 Lesson Plan | Introduction to F633 Section A »

Rob Miller | Friday November 14, 2014

Categories: A Level, OCR A Level, OCR A2, Films & Case Studies, World Cinema, 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 F633 Global Cinema and Critical Perspectives Section A: Messages and Values in Global Film

Context

This lesson would be delivered early in term one to embed the notion of non-English language global cinema and develop a critical approach to film analysis required for the whole of F633. Although exemplar texts will be used as stimulus and research sources identified,...

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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...

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F634: Creative Investigation in Film Guide »

James Clarke | Tuesday September 02, 2014

Categories: A Level, OCR A Level, OCR A2, Film Industry, Film Marketing, Films & Case Studies, Directors, Steven Spielberg, Hot Entries, Key Concepts, Audience, Film Language, Representation, Posters, Film Poster Analysis

The purpose of this unit is to assess students’ ability to independently research, investigate and analyse a film based topic and present the findings; secondly, to assess the students’ application of knowledge and understanding to the planning and construction of a creative realisation; and finally, to assess candidate’s application of knowledge and understanding in evaluating their own work.

1. Research

  • Independent Research Project: 40 marks
  • Planning: evidence of planning for a filmed sequence within the field of Film Studies: 10 marks

2. Creative Realisation

  • A...
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OCR A2 Film Studies: 31 Week Scheme of Work »

Rob Miller | Wednesday July 02, 2014

Categories: A Level, OCR A Level, OCR A2, Hot Entries

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F633: Global Cinema and Critical Perspectives

F634: Creative Investigations in Film

This scheme provides a basic outline, in terms of structure and timescales over the period of one academic year – it is expected throughout the year that teachers will generate their own additional resources and materials.  Edusites Film have suggested only a research investigation for F634 and have recommended only that Film Regulation and Classification be studied for F633 Section B – centres may/may not find they have time to teach two topics, e.g. Film and...

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Messages and Values in Global Cinema »

Rob Miller | Friday March 14, 2014

Categories: A Level, OCR A Level, OCR A2, Analysis, Film Analysis, Films & Case Studies, World Cinema, Crouching Tiger Hidden Dragon, Russian Ark, Genres & Case Studies, Action, Drama, Fantasy, History, Romance, Hot Entries, Key Concepts, Audience, Film Language, Representation

OCR A2 Film Studies Unit F633: Global Cinema and Critical Perspectives Section A: Messages and Values in Global Cinema

click on image to enlarge

The study of “two contrasting non-English language texts that derive from different countries of origin”:

  • Crouching Tiger, Hidden Dragon (China, Honk Kong, Taiwan) 2000
  • Russian Ark (Russia, Germany) 2002

Crouching Tiger, Hidden Dragon

Both films, one a Wuxia martial arts/romance hybrid and the other a historical drama-documentary provide audiences with an understanding of Chinese and Russian culture, within the framework of...

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OCR A2 Film Studies Revision Workshop »

Rob Miller | Wednesday January 15, 2014

Categories: A Level, OCR A Level, OCR A2, Analysis, Film Analysis, Hot Entries

click on image to enlarge

Book A Half or Full Day Revision Workshop in Your School

Programme Details

  • Edusites Film provides visually dynamic, interactive Revision Courses on Global Cinema and Critical Perspectives dedicated to, and focusing on specification requirements.
  • We have experts on all areas of the specification from F633 Section A: Messages and Values in Global Cinema to Section B: Critical Engagement with Film and Cinema. It is envisaged that centres will inform Edusites Film prior to the session sbout the two non English language case studies you would like us...
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OCR A Level Film Studies Recommended Texts »

Rob Miller | Tuesday January 14, 2014

Categories: A Level, OCR A Level, OCR A2, OCR AS, Films & Case Studies, Genres & Case Studies, Hot Entries

AS Film Studies Section A

Films to teach 7 Frameworks for Analysis – Representation, Messages and Values, Genre, Narrative, Theme, Style and Authorship

  • Red Road (2006): Style and Authorship
  • Fish Tank (2009): Style, Representation, Messages and Values, Genre and Authorship
  • Millions (2004): Style, Genre and Authorship
  • Slumdog Millionaire (2008): Style, Genre and Authorship
  • Charlie and The Chocolate Factory (2005): Style, Representation and Authorship
  • Frankenweenie (2012): Style, Representation and Authorship
  • Harry Potter and the Deathly Hallows Part 2 (2011): Genre and...
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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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Developments in 21st Century Cinema and Film (2000-Present) »

James Clarke | Wednesday November 27, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Hollywood Films, Avatar, World Cinema, Atanarjuat: The Fast Runner, Hot Entries, Key Concepts, Audience, Film Language, Representation

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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 electronic age and since 2000 the film industry has witnessed the rapid impact of...

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Authorship in Contemporary Cinema: The Films of Danny Boyle and Tim Burton »

James Clarke | Tuesday November 19, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Analysis, Film Analysis, Films & Case Studies, Directors, Danny Boyle, Tim Burton, Hot Entries, Theory, Auteur Theory, Film Theory

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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 humanizes a very technical and technological medium, is that of film...

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Film Regulation and Classification »

James Clarke | Thursday November 14, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Film Industry, Censorship & Regulation, Hot Entries

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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 or on home video, then you are legally required to submit it to the BBFC. In...

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Film and Audience Experience »

James Clarke | Wednesday November 13, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Hot Entries, Key Concepts, Audience

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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.

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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 this resource we will focus our discussion around two very different films: Red...

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KS5 Film Studies Starters »

Nicole Ponsford | Wednesday September 12, 2012

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Hot Entries, Starters, KS5 Film Studies Starters

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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 Colonialism, Marxism and Surrealism. See here for more examples.

Back Through Time ICT

...[ read full article ] »