Richard Gent | Friday January 26, 2018
Categories: Theory, Film Theory, Auteur Theory, Research, Spectatorship Theory, IB Film Resources, IB, IB Film, Silent Era, Queer Theory, World Cinema, Film Industry, Film Research, Key Skills, Genre, Narrative, Audience, Film Language, Representation, Films & Case Studies, Hollywood Films, Non-Hollywood Films, Genres & Case Studies, Analysis, Key Concepts
So what do we need to do for students and teachers to perform brilliantly? Our resources are a guide to producing critically autonomous students who gain a wide range of skills in the study of film and truly make the transition from film fan to film student. Reading film Examine film as an art form, studying a broad range of film texts from a variety of cultural contexts and analysing how film elements combine to create meaning. Contextualising film Explore the evolution of film across time and…
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Barry Rainsford | Wednesday September 13, 2017
Categories: Cinematography, Theory, Film Theory, OCR A Level, EDUQAS A Level, Auteur Theory, Spectatorship Theory, A Level Film, Queer Theory, A Level, Film Industry, Key Skills, Mise-en-Scene, Genre, Narrative, Editing, Pre-Production, Planning, Audience, Film Analysis, Film Language, Representation, Films & Case Studies, Analysis, Posters, Key Concepts
The Edusites programme of study for A Level Film has been designed to provide a Core Unit for each term to help students develop the right level of knowledge and understanding of the key critical approaches and all the framework concepts of narrative, genre, representations, and spectatorship. Our NEA Support Materials will focus on Making a Short Film for OCR NEA and Production for Eduqas NEA. Edusites A Level Film Programme of Study: Unit 1 Language+ OCR - click to view Unit 1 Language+…
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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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jclarke | Saturday November 30, 2013
Categories: EDUQAS A2, Theory, OCR A Level, EDUQAS A Level, OCR A2, Production Companies, Spectatorship Theory, A Level, Film Industry, Hot Entries, Film Distribution, Censorship & Regulation, Film Marketing, Film Publicity, Audience, Film Promotion, Film Analysis, Film Language, Representation, Analysis, Key Concepts
click on image to enlarge 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…
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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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