Film Studies. Introducing OCR AS. Aims of the session

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1 Introducing OCR AS Film Studies Aims of the session consider possible approaches to delivering the AS level for the first time consider potential opportunities and issues answer some of your questions Any questions write on post-its or tweet #ocrfilm plenary at the end

2 How to approach the course? aim for an integrated model Working in conjunction with A-level Media Studies Following on from GCSE Media Studies play to the strengths of your centre adapt planning to suit your students Choose practical outcome carefully what resources are available in centre? Don t Panic! Content designed to be easily deliverable Each unit s content builds upon the previous unit Enables candidates to acquire skills that can be utilized alongside OCR AS/A Level Media Studies Choices of approaches offered to creative production work, allowing centres to make best use of their skills and resources Further support materials will be available

3 Unit F631: Film Text and Context (AS Exam) What needs to be taught AO1 AO2 Knowledge and Understanding Application of Knowledge and Understanding Section A: Contemporary English Language Film The purpose of this section is to assess candidates K&U* of contemporary English language films (AO1) and for candidates to apply their K&U* of how meaning is created in film through the broader macro elements (AO2). Section B: Cinema in Context The purpose of this section is to assess candidates contextual knowledge and understanding of the historical development of the cinema industry within their chosen topic areas (AO1) and for candidates to apply these contexts in order to show an understanding of relevant historical context in the period being considered (A02). *K&U = Knowledge and Understanding Unit F631: Film Text and Context (AS Exam) Essential details 2 hour examination 100 marks for the paper Two sections to the paper: Section A: Contemporary English Language Film (40 marks) Candidates must answer one question from a choice of two on the frameworks for analysis. Section B: Cinema in Context (60 marks) Candidates must answer two questions (30 marks each) from a choice of four topic areas. Each question answered must be from a different topic area.

4 Section A: Contemporary English Language Film Frameworks for analysis Representation Messages and values Genre Narrative Theme Style Authorship Rationale Designed to help teachers structure and anchor the work of the topic Purpose is to offer some dimensions for structure and support, but also to enable freedom and flexibility Working with the Frameworks for Analysis Example Star Trek (2009) To boldly go clip Terminator Salvation (2009) Attack on Skynet clip

5 Representation - gender / nationality / ethnicity Messages and values - utopia versus dystopia Genre same genre, different approaches discussion of sub-genres Narrative - John Connor ultimately triumphant, the rise of Captain Kirk preordained from previous films / TV series Theme - what the future holds for good or ill Style - the variety of techniques deployed Authorship McG? Cameron? Abrams? Roddenberry? Paramount (for Star Trek)? Audiences? Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film Three approaches to teaching: 1. Adapting materials from other specifications (recycling the old) 2. Approaching the specification from scratch (bringing in the new) 3. Working this specification with OCR A-Level Media Studies (the bricolage effect)

6 Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film 1. Adapting materials from other specifications (recycling the old) Start with what you know e.g. films / topics / themes you focus on for existing topics on British and American cinema. For example: Living with crime This is England / Harry Brown / Sweet Sixteen can easily fit into the frameworks for analysis for section A American Cinema thematic focus the after effects of 9/11 War of the Worlds / The Dark Knight Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film 2. Approaching the specification from scratch (bringing in the new) Consider the frameworks for analysis and pick focus films which offer opportunities to explore dimensions of all of them so that candidates are fully prepared for the examination -e.g. 1 Tinker, Tailor, Soldier, Spy / The Bourne Ultimatum / Hanna -e.g. 2 The Guard / Sherlock Holmes / Hot Fuzz -Alternatively identify a common area to link films together - Contemporary Bond (Casino Royale / Quantum of Solace / Skyfall) - Genre contemporary superhero (Avengers Assemble / X-Men First Class / The Amazing Spiderman)

7 Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film 3. Working this specification with OCR A-Level Media Studies (the bricolage effect) Can you forge links between AS Media coursework and AS Film examined work? e.g. Film opening sequence thrillers / horror / teen Can you re-use aspects of work from A-level Media for A-level Film? e.g. Action-adventure materials from old spec, or Media Regulation materials from the new spec? Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film Learning Outcomes for topic - Candidates develop knowledge and understanding of how films communicate meanings to audiences in a variety of ways - Candidates develop knowledge and understanding of how films and filmmakers use a variety of tools to solicit readings / interpretations of films studied In their exam answer candidates need to be able to demonstrate and apply K&U of chosen films in relation to the broader macro elements of film language.

8 Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film Specimen Question How are key messages and values communicated in the films you have studied? Frameworks for Analysis Representation Messages and Values Genre Narrative Theme Style Authorship Unit F631: Film Text and Context (AS Exam) Section A: Contemporary English Language Film Answering the question what do you need to know? Thorough knowledge of chosen texts enough to be able to answer a question on any of the frameworks or a question which combines more than one framework. In practice, students must know have worked on all of the Frameworks for Analysis to prepare for the exam

9 Unit F631: Film Text and Context (AS Exam) Section B: Cinema in Context Choice of study: Two out of four topics 1. Early Cinema ( ) 2. The impact of World War II on British Cinema ( ) 3. The rise of the blockbuster, format wars and multiplexes ( ) 4. Developments in 21 st Century Cinema and Film (2000 present) Section B Text & Context - Rationale Candidates must answer two questions in total each from a different topic area (choice of two questions from each topic area). Cinema does not operate in a vacuum this topic is issue focussed, not textual analysis Texts studied to support K&U of the issues The 3 contexts economic, sociological and technological should wrap around the issues and intertwine with each other - K&U of the 3 contexts needed and applied in the exam Approx. 35 minutes per question.

10 Topic 1: Early Cinema ( ) For this topic area candidates should study the following: The production, distribution, exhibition and consumption of the early films produced by the Lumière Brothers, e.g. Train Arriving At A Station (1895), Workers Leaving The Factory (1895) The production, distribution, exhibition and consumption of early genre films such as Journey To The Moon (1902), The Great Train Robbery (1903) and Musketeers of Pig Alley (1909) The development of the American film industry focussing on key events in production, distribution and exhibition, such as the movement of the industry from New York to Los Angeles (Hollywood) and the beginnings of the studio system. Learning Outcomes Topic 1: Early Cinema ( ) Students develop K&U of the impact of the formation of the film industry. This topic takes learners from the beginnings of cinema and the American major studios to the establishment of narrative film. Students will develop an historical understanding of the beginnings of film and in so doing, be able to better understand aspects of workings of the contemporary film industry. In their exam answers candidates need to be able to demonstrate and apply K&U of cinema and film in this period, incorporating relevant films and sources that take into account the contexts outlined above.

11 Topic 1: Early Cinema ( ) Some key texts Workers Leaving The Factory The Great Train Robbery Other films / extracts from the period easily available via Youtube Some suggested resources others are available

12 Unit F631: Film Text and Context (AS Exam) Topic 2: The Impact of World War II The foundation of the Ministry of Information, its role in British Cinema as a state regulator and the resulting impact on the nature of films being produced in Britain in this period Film as an ideological tool for supporting the war effort as exemplified in films such as 49 th Parallel (1941), In Which We Serve (1942), Went the Day Well (1942), One of our Aircraft is Missing (1942), We Dive at Dawn (1943), Millions Like Us (1943), The Life and Death of Colonel Blimp (1943), Henry V (1944) Patterns in UK cinema attendance in the war years in comparison to attendance patterns in the years immediately before and after World War II Unit F631: Film Text and Context (AS Exam) Learning Outcomes Topic 2: The Impact of World War II Students develop K&U of the impact of World War II on film production in Britain and its impact on the patterns of cinema attendance and the reasons behind this. To develop an historical understanding of a major chapter in the history of British film / cinema, incorporating sociological / economic / technological contexts In their exam answer candidates need to be able to demonstrate and apply K&U of cinema and film in this period, incorporating relevant films and sources that take into account the contexts outlined above.

13 Unit F631: Film Text and Context (AS Exam) Specimen Question Topic 2: The Impact of World War II Explain the reasons for the popularity of cinema-going during World War II ( ). Indicative content - Patterns in UK cinema attendance in the war years in comparison to attendance patterns in the years immediately before and after World War II Unit F631: Film Text and Context (AS Exam) Answering the Specimen Question Topic 2: What do you need to know? - What were the patterns in UK cinema attendance during WWII? and just before and just after? - How can these patterns be explained? Social / economic / technological factors Teaching and learning materials can be derived from materials used for teaching elements of other specifications Possible connections to be made with A2 Media G325 Regulation topic as a possible contextual back drop to contextual studies

14 Unit F631: Film Text and Context (AS Exam) Topic 2: The Impact of World War II Some suggested resources others are available In Which We Serve (1942) Topic 3: The emergence of the multiplex / megaplex cinemas in out-of-town locations / shopping centres / retail parks in the UK and the decline of city / town centre fleapit cinemas The arrival of blockbuster films and related sequels, e.g. The Godfather (1972), Jaws (1975), Star Wars (1977), Superman (1978), and the ensuing developments in production, distribution and exhibition The dawning of the home video age, format wars (VHS and Betamax), the moral panic about uncensored and unregulated video content* and the ensuing move to statutory regulation of film in the home. *Candidates are not expected to have viewed any inappropriate unregulated film content as part of their course.

15 Topic 3: Students develop a K&U of the impact of the rise of multiplex cinemas and the industrial factors leading to the rise of the blockbuster as well as K&U of the knock-on effects on film production, distribution and exhibition. Also students should also develop K&U of the development of the home video industry in Britain both with the format wars dimension and the regulatory dimension familiar scenarios in the development of any media industry To develop an historical understanding of a pivotal period in the evolution of the film industry which will wrap around the sociological / economic / technological contexts In their exam answers candidates need to be able to demonstrate and apply K&U of cinema and film in this period, incorporating relevant films and sources that take into account the contexts outlined above. Topic 3: Some suggested resources others are available BBC censorship documentary Dear Censor atch?v=3ppqutub23a Empire of the Censors atch?v=wxly9p_ieiu&fea ture=related

16 Unit F631: Film Text and Context (AS Exam) Topic 4: Developments in 21 st Century Cinema and Film The role out of the UK s digital cinema network and the impact for audiences and institutions The take up of broadband, internet piracy and the opportunities and threats posed to institutions and audiences from legal and illegal means of distribution and exhibition The revival of 3D the impact of films such as Avatar (2009) in driving the new 3D and consideration of the possible longevity of 3D or other future developments. Unit F631: Film Text and Context (AS Exam) Learning Outcomes Topic 4: Developments in 21 st century cinema and film Students need to develop a K&U of the impact of changes driven by technology in the contemporary cinema and film industries and an appreciation of how these changes may re-shape these industries for both institutions and audiences To develop a contextual (sociological, technological and economic) understanding of the substantial changes to traditional business models being posed by the range of technologically driven changes in this period In the exam candidates need to be able to demonstrate and apply K&U of contemporary cinema and film, incorporating relevant films and sources that take into account the contexts outlined above.

17 Unit F631: Film Text and Context (AS Exam) Specimen Question Topic 4: Developments in 21 st century cinema and film To what extent does internet piracy pose a threat to the film industry? Indicative content - The take up of broadband, internet piracy and the opportunities and threats posed to institutions and audiences from legal and illegal means of distribution and exhibition. Unit F631: Film Text and Context (AS Exam) Answering the Specimen Question Topic 4: What do you need to know? - What is the structure of the film industry? differences between size and scale of UK and US industries, is the threat to the UK industry the same as to the US industry? - The cases of The Pirate Bay and Megaupload what clues do materials from these cases offer for a potential answer to the question? Teaching and learning materials can be derived from materials used for teaching elements of other specifications Possible connections to be made with A2 Media G325 Online Age topic and to AS Media G322 Section B (Film)

18 Unit F631: Film Text and Context (AS Exam) Specimen Question Topic 4: Developments in 21 st century cinema and film Some suggested resources others are available UNIT F632: FOUNDATION PORTFOLIO IN FILM #ocrfilm

19 Portfolio requirements Students will produce a portfolio of work consisting of four elements: a textual analysis (micro elements within context of macro focus) of two contemporary (10 years) English language film texts (40 marks) evidence of planning for a creative artefact which should be related to the textual analysis (10 marks) a creative artefact (30 marks) an evaluation of the work produced (20 marks). Work is assessed individually but students may use others in the construction of their artefact. Three approaches Starting the course from scratch with limited resources. Using existing materials. In parallel with OCR Media Studies.

20 From scratch with limited resources TEXTUAL ANALYSIS - a study of two romantic comedies, exploring the representation of gender through an application of film language. Forgetting Sarah Marshall (2008), Nicholas Stoller, Universal, USA Run Fatboy Run (2007), David Schwimmer, Beech Hill Films, UK Textual analysis exploring how men and women are represented through cinematography, editing, sound and mise-en-scène. Beech Hill Films Universal Films

21 From scratch with limited resources PLANNING a series of photographs with notes representing a location report for the production of a new romantic comedy film. Forgetting Sarah Marshall was set in an exotic location. As this type of location is often seen as a convention of the genre I have decided to use such a location for my film. The shot has been framed to emphasise the bed, a key element of romantic mise-en-scene. This location is where the handsome male protagonist first meets the princess. They have been booked into the same room by mistake... Linking of materials to textual analysis, clear and insightful links presented with precision Creative application of prior learning, sophisticated consideration of how theoretical elements may be used creatively in own work Application of pre-production skills in creating planning materials, confident and practised use of a range of skills as appropriate Care in presentation of planning, carefully considered use of appropriate forms of presentation, skilfully executed

22 Planning exercise The Lens Flare Copyright 2012 Vauntium, LLC, All Rights Reserved. From scratch with limited resources ARTEFACT - an extract from a script for a new romantic comedy film with images of 9 key frames demonstrating an understanding of how messages and values are constructed through cinematography, sound, editing, and mise-enscène.

23 Jack: I can t promise a happy ending but we can give it a go. Jill: You say the nicest things. The couple walk off into the sunset. Romantic orchestral music plays them out as the shot fades to black. Note: the shot is framed so as to include the setting sun which symbolises the end of the film and the subsequent rise of the relationship... Application of film language and codes and conventions Links to textual analysis and planning Evidence of creative application of knowledge and understanding Application of appropriate production skills ability to communicate meaning effectively Time management Using existing materials TEXTUAL ANALYSIS - a study of two horror films, exploring the generic conventions through an application of film language. The Woman in Black (2012), James Watkins, Hammer, UK Dark Water (2005), Walter Salles, Touchstone, USA Ghost enigma codes troubled protagonist damsel in distress music in minor key familiar location 14+ audience...

24 Using existing materials PLANNING - an extract from an animatic storyboard illustrating a sequence from a new horror film. Using existing materials ARTEFACT a two minute filmed sequence from a new horror film (not the opening) demonstrating an understanding of how generic conventions are constructed through cinematography, sound, editing, and mise-en-scène.

25 With OCR Media Studies TEXTUAL ANALYSIS - a study of two action/adventure films, exploring narrative through an application of film language. The Bourne Ultimatum (2007), Paul Greengrass, Universal, USA The Sweeney (2012), Nick Love, Vertigo, UK Dynamic narrative male protagonist damsel in distress sidekick villain exposition complication resolution... With OCR Media Studies PLANNING a series of screen tests with notes for female characters in a new action/adventure film.

26 With OCR Media Studies ARTEFACT a two minute filmed sequence from a new action/adventure film (not the opening)* demonstrating an understanding of how generic conventions are constructed through cinematography, sound, editing, and mise-en-scène. * the sequence could be a continuation of a G321 construction. The evaluation what were the aims of the artefact? what codes and conventions identified in the textual analysis were used in the artefact? how were the planning materials used in the construction of the artefact? how successful was the artefact in achieving the aims?

27 Questions OCR Community: (put Film Studies in subject header)