IB Film Important Document and Sources for Independent Study and Presentation

Print or download the following (IS: Independent Study, P: Presentation)

1) Textual analysis IS, P

2) Questions to ask of a film IS, P

3) Film theory and history IS, P

4) How did you know IS, P

5) Documentary format 1 (2 pages) IS

6) Documentary format 2 (2 pages) IS

7) Template for textual analysis IS, P

8) Presentation outline P

9) Film presentation outline (2 pages) P

Independent Study

10) Read IB IS Help/Suggestions

11) More IB Film Assessment Help - Lots of good info!

Read the following articles within this link (click on ‘Welcome to IB Film!’ on main page):

✓ Independent Study – Procedure, Film Theory, Film History, Assessment Criteria

✓ Independent Study – Research

✓ Independent Study – Initial Research Ideas

✓ Independent Study – Research, Analysis & Pitching

✓ Independent Study – Rationale

For ALL assessments

12) And as always…use this link as an overall guide: IB Film Assessment Support - GREAT SITE!

Documentary Script Format A documentary script contains an elaborate description of all visual, auditory and technical details of the film you are producing. Documentary scripts serve the following functions.

• Documentary scritpts are always formatted using 12pt. Courier Font with an audio and video column for the details of your production.

• The script is a breakdown of all all camera placements and movements. All shots must have bolded shot descriptions:For shots of action related to the script remember to use a variety of framing points.: ECU- extreme close up/ CU- close up / MCU- medium close up / LS- long shot or FS- full shot/ ELS- extreme long shot/ OTS- over the shoulder / XO- Cross-Shots-/ BEV- Bird’s Eye View/ 2S-FS - two shot full shot / WEV- Worms Eye View.

• Remember that interviews are generally shot with a MCU and have a background that matches the content of the interview.

• Every shot you take or footage you add must be motivated by the content in the script. The audience wants to see examples of what you are talking about

• Any graphics, photos or titles should also included in the shot descriptions. • The script can be a guide in determining the exact length of the film by mentally timing

out each shot. 1 page of script in 12 pt. Font double spaced equals about 1 minute of screen time.

• The shooting script includes the exact dialogue and sound you will hear at each precise moment of production.

2-Column Excerpt from “A SHAMAN FROM YUCATAN” directed by Peter Thompson: FAMILY LAND

Video Audio

FAMILY LAND, MAPS & RUINED HOMES--duration: 5:00

DC EXPLAINS HISTORY OF FAMILY LAND TO LEYTE

MCU DC EXPLAINS FAMILY LAND TO LEYTE (WHITNEY) OTS LEYTE DRAWS TREES Photos: FULL MAP OF FIRST FAMILY LAND SECOND FULL MAP OF FAMILY LAND

NAR: Don Chabo dictates the history of the family land. He speaks little Spanish, and his granddaughter speaks little Mayan.

CU BOUNDARY OF TIA'S AND DC'S LAND CU COOKING HUT AND PATH CU COOKING HUT NUMBER TWO CU PATH CU HUT WITH BLUE DOOR

80 years ago his granddaugher’s great-great grandmother lived in a forest. 60 years ago she sold some of it. 50 years ago her daughter sold more.

POV EXPLORATION OF FAMILY LAND PHOTO: DONA DEMETRIA

40 years ago her daughter--DC’s mother--sold more. 30 years ago DC sold the rest, sliver by sliver, because what he earned as a shaman was too meager to live on. 20 years ago, DC’s second wife, Doña Demetria, left him for a better life selling fruit on the streets of Merida. It was then that DC began to eat scraps.

WALK AROUND FOUR SIDES OF OLD FAMILY LAND WS DC GATHERS HERBS

SOT: To make medecines, I enter land now owned by strangers to gather leaves from trees he planted years ago on land that once was mine.

WS DC GATHERS HERBS, CANT REMEMBER HERBA BUENA NAME.

DC still knows exactly how to use the leaves, but now can’t always remember the names of his trees.

MARGOTTE AND TIA EXPLORE TIA’S LAND LAND MAP: SUBTITLE: TIA’S LAND, TIA’S HOUSE

Nar: The undeveloped land on the upper left of Leyte’s map lies behind DC’s house. This land belongs to his older sister, Jacinta.

MARGOTTE AT TIA’S HOUSE JACINTA HOLDS DEATH HUIPIL for a long time, then dissolve to:

Jacinta is getting ready to die and wants to sell it. Margotte wants to buy it. Jacinta has sewn her death shroud...

JACINTA CARRYING HUGE IKON OF VIRGIN OF GUADELUPE WALK ALONG ROAD WITH MARGOTTE.

... and everywhere she walks, walks prepared to meet God.

Template for Textual Analysis Context (OMP): Title (Director, Year), country of production, budget, genre, key people involved (actors, script-writers, DOP, sound editor, editors), links to other films. Introduce the narrative context of the film. Explain briefly the dramatic purpose of this scene within the whole film. Orientation Context: When was this film made? Was it a commercial, or a critical success? Genre: what do we know about the director? Is this film typical of their style? Are any of the actors involved associated with this genre, or stock characters? Is this film part of, or influenced by, a particular film movement? Audience: who is the intended audience? Your choice: Why you have chosen this sequence? What is its dramatic contribution to the film? Where does it take place within the narrative? What does the audience learn from this scene? Technical terms Terminology and definition Reason for its use; what does this contribute to meaning? What style is used? Camera Camera operators, DOP and Director are all responsible for the camerawork. Angle

L/A, H/A, M/A or eye-level, slanted or Dutch Tilt, Bird’s Eye…

Shot

C/U, M/S, L/S, two shot, establishing shot, OSS, cut in, cut out…

Movement

Tracking, panning, dolly, following, tilt, zoom

Framing and composition How the subject is placed in the shot

Sound Sound editor or composer, scriptwriter, actors, sound technicians. Diegetic: sound that is part of the film world

Dialogue, sound effects, use of music, script

Non-diegetic: sound that is added to the film world

Voiceover, soundtracks, ambient sound

Editing Editor, Director. How the audience receives the information. Style Continuity/Invisible/Hollywood or Non-continuity/Jump

Cuts.

Pace Pace; long and short takes

Narrative Sequencing: narrative principles. see Cut ins, cut outs

Special effects CGI, models/miniatures, bluescreens, stunts, rear-projection, wind/rain machines, animatronics…

Lighting Cinematographer, DOP. How the general mood or tone is set by the lighting. Key/fill/back lighting Lighting the subject Chiarascuro/Notan Dark/Light Ambient/natural lighting Light already present before additional lighting is added. Incidental light Light seen directly from a light source (lamp, sun, etc). Reflected Light Light seen after having bounced off a surface. Mise-en-scéne DOP, Director, Set/Props/ Costume Designer Everything that is ‘put in the scene’, or how the shot is composed.

Production design, props, set, location, actors, costumes, make-up, extras, use of colour and contrast.

Oral Presentation – Outline, Checklist & Samples A. Introduction

1. Excerpt Choice & Significance – Brief Rationale Why?

2. Excerpt Relationship to Whole Film

3. Brief Intro of Shot Analysis Areas to be focused on

4. Director’s Background & Intent 5. Genre & Sociocultural Context (Time/Place & consider Historical, Political, Economical

Environment made) B. Main Body

1. In depth Shot by Shot Analysis2. Interconnecting Excerpt to Whole3. Analyzing &

Interweaving Director’s Intent4. Analyzing & Interweaving Genre, Sociocultural Context 5. Audience/Reviewer/Critic/Scholar Response Context (1:30)

A. Place the filmi. Director’s Workii. Time when Made (historical, socio-cultural) iii. Relation

to other filmsB. Place the extracti. Position in plotii. Thematic Threads Setting, Acting, Costume (1:00)

A. Visual StyleB. IconographyC. ActorsD. Production Design Cinematography and Lighting (1:00)

A. Style- realistic/formalisticB. Angles, Framing, Lens ChoiceC. Camera and actor blockingD.

Dominant Imagery/Icons/ColorE. Camera Distance/ Proxemics, Territorial Design, Open vs. Closed forms F. Light Design-Key and Contrast Editing (1:00)

A. StyleB. Manipulations of time and speedC. Length of cuts and pacingD. Narrative

techniques such as flashbacks/forwards, parallel action E. Montage or Visual Metaphor Score ( 1:00)

A. Style of Music/ Types of Instruments Used / Historic Undertones B. Repeated MotifsC. Foley

or FX- Diegetic/Non DiegeticD. Synchronous/Nonsynchronous Script ( 1:00)

A. Narrative Structure/ StyleB. Character Driven vs Plot DrivenC. Nature of Dialogue-D. Use

of humor, subtext or ironyE. Thematic message/Archetypes/ Myth Genre (1:30) A. Features determing Genre B. How extract meets genre C. How extract subverts genre C. Conclusions 1. How meaning is constructed though film language?

2. How & Why excerpt is powerful to whole Film?3. What overall conclusions can be drawn considering Director’s Intent, Sociocultural Context and Audience, Reviewer, Critic, Scholar response? 4. Final Overall Rationale II. CHECKLIST & NOTES - Has the student examined film language and it’s use in the film’s mise-en-scene and production design/shot design and composition/ lighting/editing/diegetic and non-diegetic

sound/narrative/symbolism/iconography . . .and whatever other elements are significant for this particular film?

-Has the student used the extract to discuss or analyze the director’s intent?-Has the student placed film in context of history, either film history or genre history? -Has the student the film

within a broader sociocultural context?-Has student kept description of the film’s plot to minimum, while focusing on analysis? -Has the student considered the film’s target audience? -Has the student brought cue cards for the presentation? (Note: the student must not read the Presentation. Centers where students are suspected of reading will be investigated for malpractice. Cards with cue notes are appropriate, but teacher supervising Presentation makes sure the student does not bring extensive notes into assessment.) - Has the student brought their list of sources so that they can complete the cover sheet? AT HIGHER LEVEL Has the student found ‘examples of responses from audiences and reviewers, critics or scholars at the time of the original release and/or subsequently,’ and have these samples been discussed as part of the presentation? Oral Assessment Criteria: - Richly detailed evaluative interpretation of the extract, how meaning is constructed through use of film language.

- An excellent awareness of the relationship to the film as a whole.

- A persuasive explanation for the selection of the extract. - Excellent awareness of the film’s genre and/or its place in a broader

sociocultural context. - Insightful analysis of the director’s intention, and examples of

responses from audiences and reviewers, critics or scholars at the time of its original

release and/or subsequently have been discussed.