specification film studies - oxford, cambridge and … key features of ocr’s a level in film...
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ocr.org.uk/alevelfilmstudies
A LEVELSpecification
FILM STUDIESH410For first assessment in 2019
A LEVEL Film Studies
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Contents
1 Why choose an OCR A Level in Film Studies? 21a. WhychooseanOCRqualification? 21b. WhychooseanOCRALevelinFilmStudies? 31c. Whatarethekeyfeaturesofthisspecification? 41d. WhatisnewinOCRALevelFilmStudies? 51e. HowdoIfindoutmoreinformation? 6
2 Thespecificationoverview 72a. OCR’s A Level in Film Studies (H410) 72b. Content of A Level in Film Studies (H410) 82c. Content of Film History (01) 102d. ContentofCriticalApproachestoFilm(02) 172e. Content of non-examined assessment Making Short Film (03/04) 252f. Prior knowledge, learning and progression 28
3 Assessment of A Level in Film Studies 293a. Forms of assessment 293b. AssessmentObjectives(AO) 323c. Assessment availability 333d. Retakingthequalification 333e. Assessment of extended response 333f. Non-examined assessment 333g. Synopticassessment 413h. Calculatingqualificationresults 41
4 Admin:whatyouneedtoknow 424a. Pre-assessment 424b. Specialconsideration 434c. External assessment arrangements 434d. Admin of non-examined assessment 444e. Resultsandcertificates 474f. Post-results services 484g. Malpractice 48
5 Appendices 495a. Overlapwithotherqualifications 495b. Accessibility 495c. Acceptedfileformats 495d. GuidanceonNEAproductions(Component03/04) 50
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1 Why choose an OCR A Level in Film Studies?
1a. WhychooseanOCRqualification?
Choose OCR and you’ve got the reassurance that you’re working with one of the UK’s leading exam boards. Our new A Level in Film Studies course has beendevelopedinconsultationwithteachers,employersandHigherEducationtoprovidelearnerswithaqualificationthat’srelevanttothemandmeetstheir needs.
We’re part of the Cambridge Assessment Group, Europe’s largest assessment agency and a department of the University of Cambridge. Cambridge Assessment plays a leading role in developing and delivering assessments throughout theworld,operatinginover150countries.
Weworkwitharangeofeducationproviders,including schools, colleges, workplaces and other institutionsinboththepublicandprivatesectors.Over 13,000 centres choose our A Levels, GCSEs and vocationalqualifications,includingCambridgeNationalsandCambridgeTechnicals.
OurSpecifications
Webelieveindevelopingspecificationsthathelpyoubring the subject to life and inspire your students to achieve more.
We’vecreatedteacher-friendlyspecificationsbasedon extensive research and engagement with the teachingcommunity.They’redesignedtobestraightforwardandaccessiblesothatyoucantailorthe delivery of the course to suit your needs. We
aim to encourage learners to become responsible for theirownlearning,confidentindiscussingideas,innovativeandengaged.
We provide a range of support services designed tohelpyouateverystage,frompreparation throughtothedeliveryofourspecifications. Theseinclude:
• Awiderangeofhigh-qualitycreativeresourcesincluding:• Delivery Guides• TransitionGuides• TopicExplorationPacks• Lesson Elements• . . .and much more.
• AccesstoSubjectAdvisorstosupportyouthroughthetransitionandthroughoutthelifetimeofthespecification.
• CPD/trainingforteacherstointroducethequalificationsandprepareyouforfirstteaching.
• ActiveResults–ourfreeresultsanalysisservice to help you review the performance ofindividual learners or whole schools.
AllAlevelqualificationsofferedbyOCRareaccreditedbyOfqual,theRegulatorforqualificationsofferedinEngland.TheaccreditationnumberforOCR’s A Level in Film Studies is QN603/1120/4.
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1b. Why choose an OCR A Level in Film Studies?
OCR’s A Level in Film Studies has been designed toigniteapassionforfilmandencouragebroaderculturalandhistoricalperspectivesonthisacademicarea of study. Feedback from teachers and other key stakeholders has been fully considered to ensure a diverse, inclusive and coherent course of study that meets learners’ needs and allows them tofullyachievetheirpotential,preparingthemtomake informed decisions about further study and progressiontoHigherEducationoremployment.
Thiscourseofstudyencourageslearnerstowatch,engagecriticallywithandexploreawiderangeoffilm;todevelopandsustainconfident,personalresponsestofilmviatextualanalysis;andtoenjoyavarietyofcriticallyacclaimedfilmsacrossthemajorgenres.Theseincludefilmsfromdifferentculturalperspectives,filmsfromtheSilentEratothe
presentday,anddifferentformsoffilm,includingdocumentary, shorts and experimental.
OCR’s A Level in Film Studies reinforces the relationshipbetweenacademictheoryandpracticethroughasynopticcreativeproductionandevaluationwherelearnersareofferedtheopportunitytoengageinpracticalworksuchastheproductionoftheirownshortfilmorscreenplayinresponsetoabriefset by OCR, through the non-examined assessment Component (03/04).
It is our strong desire that OCR’s A Level in Film Studiesshouldinspirelearnerstocontinuelearningbeyondtheconfinesoftheclassroomaswellasdeveloping personal and interpersonal skills that will servethemwellbothinHigherEducationandintheworkplace.
Aimsandlearningoutcomes
OCR’s A Level in Film Studies will encourage learners to:
• demonstrateknowledgeandunderstandingofadiverserangeoffilm,includingdocumentary,filmfromtheSilentEra,experimental1filmandshortfilm
• demonstrateknowledgeandunderstandingofthesignificanceoffilmandfilmpracticeinnational,globalandhistoricalcontexts
• demonstrateknowledgeandunderstandingoffilmanditskeycontexts(includingsocial,cultural,political,historicalandtechnologicalcontexts)
• demonstrateknowledgeandunderstandingofhowfilmsgeneratemeaningsandresponses
• demonstrateknowledgeandunderstandingoffilmasanaestheticmedium2
• demonstrateknowledgeandunderstandingofthedifferentwaysinwhichspectatorsrespondtofilm
• applycriticalapproachestofilm
• demonstrateanabilitytoapplyknowledgeandunderstandingoffilmthrougheitherfilmmakingorscreenwriting.
1“experimentalfilm”:filmswhicharenon-narrativeorwhichworkagainsttheconventionsofnarrativeusedinbothmainstreamandindependentfilmproductionpractice.
2“aesthetic”:thewayafilm’svisualandauralfeaturesareusedtocreateessentiallynon-narrativedimensionsofthefilm,includingthefilm’s‘look’.
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1c. Whatarethekeyfeaturesofthisspecification?
ThekeyfeaturesofOCR’sALevelinFilmStudiesforyouandyourlearnersare:
• tostudyawiderangeofcriticallyacclaimed,culturallyandhistoricallydiversefilmssetbyOCR,includingfeaturelengthfictionanddocumentaryfilmsandshorts(bothexperimentalandfiction)withabroadchoiceofsetfilmsofferedtocentres
• todevelopaworkingknowledgeandunderstanding of the language and syntax offilm
• tointerrogatehowconceptssuchasnarrative,genre,representation,spectatorshipandaestheticsareusedtocreatemeaningbydeconstructingandcreatingfilm
• toencourageawiderunderstandingoffilmbystudyingatleasttwofilmmovementsorstylisticdevelopments,characterisedbythesignificantcontributiontheymadetofilmaesthetics
• tostudyofawiderangeofcriticalapproachestofilm
• todevelopanunderstandingofthecontextsinwhichfilmsaremade,includingthesocial,cultural,historical,institutional,technologicaland,whererelevant,politicalcontexts
• toallowtheopportunityforasynopticapplicationoflearningthroughpracticalwork,includingtheproductionofa5minuteshortfilmora10minutescreenplayforashortfilm
• toresearch,plananddevelopfilmproductionorscreenwritingskillsthroughlearners’practicalwork
• todevelopskillstocarryoutanevaluativeanalysisoflearners’ownproductionsinrelationtootherprofessionallyproducedwork
• toreducetheburdenofassessmentforcentresby only requiring research and planning to besubmittedasauthenticationevidenceformoderationwithnoadditionalrequirementsfor centre marking
• tooffernon-examinedassessmentsetbriefsthatlastforthelifetimeofthespecification
• toallowco-teachabilitywithOCR’sASLevelinFilm Studies by featuring a number of sharedsetfilms
• tosupportinternalmarkingandpreparatorylearning through the provision of clear markingcriteria for non-examined assessment.
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1d. WhatisnewinOCRALevelFilmStudies?
ThissectionisintendedforteachersusingOCR’sALevelinFilmStudies.IthighlightsthedifferencesbetweenALevelFilmStudies(H467)andthenewversion(H410)forfirstteachingfromSeptember2017.
What stays the same? What’schanging?
• Thereisstillamixofexaminedandpracticalnon-examined assessments (NEA).
• Practical(NEA)workstillofferslearnerstheopportunitytoproduceashortfilm,orascreenplayforashortfilmwithdigitalstillstogetherwithanevaluation.
• Forpractical(NEA)worklearnersmaystillmake use of others as long as the outcomecan be assessed as the work of an individuallearner.
• Representation,messagesandvalues,genre,narrative,style,theme,authorshipandspectatorshiparestillkeyconceptualareasatA Level.
• Learnersstillneedtobeawareofthecontextsofthefilmstheyhavestudied(social,cultural,political,historicalandinstitutional).
• Thereisstillarequirementtostudyfilmfrommorethanonetimeperiod.
• Thereisstillarequirementtostudynon-Englishlanguagefilm.
• TheALevelisstillassessedviatwoexaminedassessmentslastingtwohoursandapractical(NEA)production.
• Learnersarenowrequiredtostudyarangeofcriticallyrecognisedandculturallysignificantsetfilmsfromarangeofdifferentnationalcinemas,contextsandfilmforms(includingdocumentary, short and experimental).
• Themicro-elementsoffilmform(cinematography,mise-en-scène,editingandsound)arestilltheprimarytoolsoffilmanalysis but at A Level performance has beenintroducedasanadditionalmicro-element.
• Learnersmuststudysetfilmsfromarangeoftimeperiodsfromthesilenteratopresentday.
• Learnersmuststudyaestheticsandarangeofspecifiedcriticalapproaches,includingtwofilmmakers’theoriesonfilm.
• Learnersmuststudyatleasttwomajormovementsorstylisticdevelopmentsinfilmhistory.
• Thestructureofthecoursehaschangedsothat exams now comprise 70% of the courseandpractical(NEA)worknowcomprises30%(but there is no longer a requirement forresearch and planning to be assessed).
• TheALevelisnowastandalone,separatequalificationtotheASLevel.
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1e. HowdoIfindoutmoreinformation?
IfyouarealreadyusingOCRspecificationsyoucancontactusat:www.ocr.org.uk
If you are not already a registered OCR centre then youcanfindoutmoreinformationonthebenefitsofbecomingoneat:www.ocr.org.uk
If you are not yet an approved centre and would like tobecomeonegoto:www.ocr.org.uk
Wanttofindoutmore?
AsktheSubjectAdvisors:
Email:[email protected]
CustomerContactCentre:01223553998
Teachersupport:www.ocr.org.uk
Twitter:@OCR_Media_Film
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2 Thespecificationoverview
2a. OCR’s A Level in Film Studies (H410)
Learnerstakethreecomponents:FilmHistory,CriticalApproachestoFilmandMakingShortFilmtobeawardedthe OCR A Level in Film Studies.
ContentOverview AssessmentOverview
Learnerswilldevelopknowledgeoffilmformthroughthestudy of at least threeUSsetfilmsfrom:
• theSilentEra• 1930–1960• 1961–1990.
Learnerswillalsostudysetfilmsfromtwo major Europeanfilmmovementsorstylisticdevelopments:
• Experimentalfilm(Europeansurrealistfilm) and either
• Germanexpressionismor• Frenchnewwave.
Film History
(01)
105 marks
2 hour paper
35%
of total
A Level
Learners will further develop knowledge and understandingofkeycriticalapproachestofilmandofnarrative,genre,representationsandspectatorship.
Learners must study at least onesetfilmfromeachofthecategoriesbelow:
• ContemporaryBritish• ContemporaryUS• Documentary• Non-Europeannon-Englishlanguage• Englishlanguage(non-US)• USIndependent.
CriticalApproachesto Film
(02)*
105 marks
2 hour paper
35%
of total
A Level
LearnersmuststudyonecompilationofshortBritishfictionfilms.Learnershavetheopportunitytodemonstrateknowledge,understandingandskillsthrough:
• theproductionofa5minuteshortfilmora10minutescreenplayforashortfilm(incorporatingadigitally photographed storyboard)
• anevaluativeanalysisoftheproductioninrelationtoprofessionallyproducedsetshortfilms.
Making Short Film
(03/04)*
90marks
Non-examined assessment (NEA)
30%
of total
A Level
*Indicatesinclusionofsynopticassessment.SeeSection3gforfurtherdetails. Learnerswhoareretakingthequalificationmaycarryforwardtheirresultforthenon-examinedassessmentcomponent.SeeSection4dforfurtherdetails.
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2b. Content of A Level in Film Studies (H410)
TheOCRALevelinFilmStudieswillintroducelearnerstoawiderangeoffilmsfromdifferentnationalcinemas,fromtheSilentEratothepresentday,incorporatingdifferentfilmforms(shorts,experimental,documentaryandfiction)andproduced by a diverse variety of authors.
Contexts and concepts
Learners will be introduced to the contexts that surroundfilm-makingandtotheconceptsof:
• genre• representation• narrative• aesthetics• spectatorship.
Learnerswilldevelopthecriticaltoolstounderstandhow these concepts are used to create meaning in filmbybothinterrogatingandcreatingfilmandbydeveloping a working knowledge and understanding ofthemicro-elementsoffilmform,whichinclude:
• cinematography(includinglighting)• mise-en-scène• editing• sound• performance.
Learnerswillalso:
• developtheskillstoanalyse,interpretandcomparefilmscritically,communicatingideaseffectivelythroughdiscursiveargument
• beabletosynthesisecomplexareasofknowledge
• showhowknowledgeofthewaysinwhichfilmsreflecttheirsocial,cultural,political,historicalandinstitutionalcontextsinformsanalysisandunderstandingofsetfilms.
Criticaldebates
Learners will also be expected to apply the following keycriticalapproachestofilm,usingsubjectspecificterminology:
• filmpoetics,asanunderstandingoffilmasaconstructedartefact,resultingfromprocessesofselectionandcombination
• filmnarrative,includingtheformalistandstructuralistconceptionoffilmnarrative
• auteurism• ideology(theconceptoffilmasideological)• theclaimsofnaturalismandrealismasagainst
the expressive• thesignificanceofthedigitalinfilmandnew
possibilitiesforcinema• thesignificanceofatleasttwofilmmakers’
theoriesoffilm.
FilmHistory(Component01)offerslearnersopportunitiesto:
• employtextualanalysisskillstodemonstrateand apply their knowledge and understanding offilmforminUScinemathroughthestudyofat least threesetfilms from the Silent Era to 1990
• learnabouttwoEuropeanfilmmovementsandtheirexperimentalnatureandthestylisticdevelopmentsandcontributionsthattheymadetofilmaestheticsthroughthestudyofatleast twosetfilms.
CriticalApproachestoFilm(Component02)offerslearnersopportunitiesto:
• undertakeacomparativestudyofatleasttwosetfilms(contemporaryBritishandUS)intermsofgenre,narrative,representationandcriticaldebatesencompassingthesignificanceofthedigitalinfilm,viewingconditionsandAuteurism
• undertakeaclosestudyofatleastone set documentaryfilmtodevelopaknowledgeandunderstandingoftheconventionsofthisstyleoffilmmaking,thecontextsthatcaninfluenceitandtwocontrastingfilmmakers’theoriesondocumentaryfilmmaking
• developknowledgeandunderstandingoftheideologywithinfilmthroughthecomparative
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study of at least threesetfilms from the followingcategories:non-Englishlanguage,English language (non-US) and US Independent.
MakingShortFilm(Component03/04) is the non-examined assessment (NEA) component where learnerswillproduceashortfilmorscreenplayandanevaluationoftheirwork.
Setfilms
AchoiceofsetfilmsisprovidedbyOCR.ThesetfilmlistsaregiveninSections2c,2dand2eofthisspecification.
Thesuitabilityandeffectivenessofthesetfilmswillbereviewedafterthreeyears.Eachsetfilmwillremainonthelistforthelifetimeofthequalification,unlessthereviewprocessidentifiesanecessarychange.Ifafilmistoberemovedfromthelistandreplacedwithanotherfilm,centreswillbenotifiedatleastayearinadvancepriortofirstteachingofatwoyear course.
Ageratings
OCR’ssetfilmlistsforALevelFilmStudiescontainfilmswithamixtureofcertifications,including18certificatefilms.CentresareadvisedtotakeintoaccounttheadvicefromtheBritishBoardofFilmCertification(BBFC)(quotedbelowinitalics)andthematurityoftheirlearnersbeforeshowingany18certificatedfilms.Ineachsetfilmlistwehaveensuredtherearefilmswithcertificationsbelowanageratingof18toensurecentrescanstillshowsetfilmstolearnersforwhoma18certificatemaynotbeappropriate.Thesetfilmlistsoffersufficientchoiceforteacherstominimisepotentialoffenceand/ordisadvantagetocandidateswithaparticularcharacteristic.
The BBFC’s cinema age ratings only apply to films shown in licensed cinemas.
The age rating for a DVD, video or Blu-ray explains the audience we believe the film is suitable for and applies to point of sale or rental, rather than to where the material is viewed. It is not actually illegal for schools to show BBFC-rated videos or DVDs or Blu-ray to its pupils of any age, just as parents may also
choose to show any material to children in the home. Merely showing an age restricted film to underaged persons – or allowing them to see one outside a licensed cinema – is not in itself an offence.
We would, however, strongly discourage such a practice unless (a) the children in question are only a year or so below the age stated on the certificate, and (b) there is a serious educational purpose to showing the recording.
Even in such cases clearly schools should seek parental consent prior to showing it. We would also recommend obtaining the approval of the Head Teacher and Governors. It is vital to make sure that any children watching are not likely to suffer any ill effects as a result of seeing the film.
PleaseseetheBBFCwebsiteformoredetails: http://www.bbfc.co.uk/education-resources/teacher-guide
Goodpractice
Asgoodpractice,itisrecommendedthatteachersprovide further classroom support to learners throughpracticalfilmmakingexercises,whereappropriate,andthroughthescreeningofadditionalextracts and clips throughout the course to help furtherdeveloplearners’understandingofthefilmsstudied–bothcontextuallyandintermsofhowmeaningsandresponsesaregeneratedbyfilm.
Resources
Beforeacentrebeginsthisqualification,thereisaneedforsuitableviewing,filmproductionandeditingfacilities(stillormovingimage).Learnersshouldbetaughthowtousethesefacilitiesbeforeembarkingontheirnon-examinedassessment(NEA).Theminimum resourcing requirements that a centre would be expected to have for the delivery of OCR’s A Level in Film Studies are appropriate cameras (either stillormovingimage)thathavetheabilitytobeseated on tripods for capturing stable images and used handheld where appropriate (e.g. high end mobilephones,iPads,Tablets,DSLRsandcamcorders)andsoftwareforediting(movingimageorstillimage)andareliableinternetconnection.
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SectionA:FilmForminUSCinemafromtheSilentErato1990
Thissectionfocusesuponthemicro-elementsoffilmformandtheconstructionofmeaningandresponsebybothfilmmakerandspectator,withaparticularfocusonUSfilmsfromtheSilentErato1990.
Learners will be required to study threesetfilms fromUScinemainthissection.Learnersmuststudyoneofthelistedsetfilmsfromeachofthefollowingtimeperiods:
SilentEra:
Birth of a Nation (1915). DirectedbyDWGriffith.USA, 15
The Gold Rush(1925).DirectedbyCharlieChaplin.USA, U
The Mark of Zorro (1920).DirectedbyFredNibloandTheodoreReed.USA,U
The General (1926).DirectedbyClydeBruckman,BusterKeaton.USA,U
Sunrise (1927).DirectedbyF.W.Murnau.USA,U
The Wind (1928).DirectedbyVictorSjostrom.USA,not rated
1930–1960:
Citizen Kane (1941).DirectedbyOrsonWelles.USA,U
Singin’ in the Rain (1952).DirectedbyGeneKelly/Stanley Donen. USA, U
Stagecoach (1939).DirectedbyJohnFord.USA,U
Vertigo (1958).DirectedbyAlfredHitchcock.USA,PG
Double Indemnity (1944).DirectedbyBillyWilder.USA, PG
All that Heaven Allows (1955).DirectedbyDouglasSirk. USA, U
1961–1990:
2001: A Space Odyssey (1968).DirectedbyStanleyKubrick. USA, U
Raging Bull (1980).DirectedbyMartinScorsese.USA,18
E.T. (1982).DirectedbyStevenSpielberg.USA,PG
Do the Right Thing! (1989).DirectedbySpikeLee.USA, 15
The Conversation (1974).DirectedbyFrancesFordCoppola. USA, 12
West Side Story (1961).DirectedbyJeromeRobbins/Robert Wise. USA, PG
Knowledgeandunderstandingoffilmformanditskeytermswillbedevelopedthrough:
• studyingthemicro-elementsoffilmform• identifyinghowtheseelementsconstruct
meaningsandcontributetotheaestheticsoffilm
• anappreciationoffilmpoetics:filmasaconstructedartefact,resultingfromprocessesofselectionandcombination.
Forclarity,itisreiteratedthateachsetfilmchosenforstudy mustbefromadifferenttimeperiod.Alistofsetfilmsisincludedbelowasareferenceexampleofaselectionmeetingthesecriteria:
The Gold Rush(1925).DirectedbyCharlieChaplin.USA, U
Vertigo (1958).DirectedbyAlfredHitchcock.USA, PG(1930-1960)
E.T. (1982).DirectedbyStevenSpielberg.USA, PG(1961-1990)
Further details of the assessment of this component aregiveninSection3a.
2c. ContentofFilmHistory(01)
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SectionB:EuropeanCinemaHistory
Thissectionfocusesuponthestudyofatleasttwo majorEuropeanmovementsorstylisticdevelopmentsinfilmhistory,characterisedbythesignificantcontributiontheymadeandcontinuetomaketofilmaesthetics.Learnersmuststudyonecompulsory,distinctlyexperimentalfilmmovement(surrealistfilm)andoneotherfilmmovementfromachoiceoftwo.
Experimentalfilm–Europeansurrealistfilm
Learners must study a set pair of two experimental filmsfromtheEuropeansurrealistfilm movement of the1920sand1930s.
Thismovementchallengedconventionalideasaboutfilmmakinganditsfilmswereexperimentalinnature.Forthepurposesofthisspecification‘experimental’filmsaredefinedasthosefilmswhicharenon-narrativeorwhichworkagainsttheconventionsofnarrativeusedinbothmainstreamandindependentfilmproductionpractice.
Un Chien Andalou (1929).DirectedbyLuisBuñuel.France, 15
L’Age D’or (1930).DirectedbyLuisBuñuel.France,15
Thesetexperimentalfilmpairisequivalentinstudytoonefeaturelengthsetfilm.
OtherEuropeanfilmmovementsorstylisticdevelopments
Inadditiontotheabove,learnersmustalsostudyatleast oneothersetfilm.ThisfilmshouldbedrawnfromoneoftheotherEuropeanfilmmovementsorstylisticdevelopmentslistedbelow:
Germanexpressionism:
The Cabinet of Dr. Caligari (1920).Directedby Robert Wiene. Germany, U
Nosferatu(1922).DirectedbyF.W.Murnau.Germany, PG
Metropolis (1927).DirectedbyFritzLang. Germany, PG
Frenchnewwave:
The 400 Blows(1959).DirectedbyFrançoisTruffaut.France, PG
À Bout de Souffle (1960).DirectedbyJean-LucGodard. France, PG
Cleo from 5 to 7(1962).DirectedbyAgnesVarda.France, PG
TheGermanexpressionistandFrenchnewwavefilmslistedabove,whilstdisplayinginnovationintheirdevelopment of genre and use of the micro-elements offilmarenotconsideredexperimentalforthepurposesofthisspecification.Thefilmslistedforthese two movements do not necessarily work againsttheconventionsofnarrativeusedinmainstreamandindependentproductionpractice,forexample, Metropolis, whilst helping develop a genre andusingmanyinnovativefilmicideasstillconsistsofanoverarching,conventionalnarrativestructure.
For clarity, it is reiterated that learners must study the setexperimentalsurrealistfilmpairandatleastone othersetfilmfromachoiceofGermanexpressionismandFrenchnewwave.Thereferenceexamplebelowshowsaselectionmeetingtheserules:
• Un Chien Andalou(1929).DirectedbyLuisBuñuel.France,15(Experimental,surrealistfilm)
• L’Age D’or(1930).DirectedbyLuisBuñuel.France,15(Experimental,surrealistfilm)
and
• Metropolis (1927).DirectedbyFritzLang.Germany, PG (German expressionism)
Inthissectionlearnersarerequiredtogainknowledgeandunderstandingof:
• thecontextualbackgroundtothetwofilmmovementsorstylisticdevelopmentsstudied, for example, how a movement or stylisticdevelopmentsharessimilarideasaboutstyle,aesthetics,orpoliticalorsocial-culturalobjectives;andagreeson
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methods of furthering these through approachestofilmnarrative/style/genre
• theexperimentalnatureoffilm,withafocusonnarrativeformswhichrejectthethree-act structure, including non-linear narrativesandthesignificanceofnarrativestructureswhicharealternativetoand/orinoppositiontoconventionalnarrativestructures.
Learners will also need to build upon the knowledge and understanding gained from the study of historic USFilminSectionAanddevelopthisinrelationtohistoricEuropeanfilmmovementsorstylisticdevelopments:
• themicro-elementsoffilmform;and
• identifyinghowtheseelementsconstructmeaningsandcontributetotheaestheticsoffilm.
Inthissectionlearnerswillalsodeveloptheskillstocriticallydebate:
• filmnarrative,includingtheformalistandstructuralistconceptionsoffilmnarrative
• the claims of naturalism and realism as against the expressive.
Thereisnocomparativerequirementinthissection.Thefocusofthesecriticaldebatesistohelplearnersdevelop their knowledge and understanding of the filmstheystudy.Forexample,learnerswouldbeexpected to study the structural approaches to storytellingusedwithinthesetfilms,includinglookingathowthemicro-elementsoffilmwereusedtocreatethosestructuresinbothconventionalandexperimental ways.
Further details of the assessment of this component aregiveninSection3a.
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ThetablebelowcontainstheindicativesubjectcontentforComponent01FilmHistory.
Component01:FilmHistory
Topic KeyIdea Learnersshouldhavestudied:
Micro-elements offilmform
Cinematography (including lighting)
• camerashotsincludingpointofview(POV)shots,focusincludingdepthoffield,expressiveandcantedangleshots,hand-held camera in contrast to steadicam technology
• theprinciplesof3pointlightingincludingkey,fillandbacklighting
• composition,includingbalancedandunbalancedshots
• monochromecinematography
• howallaspectsofcinematographycangeneratemultipleconnotationsandsuggestarangeofinterpretation
• howshotselectionrelatestonarrativedevelopmentandconveys messages and values
• howlighting,including3pointlighting,conveyscharacter,atmosphere, messages and values
• camerawork,includingsubjectivecamera,shiftsinfocusanddepthoffield,mixedcamerastyles,filters
• chiaroscuro3lightingandotherexpressivelightingeffects
• howcinematography,includinglighting,providespsychologicalinsight into character
• howandwhydifferentspectatorsdevelopdifferentinterpretationsofthesamecamerashotsandlighting
• howcinematographyincludinglightingcanbeindicativeofanauteurapproachandcancontributetofilmaesthetic.
3“chiaroscuro”:thedramaticeffectofcontrastingareasoflightanddarkinashotthroughtheuseofcontrolledlightsources and props.
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Component01:FilmHistory
Topic KeyIdea Learnersshouldhavestudied
Micro-elements offilmform
(continued)
Mise-en-scène • howtheprincipalcomponentsofmise-en-scène(setting,props,costumeandmake-up)cangeneratemultipleconnotationsandsuggestarangeofpossibleinterpretations
• howchangesinmise-en-scènecontributetocharacterandnarrativedevelopment
• howmise-en-scèneconveysmessagesandvalues
• howthesignificanceofmise-en-scèneisaffectedbycinematography,inparticularthroughvariationindepthoffield,focusandframing
• howmise-en-scènecanbeusedbothnaturalisticallyandexpressively to communicate meanings
• thesignificanceofmotifsinmise-en-scène,includingtheirpatternedrepetition
• howstaging,movementandoff-screenspacearesignificantingeneratingresponse
• howandwhydifferentspectatorsdevelopdifferentinterpretationsofthesamemise-en-scène
• howmise-en-scènecanbeindicativeofanauteurapproach(directorordesigner)andcancontributetoafilmaesthetic.
Editing • theshot-to-shotrelationshipsofcontinuityeditingincludingmatchediting,the180°ruleandtheroleofeditingincreatingmeaningincludingtheKuleshoveffect
• howtheprincipalcomponentsofeditingcangeneratemultipleconnotationsandsuggestarangeofinterpretations
• howeditingimpliesrelationshipsbetweencharactersandcontributestonarrativedevelopmentincludingthrougheditingmotifsandtheirpatternedrepetition
• howeditingconveysmessagesandvalues
• howvisualeffects(createdinpost-production)areused,including the way they are designed to engage the spectator andcreateanemotionalresponse
• montageeditingandstylisedformsofeditingincludingjumpcuts
• howandwhydifferentspectatorsinterpretthesameeditingeffectsdifferently
• howeditingcanbeindicativeofanauteurapproach(directororeditor)andcancontributetowardsafilmaesthetic
• theuseofvisualeffects(createdinpost-production)includingthetensionbetweenthefilmmakers’intentiontocreateanemotionalresponseandthespectator’sactualresponse.
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Component01:FilmHistory
Topic KeyIdea Learnersshouldhavestudied
Micro-elements offilmform
(continued)
Sound • distinctionbetweenparallelandcontrapuntalsound,whetherdiegeticornon-diegetic,foleysoundandsoundusedexpressively
• howtheprincipalcomponentsofsoundcangeneratemultipleconnotationsandsuggestarangeofinterpretations
• howsoundrelatestocharactersandnarrativedevelopmentincludingtheuseofsoundmotifs
• howsoundconveysmessagesandvalues
• multitracksoundmixingandlayering,asynchronoussound,sound design
• howandwhydifferentspectatorsinterpretthesameuseofsounddifferently
• howsoundcanbeindicativeofanauteurapproach(directororsounddesigner)andcancontributetoafilmaesthetic.
Performance Howmeaningsandresponsesaregeneratedbyfilmthroughperformance,staginganddirectionassetoutbelow:
• theuseofnon-verbalcommunicationincludingphysicalexpression and vocal delivery
• performancestylesincinemaincludingmethodandimprovisatory styles
• thesignificanceofcasting
• thesignificanceoftheinteractionbetweenactors
• theroleofdirectingasa‘choreography’ofstagemovement
• therelationshipbetweenperformanceandcinematography
• howandwhydifferentspectatorsinterpretthesameperformancedifferently
• howperformancecanbeindicativeofanauteurapproach(directororperformer)andcontributetoafilmaesthetic.
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Component01:FilmHistory
Topic KeyIdea Learnersshouldhavestudied
Aesthetics Thesignificanceofaesthetics
• theroleofmise-en-scène,cinematographyincludinglighting,compositionandframingincreatingaestheticeffectsinspecificfilmsequences
• theroleofmusicandeditinginconjunctionwiththeaboveincreatingaestheticeffects
• thesignificanceoftheaestheticdimensioninfilmincludingthepotentialconflictbetweenspectacleandthedrivetowardsnarrativeresolutioninfilm
• theaestheticqualitiesofspecificfilmsandtheconceptoffilmaesthetics
• therelationofafilm’saestheticstotheauteurcriticalapproach
• criticalapproachestofilmaestheticsincludingtherelationshipbetweenfilmaestheticsandauteurismandideology.
Narrative Thewaysinwhich the key elements of filmareusedtocreatenarrativesinfilm
• hownarrativeconstructionreflectsplotandexpressestemporaldurationandellipsis
• narrationaldevicesincludingvoiceover,flashback,theframingnarrative,theopenending,repetitionandotherformsofnarrativepatterning
• howthedramaticqualitiesofasequenceorsceneareconstructed, including through dialogue
• hownarrativeconstructionprovidespsychologicalinsightintocharacter
• narrativeformswhichrejectthethree-actstructure,includingnon-linearnarratives
• thesignificanceofnarrativestructureswhicharealternativetoand/orinoppositiontoconventionalnarrativestructures
• ambiguityinnarrativeincludingtheambiguousrelationshipbetweencauseandeffectanduncertaintyovercharacteridentification
• therelationshipbetweenscreenplayandtherealisedfilmnarrative
• narrativeconventionsofmainstreamscreenwriting,includingtheconstructionofdialogue,characterandtheuseofimagesandsoundtoconveynarrative.
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Component01:FilmHistory
Topic KeyIdea Learnersshouldhavestudied
Contexts of filmmaking
Social, cultural, political,historical, institutional
• thesocial,cultural,political,historicalandinstitutionalcontextsinwhichthefilmsstudiedaremade.
Film movements andstylisticdevelopments
Criticalapproaches to filmnarrative
• filmnarrative,includingtheformalistandstructuralistconceptionsoffilmnarrative.
Criticalapproaches associated with film
• theclaimsofnaturalismandrealismasagainsttheexpressive.
2d. ContentofCriticalApproachestoFilm(02)
SectionA:ContemporaryBritishandUSFilm
ThissectionfocusesoncontemporaryBritishandUSfilm,focussingonbothfilmasatextandthecontextsthatsurroundfilmmaking,inparticularthecriticaldebatessurroundingtheproductionandexhibitionofcontemporaryfilm.
Film as a text
Learners are required to build on the skills from Component 01 and develop a knowledge and understandingofhowfilmform,narrativeandtheconceptofgenre(includinggenericconventionsandgenreasaprincipalstructuringelementofnarrative)contributetothecreationofrepresentationsofsocietiesandculturesincontemporaryBritishandUSfilms.
Contextsofcontemporaryfilmmaking
Learners will also be required to develop a knowledge and understandingoftheimportanceofboththeproductionandexhibitionofcontemporaryfilms,including:
• criticaldebatesonthesignificanceofdigitalinfilmandthenewpossibilitiesforcinema
• thesignificanceofviewingconditionstospectators4
• criticalapproachestoAuteurismandanevaluationofitscontinuedvalidityasatheory.
Inthissectionlearnerswillberequiredtostudytwocontemporarysetfilms, one of which must be from theBritishsetfilmlistbelowandoneofwhichmustbefromtheUSsetfilmlistbelow.
ContemporaryBritishsetfilmlist:
Pride (2014).DirectedbyMatthewWarchus.Britain,15
Gone Too Far (2013).DirectedbyDestinyEkaragha.Britain,12
Ex-Machina (2014).DirectedbyAlexGarland.Britain,15
The Angel’s Share (2012). Directed by Ken Loach. Britain,15
We Need to Talk About Kevin (2011). Directed by LynneRamsay.Britain,15
Skyfall (2012),DirectedbySamMendes.Britain,12
4“viewingconditions”:thedifferenttechnologicalandsocialconditionsunderwhichafilmcanbeviewedsuchasonamobile phone, computer screen, television or in 3D at a cinema (technological) and individually, as part of a group of friends or family, or as part of a mass audience (social).
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ContemporaryUSsetfilmlist
Guardians of the Galaxy (2014).DirectedbyJamesGunn. USA, 12
The Hunger Games (2012). Directed by Gary Ross. USA, 15
Star Wars: The Force Awakens (Abrams 2015). DirectedbyJ.J.Abrams.USA,12
The Dark Knight Rises (2012). Directed by Christopher Nolan. USA, 12
Zootopia (2016).DirectedbyRichMoore,JaredBush,ByronHoward.USA,PG
Jurassic World (2015).DirectedbyColinTrevorrow.USA, 12
SectionB:Documentary
Thissectionfocusesondocumentaryfilmandrequires learners to gain a knowledge and understandingofhowfilmform,narrativeandthegenericconventionsofdocumentaryfilmcontributetothewaysinwhichdocumentaryfilmrepresentsrealityandcreatesrepresentationsofsocietiesandcultures. Learners are also required to develop the skillsfromComponent01anddebatecriticallytheclaims of naturalism and realism and the formalist andstructuralistconceptionoffilmnarrativeinrelationtodocumentaryfilm.
Learners must study onesetdocumentaryfilm in depth and build upon learning from Component 01, withparticularreferencetothemicro-elementsoffilmformandtheconstructionofmeaningandresponsebybothfilm-makerandspectator.
Learners will also study the contextual framework of thedocumentaryfilmwithaconsiderationofhow
thesocial,cultural,political,historicalandinstitutionalcontextsinformanalysisandunderstandingofthismodeoffilmmaking.
Thereisachoiceofsixsetdocumentaryfilms.Learners must study one setfilmfromthelistbelow:
Documentarysetfilmlist
The Stories We Tell (2013). Directed by Sarah Polley, 12
Searching for Sugarman (2012). Directed by Malik Bendjelloul,12
5 Broken Cameras(2011).DirectedbyEmadBurnat,Guy Davidi, 15
The Act of Killing (2012).DirectedbyJoshuaOppenheimer, 15
Man on Wire (2008).DirectedbyJamesMarsh,12
Citizenfour (2014). Directed by Laura Poitras, 15
Learnersarealsorequiredtostudythesignificanceofthefollowingtwo,contrastingfilmmakers’theoriesoffilminrelationtothesetdocumentaryfilmtheystudy:
• JohnGrierson• D.A.Pennebaker.
SectionC:Ideology
Thissectionissynopticandrequireslearnerstostudythewaysinwhichfilmshapesandisshapedbyideology. Ideology in this context is understood to be a system of ideas, beliefs and values that form the basisofsocial,culturalandpoliticaltheoriesorsystems5.
5 ThisdefinitionofideologyisparaphrasedfromtheOxfordDictionaryofFilmStudies(Kuhn&Westwell)
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In order to evaluate the validity of ideology as a criticalapproachinfilm,learnersarerequiredtostudyadiverserangeofsetfilmsfromdifferentculturalbackgroundsandnationalcinemas.Learnerswill also need to develop the skills to compare how ideologicalmessagesandvaluesinfilmareshapedby,andalsoshapethesocial,cultural,politicalandhistorical contexts in which they were made. Learners will build upon all their previous learning from Components01and02and,inaddition,studyhowbothnarrativeandmicro-elementsoffilmformcanbe used to align6 spectators’ points of view.
Learners will be required to study and compare threesetfilmswhichtacklechallengingissues.Thesetfilmsforthissectionhavebeenarrangedintothreethematiccategories:
• FamilyandHome
• Outsiders
• Conflict.
Thematiccategorieshavebeencreatedtohelpfacilitate a contextual and coherent comparison of ideologicalapproachesbetweensetfilms.
Learners mustselectonethematiccategory,e.g.Outsiders,and studythreesetfilmswithinthatcategory. Within a chosen theme onesetfilmmustbestudiedfromeachofthefollowingcategories:
• USIndependent
• Englishlanguage(non-US)
• Non-Europeannon-Englishlanguage.
6“align,alignment”:termsusedinfilmstudiestoindicatethewayinwhichfilm,particularlythroughcinematographyandnarrativeconstruction,encouragesspectatorstoadoptthepositionandoutlookofparticularcharacters.Spectatorsarethusencouragedto‘align’theirresponses,aswellasingeneraltheirpointsofview,withparticularcharactersandissues.
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Ideologysetfilmlist
Learnersmustselectoneofthethematiccategoriesbelow
Family and Home Outsiders Conflict
USIndependent Learners must study one from a choice of two set films
1. Moonrise Kingdom (2012). Directed by Wes Anderson. USA, 12
2. The Tree of Life (2011). DirectedbyTerranceMalick. USA, 12
Learners must study one from a choice of two set films
1. A Girl Walks Home Alone at Night (2014). Directed by Ana Lily Amirpour. USA, 15
2. Elephant (2003). DirectedbyGusVanSant.USA, 15
Learners must study one from a choice of two setfilms
1. The Hurt Locker(2008).Directed by Kathryn Bigelow.USA,15
2. Whiplash (2015). Directed by Damien Chazelle.USA,15
Englishlanguage(non-US)
Learners must study one from a choice of two set films
1. Room (2015). Directed by Lenny Abrahamson. Canadian/Irish, 15
2. Animal Kingdom (2010). Directed by David Michod. Australia, 15
Learners must study one from a choice of two set films
1. The Babadook (2014). DirectedbyJenniferKent.Australia, 15
2. The Piano(1993).DirectedbyJaneCampion.New Zealand, 15
Learners must study one from a choice of two setfilms
1. District 9 (2009).Directed by Neil Blomkamp.SouthAfrica2009,15
2. Mad Max (1979).Directed by George Miller. Australia, 15
Non-European(non-Englishlanguage)(World)
Learners must study one from a choice of two set films
1. A Separation (2011). Directed by Asghar Farhadi. Iran, PG
2. Our Little Sister (2016). DirectedbyHirokazuKoreeda.Japan,PG
Learners must study one from a choice of two set films
1. Yojimbo (The Bodyguard)(1961).Directed by Akira Kurosawa,Japan,PG
2. Y Tu Mama Tambien (2001). Directed by Alfonso Cuaron. Mexico,18
Learners must study one from a choice of twosetfilms
1. Battle of Algiers (1965).Directed by Gilo Pontecorvo. Algeria, 15
2. The Grandmaster (2013). Directed by Wong Kar-Wai. China, 15
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Forclarity,itisreiteratedthatthethreesetfilmschosen for study must all be selected from the samethemebuteachsetfilmmustbefromadifferentcategorywithinthattheme.Forexample,apermissibleselectionofthreesetfilmswithinthe‘Outsiders’themewouldbe:
• A Girl Walks Home Alone at Night (2014). Directed by Ana Lily Amirpour. USA, 15 (US Independent)
• The Babadook (2014). DirectedbyJenniferKent. Australia, 15 (English Language (Non-US))
• Y Tu Mama Tambien (2001). Directed by AlfonsoCuaron.Mexico,18(Non-EuropeanNon-English Language)
A non-permissibleexamplefromthe‘FamilyandHome’themewouldbe:
• Moonrise Kingdom (2012). Directed by Wes Anderson. USA, 12 (US Independent)
• The Tree of Life (2011). Directed by TerranceMalick.USA,12(USIndependent)
• A Separation (2011). Directed by Asghar Farhadi. Iran, PG (Non-European Non-English Language)
Here,twosetfilmshavebeenchosenwithinathemebutaNon-USEnglishlanguagesetfilmhasnotbeenselected. Further details of the assessment of this componentaregiveninSection3a.
Learnerswillbuildupontheknowledgeandunderstandingofthemicro-elementsoffilmform,aesthetics,narrative,meaningandresponsesandcriticaldebatesonnarrativeandfilmpoeticsinComponent01and,inaddition,studythetopicareasidentifiedinthetablebelow.
Component02:CriticalApproachestoFilm
Topic KeyIdea Learnersshouldhavestudied:
Film genre Thewaysinwhichthekeyelementsoffilmareusedinrelationtotheconceptofgenre
• genreconventions
• genreasaprincipalstructuringelementofnarrative
• modesofdocumentaryfilmmaking
• claimsofnaturalismandrealisminrelationtodocumentaryfilm.
Representations Thewaysinwhichthemicro-elementsoffilmformand the concepts of genre andnarrativecontributetowardsrepresentations
representationsof:
• cultures
• societies
• theideologicalimplicationsofrepresentationsinfilm.
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Component02:CriticalApproachestoFilm
Topic KeyIdea Learnersshouldhavestudied:
Contexts of filmmaking
Social,cultural,political,historicalandinstitutional
• howfilmsstudiedcanactasameansofreflectingsocial,culturalandpoliticalattitudestowardswiderissuesandbeliefsexploredwithinafilm’snarrative,characterisationandrepresentations
• howfilmsstudiedcanactasameansofconstructingsocial,culturalandpoliticalattitudestowardswiderissuesandbeliefsexploredwithinafilm’snarrative,characterisationandrepresentations
• howfilmsstudiedcanactasameansofreflectinghistoricalissuesandevents
• howfilmsstudiedcanpotentiallybeanagentinfacilitatingsocial,culturalandpoliticaldevelopmentsthroughtherepresentationandre-constructionofhistoricalissuesandevents
• howfilmsstudiedareinfluencedbysocial,culturalandpoliticalhistorythroughintertextual7 references
• howfilmsstudiedreflecttheirproduction,financialandtechnologicalopportunitiesandconstraints.
7 “intertextual”:thewayaspectsofaparticularfilmrelatetoanotherandthusaccrueadditionalsignificance.
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Component02:CriticalApproachestoFilm
Topic KeyIdea Learnersshouldhavestudied:
Meanings and Responses
Spectatorship • howthespectatorhasbeenconceivedbothas‘passive’and‘active’intheactoffilmviewing
• howthespectatorisindynamicinteractionwithfilmnarrativeandfilmfeaturesdesignedto generate response
• reasonsfortheuniformityordiversityofresponsebydifferentspectators
• theanalysisofnarrative,visual,musical,performance, genre and auteur cues in relationtospectatorresponse
• theimpactofdifferentviewingconditionsonspectator response
• thepossibilityofpreferred,negotiated,oppositionalandaberrant‘readings’offilm.
• howspectators’responsesareaffectedbysocial and cultural factors.
Keycriticalapproaches
Filmmakers’ theories • thesignificanceofthefollowingtwo filmmakers’theoriesoffilm:
• JohnGrierson • D.A. Pennebaker.
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Component02:CriticalApproachestoFilm
Topic KeyIdea Learnersshouldhavestudied:
Keycriticalapproaches
(continued)
Thesignificanceofthedigitalinfilmandnewpossibilitiesfor cinema
• howvisualeffects(createdinpost-production)areused,includingthewaytheyare designed to engage the spectator and createanemotionalresponse
• howvisualeffects(createdinpost-production)areused,includingthetensionbetweenthefilmmakers’intentiontocreateanemotionalresponseandthespectator’sactual response.
Auteurism • therelevanceofauteurismtofilm-makingasanessentiallycollaborativepractice.
Ideology • howthemicro-elementsoffilmform are used to align8 the spectator and how that alignmentrelatestospectatorinterpretationofnarrative
• howthemicro-elementsoffilmform contributetotheideologiesconveyedbyfilm,includingthroughnarrative,representationsand messages and values
• hownarrativeconstructionisusedtoalignthe spectator and how that alignment encouragestheadoptionofaparticularspectator point of view
• theideologicalimplications9ofnarrativeconstructionandnarrativestructureandrepresentationsofdifferentsocietiesandcultures
• howtheconstructionofnarrativecontributesto the shaping of ideologies and values in film,includinghownarrativestructurecanfunctionasanideologicalframework10.
8 “align,alignment”:termsusedinfilmstudiestoindicatethewayinwhichfilm,particularlythroughcinematographyandnarrativeconstruction,encouragesspectatorstoadoptthepositionandoutlookofparticularcharacters.Spectatorsarethusencouragedto‘align’theirresponses,aswellasingeneraltheirpointsofview,withparticularcharactersandissues.
9 “ideologicalimplications”:thepointsofviewimpliedbythewayanarrativeisconstructedandtherepresentationsitincorporatesandthewaythosepointsofviewcanconveysetsofvalues,attitudesandbeliefs.
10 “hownarrativecanfunctionasanideologicalframework”:how,forexample,theoverallstructureofanarrativecanaffectthepointsofview,attitudes,valuesandbeliefsbeingconveyedaboutitssubjectmatter.
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2e. Contentofnon-examinedassessmentMakingShortFilm(03/04)
MakingShortFilm(Component03/04)isasynoptic,non-examined assessment component that gives learners the opportunity to produce their own completeshortfilmorscreenplayforashortfilm.
In this component learners will apply knowledge and understandingoftheshortfilmanditsdistinctivenarrativeforminrelationtotheproductionoftheirownfiction-basedshortfilm.
Learners will also be required to build upon and develop their knowledge and understanding of genre, representationandhowthemicro-elementsoffilmformcontributetotheseandalsotoaestheticeffect,spectatorshipandfilmpoetics.Morespecifically,learnersmust:
• applyknowledgeandunderstandingofelementsoffilmtotheproductionoffilmor screenplay (AO3) (60marks)
• applyknowledgeandunderstandingofelementsoffilmtoanalyseandevaluateownworkinrelationtootherprofessionallyproduced work (AO2 strand 3) (30marks).
Thenon-examinedassessmentwillprovidetheopportunityforlearnerstodemonstratethatthey:
• canapplytheirknowledgeandunderstanding of the micro-elements of filmformtotheproductionofafilmorscreenplay and analyse and evaluate their ownworkinrelationtootherprofessionallyproduced work
• havetheabilitytousethemicro-elementsoffilmformtoindependentlycreatetheirowncompleteshortfilmorscreenplayforashortfilm
• haveresearch,planningandproductionskillsthroughtheindependentrealisationoftheirowncompleteshortfilmorscreenplayforashortfilm
• candeveloptheskillstocarryoutanevaluativeanalysisoftheirproductionin
relationtootherprofessionallyproducedwork.
Learners will research, plan and produce one non-examinedassessmentproductioninresponsetothesetbriefsoutlinedbelow:
NEAtask:
1PreliminaryActivities(non-assessed)
Eventhoughtherearenomarksattachedtothepreliminaryactivitiesitisessentialforlearnerstocarryouttheseactivitiesinpreparationfortheirchosenproductiontasksothateachindividuallearner’sworkcanbeauthenticated.Failuretocarryoutsufficientresearchintoshortfilmsandadequatelyplanachosenproductionisalsolikelytorestrictalearner’s ability to meet the higher levels of the productionandevaluationmarkingcriteria.
1(a)Research
Inpreparationfortheproductiontask,learnersmust watchandmakenotesoneachofthesetshortfilmslistedbelow.Therunningtimeofthesetshortfilmlistisequivalenttoonefeaturelengthfilm.
Britishsetshortfilmlist
• Fiction(totalrunningtime87minutes)
• Slap (2015). Directed by Nick Rowland. UK (25 mins) https://www.shortoftheweek.com/2016/06/11/slap/
• Tight Jeans (2008).DirectedbyDestinyEkharaga.UK(9mins) https://www.youtube.com/watch?v=BcPBCrUc8YI
• The Ellington Kid (2012). Directed by Dan Sully (5 minutes) https://vimeo.com/60639863
• Over(2015).DirectedbyJörnThrelfall.UK(14 mins) https://www.shortoftheweek.com/2016/04/16/over/
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• Echo (2011). Directed by Lewis Arnold. UK (17 mins) https://vimeo.com/44040317
• Operator (2015). Directed by Caroline Bartleet.UK(6mins) http://www.operatorshortfilm.com/
• Arrival (2016). Directed by Daniel Montanarini. UK (5 mins) https://www.shortoftheweek.com/2016/06/10/the-arrival/
• The Fly(2014).DirectedbyJackDoolan.UK (6 mins) https://www.shortoftheweek.com/2015/09/21/the-fly/
Thepurposeofthisactivityistoresearchandfurtherdevelopknowledgeandunderstandingofnarrativeinshortfilm,including:
• thenarrativeconventionsoftheshortfilm,including the three act structure
• howthedramaticqualitiesofashortfilmare constructed through a wide range of narrativetechniques,includingthroughtheuse of dialogue, character development anddramaticdevices
• hownarrativecanconveypointsofview,both intended meaning and those of the spectator.
Inadditionlearnersmayalsocarryoutsomeofthefollowingresearchactivities:
• fieldwork(e.g.alocationrecceforfilmingordigitallyphotographedstills)
• internetorpaper-basedresearchasappropriate
• interviewpotentialcastmembers.
1(b)Planning
Learners should produce planning materials for their individualNEAproductionswhichoutlinetheintentionsoftheirfinalproduction.Centresareencouraged to explore appropriate ways of producing relevant planning materials based upon their own strengths and resources.
Thefollowinglistofplanningmaterialsispurelyindicative:
• adraftscript
• writingalocationreport
• notesoncastingconsiderations
• astoryboard
• aseriesofscreentestswithnotes.
2IndividualNEAProduction(60marks)
Therearetwodifferentindividualproductionoptions.Learnersmustchooseoneofthefollowing:
• acomplete,newshortfilm (4–5minutes)
or
• ascreenplayforanewshortfilm(10pages,equivalentto10minutesofscreentime) 11;including
• adigitallyphotographedstoryboardofakeysectionofthescreenplay,illustrating,throughcarefulconstructionofmise-en-scèneandshotselection,howthescreenplay would be realised (20 digitally photographed key frames).
Thereisnosetgenreorthemefortheshortfilmsorscreenplays. However, teachers are expected to guide learnersinselectingappropriategenresand/orthemesforlearners’productions.
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Forthepurposesofboththefilmandscreenplayproductions‘new’isdefinedasanoriginalproductionfrom the learner that isn’t a sequel, prequel or remakeofanexistingfilm.
3IndividualEvaluation(30marks)
Learnersmustusesubjectspecificterminologyandproduceanevaluativeanalysiswhich:
• evaluatesandanalysestheirproductioninrelationtotheprofessionallyproducedsetshortfilms
• informsanalysisandevaluationbyselectinga range of appropriate evidence from their ownproductionandtheprofessionallyproducedsetshortfilms
• makesuseofappropriatecriticalapproaches
• discusseshowmicro-elementsoffilmformcangenerateapreferredandalternativereading(s)ofashortfilm.
Thecompletedindividualevaluationshouldbenolongerthan1,500words.Thisissufficientlengthtogive learners the opportunity to access the full range ofmarkingcriteria.Learnersmustincludeafinalwordcountaspartoftheindividualevaluationsubmittedto teachers for marking.
Eachevaluationmustbetheworkofanindividuallearner.
Lengthofindividualproductionandindividualevaluation
Thelengthsspecifiedforeachelementoftheindividualproductionandindividualevaluation(e.g.4-5minutesforthefilmedproduction,1,500wordsfortheindividualevaluationetc.)aresufficienttogivelearners the opportunity to fully address all of the marking criteria.
Learnersshouldaimtoproduceworkofthespecifiedlength.
Ifworkissubmittedthatislongerthanthespecifiedlength, only the part up to (and including) the specifiedlengthcanbecredited.Anyworkbeyondthis must not be considered for credit against the marking criteria.
Workthatisshorterthanthespecifiedlengthshouldbe marked against the marking criteria but may not allow learners to access the full range of marking criteria.
SeeSection3fformoredetails.
Individualproductionrules
Shortfilmsandscreenplaysforshortfilmsmustbeundertaken by learners as individuals and all materials must be assessed individually.
However,fortheshortfilmorthedigitallyphotographed storyboard to accompany a screenplay forashortfilmalearnermaymakeuseofunassessedstudents and others as long as the outcome can be assessed as the work of an individual learner.
For example, others in a group could be used as actors,ortooperatesoundequipment,orlightingequipment.Thelearnermust,however,havecreativecontrol,asdirector,andcreatethefinaleditofthefilmedproductionortakeandeditthephotosforthedigital storyboard and write the screenplay.
NEAportfoliorequirements
As a summary each individual learner’s completed NEAportfoliowillconsistofthefollowing:
• non-assessedresearchnotesandplanningmaterialstoaidtheauthenticationofwork
• ateacherassessedshortfilmorscreenplayforashortfilm,includingdigitalstills
• ateacherassessedevaluation
• acourseworkcoversheet.
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ThepreliminaryactivitieswillbesubmittedtotheBoardbutwillnotbeassessed.Ifthepreliminaryactivitiesarenotsubmitted,thishasthepotentialtopresentproblemsaroundauthentication(whetherthe work can be shown to be that of an individual learner)andthereforemayconstitutemalpractice.SeeSection4gforfurtherinformationonmalpractice.
Assistancewithproductions
It is expected that teachers will train learners in the useoftechnologyfortheirNEAproductionsandthatcentres will provide the necessary equipment for learnerstoproducetheirNEAproductions.
FurtherGuidance
Tobuilduplearners’productionskillsteacherscouldconsideringofferinglearnerstheopportunitytocompletetheASLevelinFilmStudiesproductiontaskinthefirstyearofthecourseasanunassessedcollaborativeactivity.
Furtherguidanceonauthenticationoflearners’work,including details of level of supervision and allowable feedbackcanbefoundinSection4d–Adminofnon-examined assessment.
Further guidance on the key terms used in this component and the guidance on the suitability of NEAproductionscanbefoundinAppendix5d–GuidanceonNEAproductions(Component03/04).
MarkingNEAProductions
ThemarkingcriteriaforthiscomponentcanbefoundinSection3f–Non-examinedassessment.
SuitabilityofNEAProductions
GuidanceonthesuitabilityofNEAproductionscanbefoundinappendix5d–GuidanceonNEAproductions(Component 03/04).
SubmittingNEAProductions
Movingimageanddigitalstillphotographsshouldbesubmittedinuniversaldigitalformatsthatareplayable on all PCs and Macs. Work should be checkedonauniversalmediaplayersuchasaVLCmedia player before submission to ensure compatibility.
2f. Priorknowledge,learningandprogression
Thiscoursewillbuildontheknowledge,understanding and skills established at Key Stage 4. No prior knowledge of the subject is required.
Learners who are beginning an A Level course may havecompletedaGCSE(9–1)inFilmStudiesoraLevel 2 Media course.
OCR’s AS Film Studies course is also an ideal introductiontotheALevelforlearnerswithlimitedexperience of studying Film.
ThisqualificationprovidesastrongfoundationforlearnerstoprogresstoHigherEducationandequipslearners for progression into the workplace.
ThereareanumberofFilmspecificationsatOCR.Find out more at www.ocr.org.uk/filmstudies.
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OCR’s A Level in Film Studies consists of two components that are externally assessed and one
component that is assessed by the centre and externally moderated by OCR.
3a. Formsofassessment
3 Assessment of A Level in Film Studies
FilmHistory(01)
Thiscomponentisworth105marksandrepresents35%ofthemarksfortheALevel.ThisisanexternallyassessedwrittenpaperassessingAO1andstrands1and2ofAO2(seeSection3b).
Learnerswillberequiredtocompleteanexaminationpaperlastingtwohours.Theexaminationpaperwillconsistoftwosections.
• SectionA:FilmforminUScinemafromtheSilentErato1990(55marks)
• SectionB:EuropeanCinemaHistory (50 marks).
Learners must answer threequestionsinSectionAand twoquestionsinSectionB.
SectionA:FilmForminUSCinemafromtheSilentErato1990
SectionB:EuropeanCinemaHistory
Learners are required to study threeUSsetfilmsintotal(onesetfilmfromeachofthefollowingtimeperiods):• TheSilentEra• 1930–1960• 1961–1990
Learnersarerequiredtostudysetfilmsfromtwo differentmajorEuropeanfilmmovementsorstylisticdevelopments.• Surrealistfilm(experimentalfilm)
and onefrom:• Germanexpressionismor• Frenchnewwave.
Total:55marks• AO1:25marks• AO2:30marks
Total:50marks• AO1:20marks• AO2:30marks
Learnersmustanswer:• thetwo10markquestions• onefromachoiceoftwo35markessay
questions(extendedresponse)
Learnersmustanswer:• the15markquestion• onefromachoiceoftwo35markessay
questions(extendedresponse)• thecontentforthecompulsoryexperimental
filmsandotherfilmmovementsmaybeassessed in either of the 15 mark or 35 mark questionseachyear.
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SectionA:FilmForminUSCinemafromtheSilentErato1990
SectionB:EuropeanCinemaHistory
Questionswillfocuson:• themicro-elementsoffilmform• aesthetics• spectatorship
Criticaldebateson:• filmpoetics
Questionswillfocuson:• themicro-elementsoffilmform;and• howtheseelementsconstructmeaningsand
contributetotheaestheticsoffilm• Europeanfilmmovementsandstylistic
developmentsandtheircontributiontoaesthetics
• contextualbackground• theexperimentalnatureoffilm.
Criticaldebateson:• filmnarrative• claimsofnaturalismandrealismasagainstthe
expressive.
CriticalApproachestoFilm(02)
Thiscomponentisworth105marksandrepresents35%ofthemarksfortheALevel.ThisisanexternallyassessedwrittenpaperassessingAO1andstrands1and2ofAO2.(SeeSection3b)
Learnerswillberequiredtocompleteanexaminationpaperlastingtwohours.Theexaminationpaperwillconsistofthreesections.
• SectionA:ContemporaryBritishandUSFilm (35 marks)
• SectionB:Documentary(35marks)
• SectionC:Ideology(35marks)
Learners must answer onequestionfromeachsection–threequestionsintotalacrossthepaper.
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SectionA:ContemporaryBritishandUSFilm
SectionB:Documentary
SectionC:Ideology
Learners are required to study two setfilms,onefromeachofthefollowingcategories:• ContemporaryBritish• ContemporaryUS
Learners are required to study one setdocumentaryfilm.
Learners are required to study and compare threesetfilms,onefrom each of the following categories:• Non-European
(non-English language)• Englishlanguage(non-US)• USIndependent
Total:35marks• AO1:15marks• AO2:20marks
Total:35marks• AO1:15marks• AO2:20marks
Total:35marks• AO1:15marks• AO2:20marks
Learners must answer one from a choiceoftwoquestions.
Learners must answer one from a choiceoftwoquestions.
Learners must answer one from a choice of three themes. Each theme will have a choice of two questions.
Questiontype:• Extendedresponse
(35 mark essay)
Questiontype:• Extendedresponse
(35 mark essay)
Questiontype:• Extendedresponse
(35 mark essay)
Questionswillfocuson:• representations(howthey
are constructed through filmform,narrativeandgenre)
• contexts• thesignificanceofviewing
conditionstospectators.
Criticaldebateson:• thesignificanceofdigitalin
filmandthenewpossibiltiesforcinema
• auteurism.
Questionswillfocuson:• representations(howthey
are constructed through filmform,narrativeandthegenericconventionsofdocumentaryfilmmaking)
• contexts• spectatorship.
Criticaldebateson:• representationsofreality
and claims of naturalism and realism
• filmnarrative• filmmakers’theoriesoffilm.
Thissectionissynoptic.Questionswillfocusonlearningfrom the whole course in order to evaluate the validity of ideology asacriticalapproachinfilm.
AllthreesectionsofComponent02requirelearnerstodrawupontheirknowledgeandunderstandingofthetopicscoveredinComponent01,inparticularthemicro-elementsoffilmform.
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TherearethreeAssessmentObjectivesinOCR’sALevelinFilmStudies.Thesearedetailedinthetablebelow.
Learnersareexpectedtodemonstratetheirabilityto:
AssessmentObjective Weighting
AO1 Demonstrateknowledgeandunderstandingofelementsoffilm. 30%
AO2 Applyknowledgeandunderstandingofelementsoffilmto:1. (a)analyseand(b)comparefilms,(c)includingthroughtheuse
ofcriticalapproaches2. evaluatethesignificanceofcriticalapproaches
40%
3. analyseandevaluateownworkinrelationtootherprofessionallyproduced work.
10% (NEA only)
AO3 Applyknowledgeandunderstandingofelementsoffilmtotheproductionoffilmorscreenplay.
20% (NEA only)
AOweightingsinALevelinFilmStudies
Therelationshipbetweentheassessmentobjectivesandthecomponentsareshowninthefollowingtable:
Component%ofoverallAlevelinFilmStudies(H410)
AO1 AO2 AO3
Film History 15 20
CriticalApproachestoFilm 15 20
Making Short Film 10 20
Total 30 50 20
MakingShortFilm(03/04)
Thisnon-examinedassessmentisworth90marksandrepresents 30% of the marks for the A Level.
Thiscomponentisinternallyassessedbyteachersandexternally moderated by OCR assessors.
ThiscomponentassessesAO2strand3andAO3 (seeSection3b).
Learners will be required to produce an individual shortfilmorscreenplayforashortfilm(60marks) andwillcarryoutanevaluationoftheirproduction(30marks).
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3c. Assessment availability
TherewillbeoneexaminationseriesavailableeachyearinMay/Junetoall learners.
All examined components must be taken in the same examinationseriesattheendofthecourse.
ThisspecificationwillbecertificatedfromtheJune2019examinationseriesonwards.
3d. Retakingthequalification
Learnerscanretakethequalificationasmanytimesastheywish.Theyretakeallexaminedcomponentsofthequalification.Learnerscanchooseeithertoretake
the non-examined component or to carry forward their mark for the non-examined component by using thecarriedforwardentryoption(seeSection4a).
3e. Assessmentofextendedresponse
Theassessmentmaterialsforthisqualificationprovide learners with the opportunity to demonstrate their ability to construct and develop a sustained and
coherent line of reasoning and marks for extended responses are integrated into the marking criteria.
3f. Non-examinedassessment
Centres will assess all the work of their learners in the non-examined assessment Component (03/04).
Thebriefsforthenon-examinedassessmentaresetby OCR and published within Component 03/04 of thisspecification.
OCR will moderate marks for the non-examined assessment in accordance with standard policy relatingtothestandardisationandsamplingofwork.WorksubmittedforthisALevelNEAcomponentshouldreflectthestandardexpectedforalearnerafterafullALevelcourseofstudy.
Thenon-examinedassessmentisworth30%ofthetotalmarksforthisALevel.Theamountoftimegiventolearnersforthecompletionofthenon-examinedassessment component should be determined by centres. All work must be completed by the designatedfinishingtimesetbythecentreinordertofacilitatethecompletionofmarkingandinternalstandardisationbytheOCR-setdeadline.
However, it is strongly recommended that learners spendnomorethan30%oftheirtotalcoursetimeoncompletingthenon-examinedassessmentcomponent.Asguidance,30%ofalearner’stimeequates to approximately 100 hours of a full 360 guided learning hour (GLH) A Level course of study. It shouldbenotedthatexcessivetimespentonthiscomponent could be detrimental to the overall attainmentoflearnersandthatteachersshouldbemindful of the guidance given above when striking a balancebetweenthecompletionoftheNEAcomponent and preparing for the examined components which contribute 70% of the overall available marks for this A Level.
Cover sheets for the non-examined assessment will be made available to centres via the OCR website. Theseshouldbesubmittedwiththelearner’sworktothe moderator.
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Guidance should be given to learners about availability and choice of resources, health and safety, avoidanceofplagiarismandcompletionofworkinaccordancewithspecificationrequirementsandprocedures.
ForfurtherguidancepleasealsoseeSection4d–Adminofnon-examinedassessment.
Examsdirectory:www.ocr.org.uk.
Useof‘bestfit’approachformarkingcriteria
Theassessmenttask(s)foreachcomponentshouldbe marked by teachers according to the given marking criteria within the relevant component using a‘bestfit’approach.Foreachofthemarkingcriteria,teachers select one of the band descriptors provided in the marking grid that most closely describes the quality of the work being marked.
Markingshouldbepositive,rewardingachievementratherthanpenalisingfailureoromissions.Theawardof marks must be directly related to the marking criteria.Teachersusetheirprofessionaljudgementinselectingthebanddescriptorthatbestdescribesthework of the learner.
Toselectthemostappropriatemarkwithintheband descriptor, teachers should use the following guidance:
• wherethelearner’sworkconvincinglymeets the statement, the highest mark should be awarded
• wherethelearner’sworkadequatelymeetsthe statement, the most appropriate mark in the middle range should be awarded
• wherethelearner’sworkjustmeetsthestatement, the lowest mark should be awarded.
Teachersshouldusethefullrangeofmarksavailableto them and award fullmarks in any band for work whichfullymeetsthatdescriptor.Thisisworkwhichis‘thebestonecouldexpectfromlearnersworkingatthat level’.
For wider mark bands the marks on either side of the middlemark(s)for‘adequatelymet’shouldbeusedwherethestandardislowerorhigherthan‘adequate’but not the highest or lowest mark in the band.
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ProductionMarkingCriteria:Filmedsequenceorscreenplay(60marks)
Thelearner’sproductionasawholeisassessedandamarkgivenundereachoftwoheadings:
1. Applicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform(30marks) 2. Applicationofknowledgeandunderstandingofmicro-elementsoffilmform(30marks)
Twoseparatemarksshouldbecreditedandthiswillgiveeachlearneratotalmarkoutof60fortheirproduction.Thesemarkingcriteriaaregenericandmust be used for boththefilmedextractandscreenplayoption.
Learners’productionsshouldbejudgedoneachofthetwosetsofmarkingcriteriaindividually.Marksshouldbecreditedaccordingtothelevelattainedforeachsetofcriteria.Itshouldbenotedthatitispossibleforalearnertoachieveadifferentlevelforeachofthetwosetsofmarkingcriteria.Forexample,alearnermaydemonstrateanexcellentapplicationofknowledgeandunderstandingofmicro-elementsoffilmformbutonlydemonstrategoodormoderateapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.
Learnersshouldaimtoproduceworkofthespecifiedlength.Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlength can be credited. Any work beyond this must notbeconsideredforcreditagainstthemarkingcriteria.Teachersshouldstopwatchingorreadingworkbeyondthespecifiedlength.
Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.
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1. Applicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform(30marks)
Level 525–30marks
• Thelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Asophisticateduseofawiderangeofappropriatenarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramatic
devicesthatdeliversanaccomplisheddemonstrationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Aconvincingnarrativeconstructionwhichcreatesdeliberatelyselectedandhighlydevelopedinsightsintocharactermotivationasappropriate
totheshortfilm.• Highlydevelopedapplicationofknowledgeandunderstandingofhownarrativecanconveypointsofview,bothintendedmeaningandthoseof
the spectator. • Highlydevelopedapplicationofknowledgeandunderstandingofnarrativeformsthatsophisticatedlyfollowsorchallengesconventionsofthe
three-act structure.
Level 419–24marks
• Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Agooduseofarangeofappropriatenarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevicesthat
deliversagooddemonstrationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Goodnarrativeconstructionwhichcreateswellselectedandwelldevelopedinsightsintocharactermotivationasappropriatetotheshortfilm.• Well-developedapplicationofknowledgeandunderstandingofhownarrativecanconveypointsofview,bothintendedmeaningandthoseof
the spectator. • Welldevelopedapplicationofknowledgeandunderstandingofnarrativeformsthateffectivelyfollowsorchallengesconventionsofthethree-
act structure.
Level 313–18marks
• Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Anadequateuseofarangeofmostlyappropriatenarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramatic
devicesthatdeliversacompetentdemonstrationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Adequatenarrativeconstructionwhichcreatesmainlywellselectedinsightsintocharactermotivationasappropriatetotheshortfilm.• Adequateapplicationofknowledgeandunderstandingofhownarrativecanconveypointsofview,bothintendedmeaningandthoseofthe
spectator. • Anadequateapplicationofknowledgeandunderstandingofnarrativeformsthatcompetentlyfollowsorchallengesthethree-actstructure.
Level 27–12marks
• Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Abasicuseofalimitedrangeofnarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevicesthatdeliversa
partialdemonstrationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Basicnarrativeconstructionwhichattemptstopresentlimitedselectedinsightsintocharactermotivationasappropriatetotheshortfilm.• Limitedapplicationofknowledgeandunderstandingofhownarrativecanconveypointsofview,bothintendedmeaningandthoseofthe
spectator. • Limitedapplicationofknowledgeandunderstandingofnarrativeforms,partiallyfollowingorchallengingthethree-actstructure.
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Level 11–6marks
• Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Apooruseofnarrativetechniques,indicatingaminimalconsiderationoftheuseofdialogue,characterdevelopment,anddramaticdevicesthat
deliveraninadequatedemonstrationofknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.• Poornarrativeconstructionwhichpresentsminimalselectedinsightsintocharactermotivationasappropriatefortheshortfilm.• Minimalapplicationofknowledgeandunderstandingofhownarrativecanconveypointsofview,bothintendedmeaningandthoseofthespectator.• Minimalapplicationofknowledgeandunderstandingofnarrativeforms,followingorchallengingthethree-actstructureinaninadequatemanner.
0marks Noworksubmittedorworkwhichdemonstratesnoknowledgeandunderstandingoftheshortfilmanditsdistinctivenarrativeform.
2. Applicationofknowledgeandunderstandingofmicro-elementsoffilmform(30marks)
Level 525–30marks
• Thelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Asophisticatedresponsedemonstratingexcellentunderstandingoftheshortfilmformthroughasophisticateduseof(production)orindication
ofintendeduseof(screenplay): • cinematography:movement,positioning,framingandlighting • mise-en-scène:settings,props,costumesandmakeup • editing:transitions,pace,juxtapositionofshots,storytelling • sound:music,dialogue,soundeffects,atmospheric(ambient)effects.• Highlydevelopedknowledgeandunderstandingofhowmicro-elementsoffilmformcancontributetotheaestheticqualitiesofashortfilm.
Level 419–24marks
• Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Awell-developedresponsedemonstratingagoodunderstandingoftheshortfilmformthroughagooduseof(production)orindicationof
intendeduseof(screenplay): • Cinematography:movement,positioning,framingandlighting • mise-en-scène:settings,props,costumesandmakeup • editing:transitions,pace,juxtapositionofshots,storytelling • sound:music,dialogue,soundeffects,atmospheric(ambient)effects.• Well-developedknowledgeandunderstandingofhowmicro-elementsoffilmformcancontributetotheaestheticqualitiesofashortfilm.
Level 313–18marks
• Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Anadequateresponsedemonstratingasoundunderstandingoftheshortfilmformthroughanadequateuseof(production)orindicationof
intendeduseof(screenplay): • Cinematography:movement,positioning,framingandlighting • mise-en-scène:settings,props,costumesandmakeup • editing:transitions,pace,juxtapositionofshots,storytelling • sound:music,dialogue,soundeffects,atmospheric(ambient)effects.• Anadequateknowledgeandunderstandingofhowmicro-elementsoffilmformcancontributetotheaestheticqualitiesofashortfilm.
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Level 2
7–12marks
• Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Abasicresponsedemonstratingabasicunderstandingoftheshortfilmformthroughalimiteduseof(production)orindicationof
intendeduseof(screenplay): • Cinematography:movement,positioning,framingandlighting • mise-en-scène:settings,props,costumesandmakeup • editing:transitions,pace,juxtapositionofshots,storytelling • sound:music,dialogue,soundeffects,atmospheric(ambient)effects.• Limitedknowledgeandunderstandingofhowmicro-elementsoffilmformcancontributetotheaestheticqualitiesofashortfilm.
Level 1
1–6marks
• Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Apoorlydevelopedresponsedemonstratingpoorlydevelopedunderstandingoftheshortfilmformthroughaminimaluseof(production)
orindicationofintendeduseof(screenplay): • Cinematography:movement,positioning,framingandlighting • mise-en-scène:settings,props,costumesandmakeup • editing:transitions,pace,juxtapositionofshots,storytelling • sound:music,dialogue,soundeffects,atmospheric(ambient)effects.• minimalknowledgeandunderstandingofhowmicro-elementsoffilmformcancontributetotheaestheticqualitiesofashortfilm.
0marks • Noworksubmittedorworkwhichdemonstratesnoknowledgeandunderstandingofthemicro-elementsoffilmform.
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EvaluationMarkingCriteria(30marks)
Thelearner’sevaluationisassessedandamarkgivenunderone heading:
1. Analyseandevaluatetheproductioninrelationtotheprofessionallyproducedshortfilmswhichinfluencedit.(30marks).
Onetotalmarkshouldbecreditedandthiswillgiveeachlearneratotalmarkoutof30fortheirevaluationandatotalmarkoutof90fortheirNEAportfolio.
Learnersshouldaimtoproduceworkofthespecifiedlength.Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlength can be credited. Any work beyond this must notbeconsideredforcreditagainstthemarkingcriteria.Teachersshouldstopreadingworkbeyondthespecifiedlength and indicate clearly where they have stopped.
Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.
Level 525–30marks
• Thelearnerdemonstratescomprehensiveapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothesetshortfilms.
• Sophisticatedandfluentevaluationofownproductioninrelationtoprofessionallyproducedworkofferingapreciseanddetailedrangeofevidencefromownworkandsetshortfilms.
• Sophisticatedevaluativeanalysiswhichmakesconvincinguseofcriticalapproaches.• Highlydevelopedknowledgeandunderstandingofhowmicro-elementsoffilmformcangenerateapreferredandalternativereading(s)of
ashortfilm.• Highlydeveloped,accurateuseofsubject-specificterminology.
Level 419–24marks
• Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothesetshortfilms.
• Welldevelopedandmainlyfluentevaluationofownproductioninrelationtoprofessionallyproducedworkofferingarelevantrangeofevidencefromownworkandsetshortfilms.
• Well-developedevaluativeanalysiswhichmakesgooduseofcriticalapproaches.• Mainlywell-developedknowledgeandunderstandingofhowmicro-elementsoffilmformcangenerateapreferredandalternative
reading(s)ofashortfilm.• Good,mostlyaccurateuseofsubject-specificterminology.
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Level 313–18marks
• Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothesetshortfilms.
• Adequateevaluationofownproductioninrelationtoprofessionallyproducedworkofferingarangeofevidencefromownworkandsetshortfilms.
• Adequateevaluativeanalysiswhichmakessatisfactoryuseofcriticalapproaches.• Adequateknowledgeandunderstandingofhowmicro-elementsoffilmformcangenerateapreferredandalternativereading(s)ofa
shortfilm.• Adequate,generallyaccurateuseofsubject-specificterminology.
Level 27–12marks
• Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothesetshortfilms.
• Limitedevaluationofownproductioninrelationtoprofessionallyproducedworkofferingsomeevidencefromownworkandsetshortfilms.
• Clearattemptatanevaluativeanalysiswhichmakeslimiteduseofcriticalapproaches.• Limitedknowledgeandunderstandingofhowmicro-elementsoffilmformcangenerateapreferredandalternativereading(s)ofashort
film.• Limiteduseofsubject-specificterminologywhichissometimesusedaccurately.
Level 11–6marks
• Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothesetshortfilms.
• Minimal,ifany,evaluationofownproductioninrelationtoprofessionallyproducedworkofferinglittle,ifany,evidencefromownworkandsetshortfilms.
• Poorattemptatanevaluativeanalysiswhichmakesminimaluseofcriticalapproaches.• Minimalknowledgeandunderstandingofhowmicro-elementsoffilmformcangenerateapreferredandalternativereading(s)ofashort
film.• Minimaluseofsubject-specificterminologywhichisoftenusedinaccurately.
0marks • Noworksubmittedorworkwhichdemonstratesnoknowledgeandunderstandingoftheirproductioninrelationtothesetshortfilms.
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Synopticassessmentisthelearners’understandingoftheconnectionsbetweendifferentelementsofthesubject. It involves the explicit drawing together of knowledge,skillsandunderstandingwithindifferentparts of the A level course.
• Theemphasisofsynopticassessmentistoencourage the understanding of Film Studies as a discipline.
• TheassessmentmodelhasbeendesignedsothatopportunitiesforsynopticassessmentareintegratedintoComponent03:MakingShortFilm(NEA)andComponent02:CriticalApproaches to Film.
• Component02:CriticalApproachestoFilmoffersopportunitiesforsynopticassessmentin
theIdeologycomparativeresponsesectionoftheassessment.Thecomparativeresponserequireslearnerstocompareacrossthreefilmsinrelationtoideologicalthemesbuttheexplorationofthesethemesrequireslearnersto draw upon their knowledge and understanding from the full course in terms of micro-elementsoffilmform,contextsandmeanings and response.
• Component03:MakingShortFilmrequireslearners to draw together their knowledge and understandingofthemicro-elementsoffilmform and meaning and response to create their ownshortfilmbasedpracticalandalsocarryoutacomparativeevaluationoftheirworkinrelationtotheprofessionallyproducedworkthey have viewed.
3g. Synopticassessment
3h. Calculatingqualificationresults
Alearner’soverallqualificationgradeforALevelinFilm Studies will be calculated by adding together their marks from the three components taken to give theirtotalweightedmark.Thismarkwillthenbe
comparedtothequalificationlevelgradeboundariesfor the relevant exam series to determine the learner’soverallqualificationgrade.
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Theinformationinthissectionisdesignedtogiveanoverview of the processes involved in administering thisqualificationsothatyoucanspeaktoyour examsofficer.AllofthefollowingprocessesrequireyoutosubmitsomethingtoOCRbyaspecificdeadline.
Moreinformationabouttheprocessesanddeadlinesinvolved at each stage of the assessment cycle can be foundintheAdministrationareaoftheOCRwebsite.
OCR’s Admin overview is available on the OCR website at www.ocr.org.uk/administration.
4 Admin:whatyouneedtoknow
4a. Pre-assessment
Estimatedentries
Estimatedentriesareyourbestprojectionofthenumber of learners who will be entered for a qualificationinaparticularseries.
EstimatedentriesshouldbesubmittedtoOCRbythespecifieddeadline.Theyarefreeanddonotcommityour centre in any way.
Finalentries
Final entries provide OCR with detailed data for each learner, showing each assessment to be taken. It is essentialthatyouusethecorrectentrycode,considering the relevant entry rules.
FinalentriesmustbesubmittedtoOCRbythepublished deadlines or late entry fees will apply.
All learners taking an A Level in Film Studies must beenteredforoneofthefollowingentryoptions:
Entryoption Components
Entrycode
Title Code Title Assessment type
H410 AFilm Studies (Repository)
01 Film History External Assessment
02 CriticalApproachestoFilm External Assessment
03 Making Short Film Non-examined assessment (Repository)
H410BFilm Studies
(Postal)
01 Film History External Assessment
02 CriticalApproachestoFilm External Assessment
04 Making Short Film Non-examined assessment (Postal)
H410 C Film Studies
(Carried forward)
01 Film History External Assessment
02 CriticalApproachestoFilm External Assessment
80 Making Short Film Non-examined assessment (Carried forward)
*EntryoptionH410Cshouldonlybeselectedforlearnerswhoareretakingthequalificationwhowanttocarryforward their mark for the non-examined assessment.
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Specialconsiderationisapost–assessmentadjustmenttomarksorgradestoreflecttemporaryinjury,illnessorotherindispositionatthetimetheassessment was taken.
DetailedinformationabouteligibilityforspecialconsiderationcanbefoundintheJCQpublication A guide to the special consideration process.
4b. Specialconsideration
4c. Externalassessmentarrangements
RegulationsgoverningexaminationarrangementsarecontainedintheJCQpublicationInstructions for
conducting examinations publishedannuallybyJCQ(www.jcq.org.uk).
Privatecandidates
Private candidates may enter for OCR assessments.
A private candidate is someone who pursues a course ofstudyindependentlybuttakesanexaminationorassessmentatanapprovedexaminationcentre.Aprivatecandidatemaybeapart-timestudent,someone taking a distance learning course, or someonebeingtutoredprivately.Theymustbebasedin the UK.
OCR's A Level in Film Studies requires learners to completenon-examinedassessment.Thisisanessentialpartofthecourseandwillallowlearnerstodevelop skills for further study or employment.
Private candidates need to contact OCR approved centres to establish whether they are prepared to hostthemasaprivatecandidate.Thecentremaycharge for this facility and OCR recommends that the arrangement is made early in the course.
Further guidance for private candidates may be found ontheOCRwebsite:http://www.ocr.org.uk
Headofcentreannualdeclaration
TheHeadofCentreisrequiredtoprovideadeclarationtotheJCQaspartoftheannualNCNupdate,conductedintheautumnterm,toconfirmthatthecentreismeetingalloftherequirementsdetailedinthespecification.
Any failure by a centre to provide the Head of CentreAnnualDeclarationwillresultinyour centre status being suspended and could lead to the withdrawal of our approval for you to operate as a centre.
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4d. Adminofnon-examinedassessment
RegulationsgoverningarrangementsforinternalassessmentsarecontainedintheJCQpublication
Instructions for conducting non-examination assessments.
Authenticationoflearner’swork
Centresmustdeclarethattheworksubmittedforassessmentisthelearner’sownbycompletingacentreauthenticationform(CCS160).ThisinformationmustberetainedatthecentreandbeavailableonrequesttoeitherOCRortheJCQcentreinspectionservice.
Itmustbekeptuntilthedeadlinehaspassedforcentres to submit an Enquiry About Results (EAR). Once this deadline has passed and centres have not requested an EAR, this evidence can be destroyed.
AuthenticationControl
Research(limitedsupervision–nonassessed)
Thenon-assessedresearchelementforthiscomponent can be completed under limited supervision. Limited supervision means that learners can undertake this part of the process without direct teacher supervision and outside the centre as required.
During the research phase learners can be given support and guidance.
Teacherscan:
• explainthebrief
• adviseonhowthebriefcouldbeapproached
• adviseonresources
• alertthelearnertokeythingsthatmustbeincludedintheirfinalpieceofwork.
Teachersmust not:
• practisethelearner’schosenbriefwiththem.
Research mustinclude:
• learners’notesonhowconventionsofshortfilmnarrativeareappliedintheprofessionallyproducedfilmstheyviewinpreparationforthebrief.
Researchmayalsoinclude:
• fieldwork(e.g.alocationrecceforfilmingordigitallyphotographedstills),internet or paper-based research as appropriate.
Learnersmustbeguidedontheuseofinformationfromothersourcestoensurethatconfidentialityand intellectual property rights are maintained at all times.
Planning(formalsupervision–nonassessed)
Formal supervision means work should be completed within the centre under normal teacher supervision inclassroomconditionse.g.adraftscriptorstoryboard.Thisensuresthattheworkoftheindividual learners is recorded accurately and that plagiarismdoesnottakeplace.Thisformspartoftheauthenticationprocess.Candidatesmustalsobeguided on appropriate health and safety considerationswhenplanningandcarryingouttheirproductiontasks.
Foundmaterials
Itisessentialthatanynon-originalfoundmaterialsthatlearnersplantouseintheirproductionareappropriately and rigorously referenced within their planningdocumentssothattherecanbenoquestionof learners claiming the work as their own. Examples ofacceptablefoundmaterialswouldinclude:
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• foundfootage,forexample,ashortclipofan explosion that would be impossible for a learnertofilm,oraveryshortcontextualsegmentfromanewsbulletin
• foundaudio,forexamplemusicfromanexistingartistusedcontextuallywithinthediegeticornon-diegeticsoundoftheproduction.
Where found materials are used learners should be encouraged to explain the context of their use in their planning documents.
During the planning phase learners can be given support and guidance.
Teacherscan:
• explainthepurposeofplanningmaterials
• adviseonapproachestoplanningmaterials
• adviseonresourcesforplanningmaterials
• alertlearnerstokeyelementsofplanningmaterialse.g.theconventionsandlayoutofa storyboard
• adviseonhealthandsafetyconsiderationsto take into account when planning a production.
Teachersmust not:
• makecreativeplanningdecisionsforlearners.
Productions(formalsupervision–60marks)
Allelementsoftheproductionmustbecompletedunder formal supervision within the centre withtheexceptionoffilminganddigitalstillphotography, whichmaytakeplaceoff-site,whereappropriate.However,alloff-siteactivitiesmustbeagreedinadvancewithteachingstaffandparentalpermissionsmust be sought where required from the learner and castmembers.Teachersmustbesatisfiedlearnershavecarriedoutsufficienthealthandsafetychecks
beforeallowingoff-siteworkandlearnersmust submitcopiesoftheirpre-shootingshotlistsandstoryboards to teachers.
Duringtheproductionphaselearnerscanbegivensupport and guidance.
Teacherscan:
• explainthepurposeoftheproductionbrief
• adviseonresourcesforindividualproductions
• trainlearnerstouseanynecessarytechnologyorsoftwareneededfortheproduction
• alertthelearnertokeythingsthatmustbeincludedintheirfinalproduction
• reviewlearners’workbeforeitishanded inforfinalassessment(thisincludesrough cuteditsoffilmedproductionsanddraftscreenplaysandstills)butadvicemustremain at the general level, enabling learnerstotaketheinitiativeinmakingamendments. One review should be sufficienttoenablelearnerstounderstandthe demands of the assessment criteria.
Teachersmust not:
• practisethelearner’schosenproductionbrief with them
• givedetailedadviceandsuggestionsastohow the work may be improved in order to meettheassessmentcriteria.Thisincludesindicatingerrorsoromissionsandpersonally intervening to improve the presentationorcontentofthework.12
IndividualEvaluation(formalsupervision–30marks)
Allindividualevaluationsmustbecompletedunderformal supervision within the centre.
12Providedthatadviceremainsatthegenerallevel,enablingthelearnertotaketheinitiativeinmakingamendments,there is no need to record this advice as assistance or to deduct marks.
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Firstdrafts
Whatteacherscando:
Teacherscanreviewlearners’workbeforeitishandedinforfinalassessment.Advicemustremainat the general level, enabling learners to take the initiativeinmakingamendments.Onereviewshouldbesufficienttoenablelearnerstounderstandthedemands of the assessment criteria.
Whatteacherscannotdo:
Teacherscannotgivedetailedadviceandsuggestionsas to how the work may be improved in order to meettheassessmentcriteria.Thisincludesindicatingerrors or omissions and personally intervening to improvethepresentationorcontentofthework.Provided that advice remains at the general level, enablingthelearnertotaketheinitiativeinmakingamendments, there is no need to record this advice as assistance or to deduct marks.
Internalstandardisation
Centresmustcarryoutinternalstandardisationtoensurethatmarksawardedbydifferentteachersareaccurate and consistent across all learners entered for the component from that centre. If centres are
workinginaconsortiumtheymustcarryoutinternalstandardisationofmarkingacrosstheconsortium.Centres should retain evidence that internal standardisationhasbeencarriedout.
Moderation
Thepurposeofmoderationistobringthemarkingofinternally-assessedcomponentsinallparticipatingcentrestoanagreedstandard.Thisisachievedbychecking a sample of each centre’s marking of learners’ work.
Followinginternalstandardisation,centressubmitmarks to OCR and the moderator. If there are ten or fewerlearners,alltheworkshouldbesubmittedformoderationatthesametimeasmarksaresubmitted.
OncemarkshavebeensubmittedtoOCRandthemoderator,centreswillreceiveamoderationsamplerequest. Samples will include work from across the rangeofattainmentofthelearners’work.
Therearetwowaystosubmitasample:
ModerationviatheOCRRepository
Thisiswhereyouuploadelectroniccopiesofthework included in the sample to the OCR Repository and the moderator accesses the work from there.
Postalmoderation
Thisiswhereyoupostthesampleofworktothemoderator.
Themethodthatwillbeusedtosubmitthemoderationsamplemustbespecifiedwhenmakingentries.Therelevantentrycodesaregivenin Section4a.
Alllearners’workmustbesubmittedusingthesameentryoption.Itisnotpossibleforcentrestoofferbothoptionswithinthesameseries.
Centreswillreceivetheoutcomeofmoderationwhentheprovisionalresultsareissued.Thiswillinclude:
ModerationAdjustmentsReport
Thislistsanyscalingthathasbeenappliedtointernally assessed components.
ModeratorReporttoCentres
Thisisabriefreportbythemoderatorontheinternalassessment of learners’ work.
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Carryingforwardnon-examinedassessment
Learnerswhoareretakingthequalificationcanchoose either to retake the non-examined assessment or to carry forward their mark for that component from the previous exam series.
If a learner decides to carry forward their mark, they must be entered in the retake series using the entry codeforthecarriedforwardoptionH410C.
• Learnersmustdecideatthepointofentrywhether they are going to carry forward the non-examined assessment, or whether they are going to retake it to count towards their result. It is not possible for a learner
to retake the non-examined assessment and then choose whether the retake result or a carried forward result is used for certification.
• Learnerscanonlycarryforwardfromoneyear into the following year. Where the gap betweentheinitialqualificationandtheretake is more than one year, carry forward isnotpermitted.
• Aresultforanon-examinedassessmentcomponent can only be carried forward.
4e. Resultsandcertificates
GradeScale
Alevelqualificationsaregradedonthescale:A*,A,B,C,D,E,whereA*isthehighest.Learnerswhofailto reach the minimum standard for E will be graded
Unclassified(U).OnlysubjectsinwhichgradesA*toEareattainedwillberecordedoncertificates.
Results
Results are released to centres and learners for informationandtoallowanyqueriestoberesolvedbeforecertificatesareissued.
Centres will have access to the following results informationforeachlearner:
• thegradeforthequalification
• therawmarkforeachcomponent
• thetotalweightedmarkforthequalification.
Thefollowingsupportinginformationwillbeavailable:
• rawmarkgradeboundariesforeachcomponent
• weightedmarkgradeboundariesforthequalification.
Untilcertificatesareissued,resultsaredeemedtobeprovisional and may be subject to amendment.
A learner’s final results will be recorded on an OCRcertificate.Thequalificationtitlewillbeshownonthecertificateas‘OCRLevel3AdvancedGCEinFilmStudies’.
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Anumberofpost-resultsservicesareavailable:
Enquiriesaboutresults
If you are not happy with the outcome of a learner’s results, centres may submit an enquiry about results.
Missingandincompleteresults
Thisserviceshouldbeusedifanindividualsubjectresult for a learner is missing, or the learner has been omittedentirelyfromtheresultssupplied.
Accesstoscripts
Centres can request access to marked scripts.
4f. Post-resultsservices
4g. Malpractice
Anybreachoftheregulationsfortheconductofexaminationsandnon-examinedassessmentworkmayconstitutemalpractice(whichincludesmaladministration)andmustbereportedtoOCRassoon as it is detected.
DetailedinformationonmalpracticecanbefoundintheJCQpublicationSuspected Malpractice in Examinations and Assessments: Policies and Procedures.
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Thereisasmalldegreeofoverlapbetweenthecontentofthisspecificationandthoseforother
AlevelqualificationsinEnglishLiterature,MediaStudies, History and Art and Design.
5a. Overlapwithotherqualifications
5 Appendices
5b. Accessibility
Reasonable adjustments and access arrangements allowlearnerswithspecialeducationalneeds,disabilitiesortemporaryinjuriestoaccesstheassessment and show what they know and can do, without changing the demands of the assessment. Applicationsfortheseshouldbemadebeforetheexaminationseries.Detailedinformationabouteligibility for access arrangements can be found in the JCQpublicationAccess Arrangements and Reasonable Adjustments.
TheAlevelqualificationandsubjectcriteriahavebeenreviewedinordertoidentifyanyfeaturewhichcould disadvantage learners who share a protected CharacteristicasdefinedbytheEqualityAct201013. All reasonable steps have been taken to minimise any such disadvantage.
13IfcentreshaveexceptionalconcernsaboutthepotentialforasetshortfilmwithinthecompulsoryNEAcompilationorthecompulsoryexperimentalfilmpair(surrealistfilm)todisadvantageorcauseoffencetoalearnerthencentresshouldcontacttheOCRSpecialRequirementsTeamoroneofourSafeguardingOfficersinthefirstinstance.
Furtherexplanationoftheuseofformatsfornon-examinedassessmentcanbefoundinSection2eunderSubmittingNEAProductions.
MovieformatsfordigitalvideoevidenceMPEG (*.mpg) QuickTimemovie(*.mov)Macromedia Shockwave (*.aam) Macromedia Shockwave (*.dcr) Flash (*.swf) Windows Media File (*.wmf) MPEGVideoLayer4(*.mp4)
AudioorsoundformatsMPEG Audio Layer 3 (*.mp3)
GraphicsformatsJPEG(*.jpg)Graphicsfile(*.pcx)MS bitmap (*.bmp) GIF images (*.gif)
AnimationformatsMacromediaFlash(*.fla)
TextformatsCommaSeparatedValues(.csv)PDF (.pdf) Richtextformat(.rtf)Textdocument(.txt)
MicrosoftOfficesuitePowerPoint (.ppt) (.pptx)Word (.doc) (.docx)
5c. Acceptedfileformats
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In Component 03/04 learners are required to produce:
(a) acomplete,newshortfilm(4–5minutes)
or
(b) ascreenplayforanewshortfilm (10pages,equivalentto10minutesscreentime)14; including
• adigitallyphotographedstoryboardofakeysectionofthescreenplay,illustrating,throughcarefulconstructionofmise-en-sceneandshotselection,howthescreenplay would be realised (20 digitally photographed key frames).
ThefollowingguidancehasbeenprovidedtosupportcentresinensuringsuitableNEAproductionsareundertaken by learners at A level.
Learners’NEAproductionsmay (but are not required to)contain:
• infrequentandoccasionaluseofstrongswearing(e.g.‘F***’)
• occasionalsexualisedlanguageorreferences to sex may be present, but not if gratuitously crude or if they are unchallengedbytheproductionasawhole
• themesofdiscrimination
• frequentorstrongaggressionand/orviolence or strong threats thereof
• referencestodrugusewhichisnotendorsedbytheshortfilmasawhole
• referencestoself-harm,suicide.
Learners’NEAproductionsmay notcontain:
• violenceactedoutagainstanothercharacterwhichdwellsontheinflictionofpain or injury
• gratuitousviolence
• frequent,gratuitousandoraggressiveuseof strong language and swearing
• explicitportrayalsofsexualactivity
• scenesofsexualviolence
• nudity
• imitationofdangerousbehaviour
• scenesdemonstratingorpromotingdrugtaking
• materialthatcouldbeconsideredoffensiveon the grounds of race or gender.
5d. GuidanceonNEAproductions(Component03/04)
14Learnersmustreferencethemicro-elementsoffilmform,includingsound,acrossthescreenplay,anddigitalstills.Forexample,sounddirectionmaybementionedinnotesaccompanyingthedigitalstills.
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Viewingofthesetshortshouldprovidesufficientclarityontheexpectationsfortheproduction;however,forclaritywehavedefinedthetermsbelow:
‘Shortfilm’
• ashortfictionfilmthatcontainsacompletenarrativeratherthanasequence.
Thescreenplayforashortfilm
Each learner’s screenplay must be correctly formatted,followingcinematicscreenplayconventions.Examplesofthesecanbeinprofessionallyproducedfilmscreenplaysavailablefreely online or commercially. A good example to follow is the freely available screenplay guide from theBBC:http://downloads.bbc.co.uk/writersroom/scripts/screenplay.pdf
LearnersarepermittedtousesoftwaresuchasCeltx,AdobeStoryorFinalDrafttoproduceandformattheir screenplays.
Digitalphotographedstillsfordigitalstoryboard
Thedigitallyphotographedstillsmustbetakenbythelearnerundertakingtheproduction.Theshotsmustdemonstratecarefulconstructionofmise-en-scene,considerationofshotselection,framingandlightingandpost-productioneditingwhereapplicable (e.g. bleeding colour in Photoshop to create meaning in a shot).
NEAGlossaryoftermsandexpectations
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Our aim is to provide you with all the information and support you need to deliver our specifications.
¨ Bookmark ocr.org.uk/alevelfilmstudies for all the latest resources, information and news on A Level Film Studies
¨ Be among the first to hear about support materials and resources as they become available – register for Film Studies updates at ocr.org.uk/updates
¨ Find out about our professional development at cpdhub.ocr.org.uk
¨ View our range of skills guides for use across subjects and qualifications at ocr.org.uk/skillsguides
¨ Discover our new online past paper service at ocr.org.uk/examcreator
¨ Learn more about Active Results at ocr.org.uk/activeresults
¨ Join our Media Studies social network community for teachers at social.ocr.org.uk
YOUR CHECKLIST
Download high-quality, exciting and innovative A Level Film Studies resources from ocr.org.uk/alevelfilmstudies
Resources and support for our A Level Film Studies qualification, developed through collaboration between our Film Studies Subject Specialist, teachers and other subject experts, are available from our website. You can also contact our Film Studies Subject Specialist who can give you specialist advice, guidance and support.
Meet the team at ocr.org.uk/mediateam and contact them at: 01223 553998 [email protected] @OCR_Media_Film
To stay up to date with all the relevant news about our qualifications, register for email updates at ocr.org.uk/updates
Media Studies CommunityThe social network is a free platform where teachers can engage with each other – and with us – to find and offer guidance, discover and share ideas, best practice and a range of Film Studies support materials. To sign up, go to social.ocr.org.uk
OCR is part of the Cambridge Assessment Group, a department of the University of Cambridge.
For staff training purposes and as part of our quality assurance programme your call may be recorded or monitored. ©OCR 2016 Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered office 1 Hills Road, Cambridge CB1 2EU. Registered company number 3484466. OCR is an exempt charity.
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