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A-Level Film StudiesBridging Work

A-Level Film Studies involves studying many different films.

These are separated into set categories:

• American (Independent and Hollywood)• British Film• Global Film• Documentary• Silent Film• Experimental Film.

This work will help to introduce some of those areas to you.

Dear prospective A-level film student…

The first reason you probably considered taking film studies was a love of cinema, of watching movies whether alone, together with friends and family, on a towering IMAX screen or a smartphone. That’s the best starting point of all.

Film studies needs you to immerse yourself in films and the worlds of the people behind the scenes and to become an expert in deconstructing the methods used in creating those works so that you can begin to create your own mini masterpieces.

We’ll study films from a range of times and places, genres and production styles, from the golden age of Hollywood, to world cinema, documentary and silent film. To get you started off, this bridging work includes a gentle introduction to some of those areas, but obviously, watching and analysing any other films which cross your path will be excellent preparation too.

Complete the tasks which follow in as much depth and detail as you can, and if a task requires you to watch a couple of films and you have more time, then there’s no harm watching more of course! Keep all your work ready to bring in and show to your new teachers in September.

Any questions, don’t hesitate to email either of us at the email addresses below.

Thanks and welcome!

Mr Lewis Mrs Mabbs

[email protected] [email protected]

An overview of the course plan as taught 2019-2020:

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ECKINGTON A-LEVEL FILM STUDIES BRIDGING WORK

mailto:[email protected]

mailto:[email protected]

1. Hollywood Musicals

a) Classic Musicals

Watch two films from each of these lists:

West Side Story Annie (1982) Fiddler On the Roof

Grease My Fair Lady Oliver!

Singin’ in the Rain The Wizard of Oz The Sound of Music

Tasks (try and write at least a couple of paragraphs per question):

1. From your study of classic musicals, how realistic are the plots and characters?2. Do these films seem to take place in the real world or not? Consider setting, sets and

locations and explain your thoughts.3. Choose one character from each film and explain what type of character they are

(see theory sheet – Propp), what their appeal is to the audience and what sort of journey the character goes on.

4. Choose one song from each musical. What is the purpose of the song and how do its lyrics relate to the characters and their journey?

5. Choose one sequence from each film (it could be the musical sequence above) and analyse the mise-en-scene (see definitions sheet). What mood or atmosphere is created for the viewer?

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b) Modern Musicals

Watch two films from this group:

Les Miserables Rock of Ages The Greatest Showman

Hairspray Chicago Moulin Rouge

Rocketman Blinded By the Light Cats


1. From your study of modern musicals, what are the major differences between these and the classics, in your opinion?

2. Do these films seem to take place in the real world or not? Consider setting, sets and locations and explain your thoughts.

3. Choose one relationship (romantic, family etc) from each film and explain its importance in the narrative (see theory sheet – Todorov). What pleasure can an audience get from seeing the relationship?

4. Look at the opening or closing songs from each film you have studied. What is the purpose of the song and how do its lyrics relate to the characters and their journey?

5. Choose one sequence from each film (it could be the musical sequence above) and analyse the mise-en-scene (see definitions sheet). Create a mood board or PowerPoint where you analyse the sequence, using stills or screen captures where possible.

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2. Magical Realism


Spirited Away Birdman (…) Groundhog Day

Bright Amelie Scott Pilgrim vs The World

Edward Scissorhands My Neighbour Totoro Crouching Tiger, Hidden Dragon


1. Having watched two of the films, what do you think the term ‘magical realism’ means? Can you give examples from your films?

2. Map out the narrative structure (see theory sheet – Todorov) of both films, commenting on how similar or different they are.

3. What is the first moment of magic in each film? How does the filmmaker make it seem natural? (If you think the filmmaker does not make it seem natural, say so!)

4. Analyse one important sequence in each film, analysing the use of sound. Describe the sounds you hear and explain how they create mood, atmosphere or tension.

5. What do you think is the message of each film? Explain, referring to specific details and characters.

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3. Horror and Hybrids

a) Classic Undead


Night of the Living Dead (1967)

Dawn of the Dead (1978) Day of the Dead (1985)

World War Z REC Quarantine

Dawn of the Dead (2004) The Evil Dead II (1987) 28 Days Later


1. Create a mind map of genre indicators (use the mise-en-scene sheet) for both films, keeping track of how the horror genre is recreated for audiences.

2. Map out the narrative structure (see theory sheet – Todorov) of both films, commenting on how similar or different they are.

3. Carry out a character analysis (see theory sheet – Propp) of both films. Do they have similar types of characters? Are there missing character types? If so why? Do some characters fulfil multiple roles or switch between roles?

4. What binary oppositions are there in both films (see theory sheet – Levi-Strauss) and how are they presented to the audiences?

5. Do the films have any messages or agendas beneath the surface? Eg. Are they about zombies, but really about immigration for instance.

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b) Hybrid


Zombieland Life After Beth From Dusk til Dawn

Office Uprising Warm Bodies Cooties

The Dead Don’t Die Pride and Prejudice and Zombies

Braindead (1992) AKA Dead Alive


1. For your two films, make a list of the other genres they venture into. Keep track of how they do this (genre indicators, mise-en-scene).

2. Research your chosen films. Do they rely on an audience understanding earlier films or cultural ideas (intertextuality)? Make a list of the references if so.

3. Map out the narrative structure (see theory sheet – Todorov) of both films. Are the plots different from your expectations because of the hybrid nature of the films?

4. Choose two characters from each film and assess their roles and character journeys (see theory sheet – Propp and Todorov). Would their story have been different in a straight horror film? Why/why not?

5. Choose one classic undead and one hybrid and compare them directly in response to the question: “A hybrid film tries too hard to please too many people and ultimately fails to entertain.”

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Theory Sheet

Narrative Theory: Propp’s character types

Propp theorised that stories largely fit into narrative templates and feature similar types of characters with similar journeys across the text. Refined over the years, these were his main character types:

• The hero – the person on a quest to solve the problems or resolve disruption.

Eg. James Bond, top British spy

• The villain – the person who tries to block the hero’s progress in their quest.

Eg. Blofeld and his evil schemes

• The dispatcher – the person who sends the hero on their quest.

Eg M, giving Bond his orders

• The helper – the person who helps the hero during their quest.

Eg. Felix Leiter, Bond’s CIA pal

• The donor – the person who helps the hero by sacrificing something on the hero’s behalf.

Eg. Q giving Bond his gadgets

• The damsel in distress – the person who needs saving to help resolve the narrative.

Eg. Bond girl, also science expert

• The princess – the person who becomes a prize for the hero.

Eg. Bond girl / top secret files

See also: The false hero – the person who helps, then betrays the hero.

Eg. Bond’s fellow 00 agent

Narrative Theory: Levi-Strauss’ Binary Oppositions

Levi-Strauss theorised that most texts contain pairs of opposing characters and themes which drive the narrative forward and create conflict which in most cases needs resolving.

Eg. James Bond vs. Blofeld, good vs. evil, men vs. women, human resourcefulness vs. reliance on technological gadgets, loyalty vs. betrayal, following orders vs. going rogue

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Narrative Theory: Todorov’s stages of narrative

Todorov theorised that stories largely follow a five-part structure. These parts sometimes have different names (see below) but fulfil the same function in the storylines.

1. State of equilibrium (Exposition).

Eg. Bond has just finished another mission. The world is at peace.

2. Equilibrium is disrupted (Disruption).

Eg. A top scientist is kidnapped by Blofeld in order to create a war.

3. Characters recognise the disruption and seek to find a way of restoring the equilibrium (Complication).

Eg. M asks Bond to go and rescue her, Q gives him gadgets.

4. Complications occur preventing the characters from achieving this easily until a climax is reached (Repair/Climax).

Eg. Bond and allies track the enemy and infiltrate Blofeld’s base.

5. The action is resolved and either the equilibrium is restored or a new equilibrium is created [closure] (Resolution).

Eg. Bond saves the day, defeats Blofeld and gets the girl.

Other audience theories

Passive audiences – people are uncritical and receive their texts without question or analysis.

Eg. You tune in and enjoy the escapism of James Bond. It’s a fun distraction.

Active audiences – people challenge, decode and engage with texts.Eg. You recognise the attempts to mock the Bond franchise’s sexist origins, you see how the Bourne films have had an effect on the action sequences, you realise the villain character is loosely based on a real-world character and the whole film is making a statement about a global issue. You might still enjoy the film, but you have lots going around your mind as you do so!

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Definitions sheet

Mise-en-scene (meez-on-sen)

Literally meaning ‘everything on stage’ this term describes all the visual aspects of cinema which can be seen on screen and which contribute to the audience’s understanding of the film.

It comprises:

Setting – location, sets, scenery Costume / hair / make up Props Lighting / colour Performance (a separate category to analyse in moving images, but in a still image it

includes the following) – facial expression, body language, gesture code Composition – organisation of objects, actors and space within the frame

Cinematography

The art of film making, this term refers to the actual filming of a sequence, so it includes:

Camera angles Camera movements Lighting / colour (where it is a cinematography choice)

Editing

The process of taking the filmed material and shaping meaning from it, which is often a seamless process. It includes: cuts, fades, wipes, dissolves and use of graphics, captions and special effects as well as conventions such as montage, shot/reverse shot and the 180 degree rule.

Sound

The way in which aural (audio) elements are used in relation to the visuals including:

Speech (and use of inner monologue / narration) Music (both in-camera, diegetic sources and placed in later, non-diegetic sources) Sound effects

Performance

How actors deliver their roles and create meaning for audiences, including the elements mentioned in mise-en-scene above, but also staging and blocking and vocal delivery elements such as accent, tone, pitch and volume.

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Practice Tasks

Analyse the mise-en-scene of these shots:

Analyse the cinematography of these shots:

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Watch the opening sequence of Edgar Wright’s Baby Driver (https://www.youtube.com/watch?v=7ARFyrM6gVs) and make notes on:

Editing

Sound

Performance

Any additional comments you might have on cinematography and mise-en-scene:

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https://www.youtube.com/watch?v=7ARFyrM6gVs

https://www.youtube.com/watch?v=7ARFyrM6gVs

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