specification film studies · 2020. 5. 10. · however, registered centres for ocr are permitted to...

ocr.org.uk/alevelfilmstudies

A LEVELSpecification

FILM STUDIES

A LEVEL Film Studies

H410For first assessment in 2019

Version 1.2 (August 2018)

http://www.ocr.org.uk/alevelfilmstudies

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1© OCR 2017 A Level in Film Studies

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

Summary of updates 52

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A Level in Film Studies

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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–ourfreeresultsanalysis service to help you review the performance of individual 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 of film

• 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 be submittedasauthenticationevidenceformoderationwithnoadditionalrequirementsfor centre marking

• tooffernon-examinedassessmentsetbriefsthatlastforthelifetimeofthespecification

• toallowco-teachabilitywithOCR’sASLevelinFilm Studies by featuring a number of shared setfilms

• tosupportinternalmarkingandpreparatorylearning through the provision of clear marking criteria 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 outcome can be assessed as the work of an individual learner.

• 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 been introducedasanadditionalmicro-element.

• Learnersmuststudysetfilmsfromarangeoftimeperiodsfromthesilenteratopresentday.

• Learnersmuststudyaestheticsandarangeofspecifiedcriticalapproaches,includingtwofilmmakers’theoriesonfilm.

• Learnersmuststudyatleasttwomajormovementsorstylisticdevelopmentsinfilmhistory.

• Thestructureofthecoursehaschangedsothat exams now comprise 70% of the course andpractical(NEA)worknowcomprises30%(but there is no longer a requirement for research 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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mailto:[email protected]


https://twitter.com/@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.

http://www.bbfc.co.uk/education-resources/teacher-guide

http://www.bbfc.co.uk/education-resources/teacher-guide

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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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Topic KeyIdea Learnersshouldhavestudied


(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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(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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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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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)


1. Room (2015). Directed by Lenny Abrahamson. Canadian/Irish, 15

2. Animal Kingdom (2010). Directed by David Michod. Australia, 15


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)


1. A Separation (2011). Directed by Asghar Farhadi. Iran, PG

2. Our Little Sister (2016). DirectedbyHirokazuKoreeda.Japan,PG


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


Film genre Thewaysinwhichthekeyelementsoffilmareusedinrelationtotheconceptofgenre

• genreconventions

• genreasaprincipalstructuringelementofnarrative

• modesofdocumentaryfilmmaking

• claimsofnaturalismandrealisminrelationtodocumentaryfilm.

Representations Thewaysinwhichthemicro-elementsoffilmformand the concepts of genre andnarrativecontributetowardsrepresentations

representationsof:

• cultures

• societies

• theideologicalimplicationsofrepresentationsinfilm.

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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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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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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/

https://www.shortoftheweek.com/2016/06/11/slap/

https://www.shortoftheweek.com/2016/06/11/slap/

https://www.youtube.com/watch?v=BcPBCrUc8YI

https://www.youtube.com/watch?v=BcPBCrUc8YI

https://vimeo.com/60639863

https://www.shortoftheweek.com/2016/04/16/over/

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.

11Learnersmustreferencethemicro-elementsoffilmform,includingsound,acrossthescreenplay,anddigitalstills.Forexample,sounddirectionmaybementionedinnotesaccompanyingthedigitalstills.

https://vimeo.com/44040317

http://www.operatorshortfilm.com/

https://www.shortoftheweek.com/2016/06/10/the-arrival/

https://www.shortoftheweek.com/2016/06/10/the-arrival/

https://www.shortoftheweek.com/2015/09/21/the-fly/

https://www.shortoftheweek.com/2015/09/21/the-fly/


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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.

http://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.



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


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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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




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)


(35 mark essay)


(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

Learnerscanretakethequalificationasmanytimesasthey wish. Learners must retake all examined components but they can choose to either retake the

non-exam assessment (NEA) or carry forward (re-use) theirmostrecentresult(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)



04 Making Short Film Non-examined assessment (Postal)

H410 C Film Studies

(Carried forward)



80 Making Short Film Non-examined assessment (Carried forward)

*EntryoptionH410Cshouldonlybeselectedforlearnerswhoareretakingthequalificationwhowanttocarryforward their mark for the non-examined assessment.

http://www.ocr.org.uk/administration


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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.

http://www.jcq.org.uk


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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.

46© OCR 2017


4

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.


4

Carryingforwardnon-examassessment(NEA)

Learnerswhoareretakingthequalificationcanchoose to either retake the non-exam assessment –MakingShortFilm(03,04)orcarryforwardtheirmost recent result for that component.

TocarryforwardtheNEAcomponentresult,youmustusethecorrectcarryforwardentryoption(seetableinSection4a).

Learners must decide at the point of entry whether they are going to carry forward the NEA result or not.

TheresultfortheNEAcomponentmaybecarriedforwardforthelifetimeofthespecificationandthereisnorestrictiononthenumberoftimestheresultmay be carried forward. However, only the most recent non-absent result may be carried forward.

When the result is carried forward, the grade boundaries from the previous year of entry will be used to calculate a new weighted mark for the carried forward component, so the value of the original mark is preserved.

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’.

48© OCR 2017


4

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.


5

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

50© OCR 2017


5

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.


5

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

http://downloads.bbc.co.uk/writersroom/scripts/screenplay.pdf

http://downloads.bbc.co.uk/writersroom/scripts/screenplay.pdf

52© OCR 2017


Summaryofupdates

Date Version Section Titleofsection Change

May2018 1.1 Front cover Disclaimer AdditionofDisclaimer

August2018 1.2 3d4d

RetakingthequalificationAdmin of non-examined assessment

Update to the wording for carry forward rules

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 resourcesas 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 qualificationsat ocr.org.uk/skillsguides

at social.ocr.org.uk

¨ Discover our new online past paper service at ocr.org.uk/exambuilder

¨ Learn more about Active Results at ocr.org.uk/activeresults

¨ Join our Media S tudies social network community for teachers

YOUR CHECKLIST


http://www.ocr.org.uk/updates

http://www.cpdhub.ocr.org.uk/

http://www.ocr.org.uk/skillsguide

http://www.ocr.org.uk/exambuilder

http://www.ocr.org.uk/activeresults

http://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 2018 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.

ocr.org.uk/alevelfilmstudies

6219972134

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 Advisors, teachers and other subject experts, are available from our website. You can also contact our Film Studies Subject Advisors who can give you specialist advice, guidance and support.

Contact the team 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

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specification film studies · 2020. 5. 10. · however, registered centres for ocr are permitted to...

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