specification film studies

H418For first assessment 2022

ocr.org.uk/alevelfilmstudies

Oxford Cambridge and RSA

FILM STUDIESH010For first assessment in 2018

AS LEVEL

Version 1.3 (January 2020)

Specification

QualificationAccredited

https://ocr.org.uk/alevelfilmstudies

Registered office: The Triangle Building Shaftesbury RoadCambridge CB2 8EA

OCR is an exempt charity.

Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected]

We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions.

© 2021 OCR. All rights reserved.

Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use.

Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466.

mailto:resources.feedback%40ocr.org.uk?subject=

https://www.ocr.org.uk/

1© OCR 2021 AS Level in Film Studies

Contents

1 Why choose an OCR AS Level in Film Studies 21a. WhychooseanOCRqualification? 21b. WhychooseanOCRASLevelinFilmStudies? 31c. Whatarethekeyfeaturesofthisspecification? 41d. WhatisnewinOCRASLevelFilmStudies? 51e. HowdoIfindoutmoreinformation? 6

2 Thespecificationoverview 72a. OCR’s AS Level in Film Studies (H010) 72b. Content of AS Level in Film Studies (H010) 82c. Content of Elements of Film (01) 102d. Contentofnon-examinedassessment:UnderstandingBritishFilm(02/03) 172e. Prior knowledge, learning and progression 20

3 Assessment of AS Level in Film Studies 213a. Formsofassessment 213b. AssessmentObjectives(AO) 233c. Assessmentavailability 243d. Retakingthequalification 243e. Assessmentofextendedresponse 243f. Non-examinedassessment 243g. Synopticassessment 323h. Calculatingqualificationresults 32

4 Admin:whatyouneedtoknow 334a. Pre-assessment 334b. Specialconsideration 344c. External assessment arrangements 344d. Admin of non-examined assessment 344e. Resultsandcertificates 394f. Post-results services 394g. Malpractice 39

5 Appendices 405a. Overlapwithotherqualifications 405b. Accessibility 405c. Acceptedfileformats 405d. GuidanceonNEAproductions(Component02/03) 41

Summary of updates 43

2© OCR 2021

AS Level in Film Studies

1

1 Why choose an OCR AS Level in Film Studies

1a. WhychooseanOCRqualification?

Choose OCR and you have the reassurance that you’re working with one of the UK’s leading exam boards. Our new AS Level in Film Studies course hasbeendevelopedinconsultationwithteachers,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.Over13,000centreschooseourALevels,GCSEs andvocationalqualifications,includingCambridgeNationalsandCambridgeTechnicals.

OurSpecifications

Webelieveindevelopingspecificationsthathelp youbringthesubjecttolifeandinspireyourlearnersto achieve more.

We’vecreatedteacher-friendlyspecificationsbasedon extensive research and engagement with the teachingcommunity.They’redesignedtobestraightforwardandaccessiblesothatyoucan tailor the delivery of the course to suit your needs.

We aim to encourage learners to become responsible fortheirownlearning,confidentindiscussingideas,innovativeandengaged.

We provide a range of support services designed to helpyouateverystage,frompreparationthrough tothedeliveryofourspecifications.Theseinclude:

• Awiderangeofhigh-qualitycreativeresourcesincluding:•• Delivery Guides•• TransitionGuides•• TopicExplorationPacks•• Lesson Elements•• …and much more.

• AccesstoSubjectAdvisorstosupportyouthroughthetransitionandthroughoutthelifetimeofthespecification.

• CPD/trainingforteacherstointroducethequalificationsandprepareyouforfirstteaching.

• ActiveResults–ourfreeresultsanalysisserviceto help you review the performance of individual learners or whole schools.

AllASlevelqualificationsofferedbyOCRareaccreditedbyOfqual,theRegulatorforqualificationsofferedinEngland.TheaccreditationnumberforOCR’sASLevelinFilmStudiesisQN603/0971/4.


1OCR’s AS 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 to fully achievetheirpotential,preparingthemtomakeinformed decisions about further study and progressiontohighereducationoremployment.

Thiscourseofstudyencourageslearnerstowatch,engagecriticallywithandexploreawiderangeoffilm;todevelopandsustainconfident,personalresponsestofilmviatextualanalysis;andtoenjoy avarietyofcriticallyacclaimedfilmsacrossthemajorgenres.Theseincludefilmsfromdifferentculturalperspectivesandfromthe1930stopresentday.

OCR’s AS Level in Film Studies reinforces the relationshipbetweenacademictheoryandpracticethroughasynopticcreativeproductionandevaluationwherelearnersareofferedtheopportunitytoengageinpracticalworksuchastheproductionoftheirownkeysequencefromafilmorscreenplayinresponsetoa brief set by OCR, through the non-exam assessment component(02/03).

It is our strong desire that OCR’s AS Level in Film Studiesshouldinspirelearnerstocontinuelearningbeyondtheconfinesoftheclassroomaswellasdeveloping personal and interpersonal skills that will servethemwellbothinhighereducationandintheworkplace.

1b. WhychooseanOCRASLevelinFilmStudies?

Aimsandlearningoutcomes

OCR’s AS Level in Film Studies will encourage learners to:

• demonstrate knowledge and understanding of adiverserangeoffilm,

• demonstrate knowledge and understanding of thesignificanceoffilmandfilmpracticeinnational,globalandhistoricalcontexts

• demonstrate knowledge and understanding offilmanditskeycontexts(includingsocial,cultural,political,historicalandtechnologicalcontexts)

• demonstrate knowledge and understanding of howfilmsgeneratemeaningsandresponses

• demonstrate knowledge and understanding of filmasanaestheticmedium1

• demonstrate knowledge and understanding of thedifferentwaysinwhichspectatorsrespondtofilm

• applycriticalapproachestofilm

• demonstrate an ability to apply knowledge and understandingoffilmthrougheitherfilmmakingorscreenwriting.

1“aesthetic”:thewayinwhichafilm’svisualandauralfeaturesareusedtocreateessentiallynon-narrativedimensionsofthefilm,includingthefilm’s‘look’.

4© OCR 2021


1ThekeyfeaturesofOCR’sASLevelinFilmStudiesforyou and your learners are:

• tostudyatleastsixcriticallyacclaimedandculturally and historically diverse feature length filmssetbyOCRwithabroadchoiceofsetfilmsofferedtocentres

• to develop a working knowledge and understanding of the language and syntax offilm

• tointerrogatehowconceptssuchasnarrative,genre,representation,spectatorshipandaestheticsareusedtocreatemeaningbydeconstructingandcreatingfilm

• toencourageanunderstandingofcriticalapproachestofilm

• to develop an understanding of the contexts inwhichfilmsaremade,includingthesocial,cultural,political,historical,institutional,technological contexts

• toallowtheopportunityforasynopticapplicationoflearningthroughpracticalwork,includingtheproductionofa2½minutekeysequenceora6minutescreenplayforakeysequencefromafilm

• toresearch,plananddevelopfilmproductionorscreenwritingskillsthroughlearners’practicalwork

• todevelopskillstocarryoutanevaluativeanalysisoflearners’ownproductionsinrelationtootherprofessionallyproduced work

• to reduce the burden of assessment for centres by only requiring research and planningtobesubmittedasauthenticationevidenceformoderationwithnoadditionalrequirements for centre marking

• tooffernon-examassessmentset briefsthatlastforthelifetimeofthespecification

• to allow co-teachability with OCR’s A Level in Film Studies through the sharing of the majorityofsetfilms

• to support internal marking and preparatory teaching and learning through the provision of clear marking criteria for non-exam assessment.

1c. Whatarethekeyfeaturesofthisspecification?


1

1d. WhatisnewinOCRASLevelFilmStudies?

ThissectionisintendedforteachersusingOCR’sASLevelinFilmStudies.IthighlightsthedifferencesbetweenASLevelFilmStudies(H067)andthenewversion(H010)forfirstteachingfromSeptember2017.

Whatstaysthesame? What’schanging?

• Thereisstillamixofassessmenttypesbetweenexaminedandpracticalnon-examinedassessments(NEA)thataremarkedby centres and moderated by OCR.

• Practical(NEA)workstillofferstheopportunity to produce key sequences from a newfilmorascreenplaywithdigitalstillsplusanevaluation.

• Forpractical(NEA)worklearnersmaystillmake use of others as long as the outcome can be assessed as the work of an individual learner.

• Themicro-elementsoffilmformarestilltheprimarytoolsforfilmanalysis(cinematography,mise-en-scène,editingandsound).

• Representation,messagesandvalues,genre,narrative,styleandthemearestillkeyconceptual areas in Film Studies.

• Learnersstillneedtobeawareofthecontextsofthefilmstheyhavestudied(social,cultural,political,historicalandinstitutional).

• Therequirementtostudyfilmfrommorethanonetimeperiod.

• TheASLevelisstillassessedviaoneexaminedassessmentlastingtwohoursandapractical(NEA)production.

• Learners are now required to study at least six criticallyrecognisedandculturallysignificantsetfilmsfromarangeofdifferentnationalcinemas and contexts.

• Learnersmuststudysetfilmsfromarangeoftimeperiodsfrom1930topresentday.

• Learners must study a non-English language filmatASLevel(European).

• Learnersmuststudyaestheticsandcriticalapproachesonbothfilmpoeticsandtheformalist and structuralist approaches to narrativeatASLevel.

• Thestructureofthecoursehaschangedsothatexamsnowcomprise70%ofthecourseandpractical(NEA)worknowcomprises30%(but there is no longer a requirement for research and planning to be assessed).

• TheASLevelisnowastandalone,separatequalificationtotheALevel.

6© OCR 2021


1IfyouarealreadyusingOCRspecificationsyoucancontact us at: www.ocr.org.uk.

If you are not already a registered OCR centre then youcanfindoutmoreinformationonthebenefitsofbecoming one at: www.ocr.org.uk.

If you are not yet an approved centre and would like to become one go to: www.ocr.org.uk.

Wanttofindoutmore?

AsktheSubjectAdvisors:

Email: [email protected]

CustomerContactCentre:01223553998

Teachersupport:www.ocr.org.uk

Twitter:@OCR_Media_Film

1e. HowdoIfindoutmoreinformation?

http://www.ocr.org.uk



mailto:[email protected]


https://twitter.com/@OCR_Media_Film


2

2a. OCR’s AS Level in Film Studies (H010)

Learnerstaketwocomponents:ElementsofFilmandUnderstandingBritishFilmtobeawardedtheOCRASLevel in Film Studies.

2 Thespecificationoverview

ContentOverview AssessmentOverview

Learnerswillstudythedevelopmentoffilmform through at least two Hollywood and US setfilmsfromthefollowingtimeperiods:

• 1930–1960• 1961–1990.

Learners will also be required to study representationandundertakeacomparativecontextual study of at least twosetfilmsfrom the following categories:

• US Independent• English language (non-US).

Learners will also be required to study at least one European non-English language set filminrelationtonarrativeandgenre.

Elements of Film

(01)*

105 marks

2 hour paper

70%of totalAS Level

LearnersarerequiredtostudyoneBritish setfilmandhavetheopportunitytodemonstrate knowledge, understanding and skills through:

• productionofeitheranextractfromacontemporaryBritishfilmor an extract from a screenplay foracontemporaryBritishfilm(incorporatingadigitallyphotographed storyboard)

• evaluativeanalysisoftheproduction.

Understanding BritishFilm

(02/03)*

45 marks

Non-examined assessment

(NEA)

30%of totalAS Level

*Indicatesinclusionofsynopticassessment.SeeSection3gforfurtherdetails.

Learnerswhoareretakingthequalificationmaycarryforwardtheirresultforthenon-examinedassessmentcomponent.SeeSection4dforfurtherdetails.

8© OCR 2021


2

2b. Content of AS Level in Film Studies (H010)

TheOCRASLevelinFilmStudieswillintroducelearnerstofilmsfromavarietyofdifferentculturalperspectivesandproducedbyadiverserangeofauthors,rangingfromthe1930stothepresentday,incorporating:

• USfilm(1930–1960)• USfilm(1961–1990)• USIndependentfilm• Europeannon-Englishlanguagefilm• Englishlanguagefilm(non-US)• Britishfilm.

Contexts and concepts

Learners will be introduced to the various contexts thatsurroundfilm-makingandtotheconceptsof:

• genre• representation• narrative• aesthetics• spectatorship.

Learnerswilldevelopthecriticaltoolstounderstandhow these concepts are used to create meaning in filmbybothinterrogatingandcreatingfilm,andbydeveloping a working knowledge and understanding ofthemicro-elementsoffilmform,whichinclude:

• cinematography(includinglighting)• mise-en-scène• editing• sound.

Learners will also:

• analyseandinterpretfilmscritically,communicatingideaseffectivelythroughdiscursive argument

• be able to synthesise knowledge• develop the skills to analyse and compare

atleasttwofilms• show how knowledge of the ways in

whichfilmsreflecttheirsocial,cultural,political,historicalandinstitutionalcontextsinforms analysis and understanding of set films.

Criticaldebates

Learners will also be expected to apply the following keycriticalapproachestofilm,usingsubjectspecificterminology:

• filmpoetics,asanunderstandingoffilm asaconstructedartefact,resultingfromprocessesofselectionandcombination

• filmnarrative,includingtheformalistandstructuralistconceptionoffilmnarrative.

Elements of Film (Component 01)offerslearnersopportunitiesto:

• employ textual analysis skills to demonstrate and apply their knowledge and understanding of the development of filmforminUScinemathroughthestudy of at least twosetfilmsfromthe1930sto1990

• undertakeacomparativestudyofatleasttwosetfilms (US Independent and English language (non-US)

• undertake a close study of at least one Europeannon-Englishlanguagefilminrelationtotheconceptsofrepresentation,narrativeandgenreinfilm.

UnderstandingBritishFilm(Component02/03) is the non-examinedassessment(NEA)componentwherelearnerswillproduceakeysequenceforanewBritishfilmorscreenplayandanevaluationoftheirwork.

Setfilms

AchoiceofsetfilmsisprovidedbyOCR.Theset filmlistsaregiveninSections2cand2dofthisspecification.

Thesuitabilityandeffectivenessofthesetfilmswillbereviewedafterthreeyears.Eachsetfilmwillremainonthelistforthelifetimeofthequalification,unlessthereviewprocessidentifiesanecessary


2

change.Ifafilmistoberemovedfromthelistandreplacedwithanotherfilm,centreswillbenotified atleastayearinadvancepriortofirstteachingofatwo year course.

Ageratings

OCR’ssetfilmlistsforASLevelFilmStudiescontainfilmswherethemajorityofcertificationsare15orbelow. Centres are advised to take into account the advicefromtheBritishBoardofFilmCertification(BBFC) (quoted below in italics) and the maturity of theirlearnersbeforeshowing18certificatefilms.Ineachsetfilmlistwehaveensuredtherearefilmswithcertificationsbelowanageratingof18toensurecentrescanstillshowsetfilmstolearnersforwhom an18certificatemaynotbeappropriate.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.

Please see the BBFC website for more details: 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 further develop learners’ understanding of the filmsstudied–bothcontextuallyandintermsof howmeaningsandresponsesaregeneratedbyfilm.

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 AS Level in Film Studies are appropriate cameras (eitherstillormovingimage)thathavetheabilitytobe seated 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

10© OCR 2021


2

SectionA:FilmforminUSCinemafrom1930to1990

Thissectionfocusesuponthemicro-elementsoffilmform2andtheconstructionofmeaningandresponsebybothfilmmakerandspectator,withaparticularfocusonthedevelopmentoffilmforminUScinemafromthe1930sto1990.

Learners will be required to study and compare twosetfilmsfromUScinemainthissection.Learnersmuststudyonesetfilmfromeachofthefollowingtimeperiods:

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

Knowledge and understanding of the development of filmformanditskeytermswillbefosteredthrough:

• studying the micro-elementsoffilmform

• identifyinghowtheseelementsconstructmeaningsandcontributetotheaestheticsoffilm

• anappreciationoffilmpoetics:filmasaconstructedartefact,resultingfromprocessesofselectionandcombination.

Forclarity,itisreiteratedthateachsetfilmchosenforstudy mustbefromadifferenttimeperiod.Alistofsetfilmsisincludedbelowasareferenceexampleofaselectionmeetingthesecriteria:

Vertigo (1958).DirectedbyAlfredHitchcock.USA,PG(1930–1960)

E.T. (1982).DirectedbyStevenSpielberg.USA,PG(1961–1990)

FurtherdetailsoftheassessmentofthissectionaregiveninSection3a.

2c. Content of Elements of Film (01)

2 Micro-elementsoffilmform:cinematography(includinglighting),mise-en-scène,editingandsound.


2

SectionB:ComparativeContextualStudy

Thissectionrequireslearnerstostudythewaysinwhichfilmsareshapedbyandreflectthecontextssurroundingtheirproduction.

Learners will draw and build upon their knowledge andunderstandingfromSectionAandalsodeveloptheskillstocomparefilmsinrelationtotheircontextsandinrelationtothewaysinwhichmeaningandresponse are created through:

• micro-elementsoffilmform

• genre

• narrativeconstruction

• the ways in which the above contribute to therepresentationsinfilm.

Learners will be required to compare twosetfilms. Thesetfilmsforthissectionhavebeenarrangedintothreethematiccategories:

• Family and Home

• Outsiders

• Conflict.

Thematiccategorieshavebeencreatedtohelpfacilitate a contextual and coherent comparison betweensetfilms.

Learners mustselectonethematiccategory,e.g.Outsiders,and studytwosetfilmswithinthatcategory.Withinachosenthemeasetfilmmustbestudied from each of the following categories:

• US Independent

• English Language (non-US).

Learnersmustselectoneofthethematiccategoriesbelow

Family and Home Outsiders Conflict

US Independent

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 fromachoiceoftwosetfilms

1. A Girl Walks Home Alone at Night (2014). Directed by Ana Lily Amirpour. USA, 15

2. Elephant (2003).Directedby Gus Van Sant. USA, 15


1. The Hurt Locker(2008).Directed by Kathryn Bigelow. USA, 15

2. Whiplash (2015). Directed by Damien Chazelle. USA, 15

EnglishLanguage(non-US)

Learners must study one from a choice of two set films

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

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


1. The Babadook (2014). DirectedbyJenniferKent.Australia, 15

2. The Piano(1993).DirectedbyJaneCampion.NewZealand, 15


1. District 9 (2009).DirectedbyNeilBlomkamp.SouthAfrica2009,15

2. Mad Max (1979).Directedby George Miller. Australia, 15

12© OCR 2021


2

Forclarity,itisreiteratedthatthetwosetfilmschosen for study must both be selected from the samethemebuteachsetfilmmustbefromadifferentcategorywithinthattheme.Forexample, apermissibleselectionoftwosetfilmswithinthe‘Outsiders’themewouldbe:

• A Girl Walks Home Alone at Night (2014). Directed by Ana Lily Amirpour. USA, 15 (US Independent)

• The Piano (1993).DirectedbyJaneCampion.NewZealand,15(EnglishLanguage (non-US)).

A non-permissibleexamplefromthe‘FamilyandHome’ theme would be:

Moonrise Kingdom (2012). Directed by Wes Anderson. USA, 12 (US Independent)

The Tree of Life(2011).DirectedbyTerranceMalick.USA, 12 (US Independent).

HeretwosetfilmshavebeenchosenwithinathemebutanEnglishLanguage(non-US)setfilmhasnotbeen selected.


SectionC:Closestudy:Europeanfilm

Thissectionissynopticwithlearningdrawinguponthe knowledge and understanding developed in SectionAandSectionBofthiscomponent.

Inthissectionlearnersneedtostudyatleastone Europeannon-Englishlanguagesetfilmfrom the following list.

Europeannon-Englishlanguagesetfilms

The Lives of Others(2006).DirectedbyFlorianHenckel von Donnersmarck. Germany, 15

Son of Saul(2015).DirectedbyLászlóNemes.Hungary, 15

A Prophet(2009).DirectedbyJacquesAudiard.France/Italy,18

The Great Beauty(2013).DirectedbyPaoloSorrentino.Italy/France,15

Ida(2013).DirectedbyPawelPawlikowski.Polish/Latin/French,12

Let the Right One In(2008).DirectedbyThomasAlfredson. Sweden, 15

Learnersneedtostudythefollowinginrelationtotheirsetfilm:

• contexts


• meaning and response

• aesthetics

• genre

• narrativeconstruction

• the ways in which the above contribute to representationsofculturesandsocietiesinfilm.

Learners are also required to develop knowledge and understanding of how formalist and structuralist conceptionsoffilmareappliedtonarrativewithinasetfilm.


2


Component 01: Elements of Film

Topic Key idea Learnersshouldhavestudied:

Film form (micro-elements)

Cinematography (includinglighting)

• camera shots including point of view (POV) shots, focusincludingdepthoffield,expressiveandcanted angle shots, hand-held camera in contrast to steadicam technology

• theprinciplesof3pointlightingincludingkey,fillandbacklighting

• composition,includingbalancedandunbalancedshots

• monochrome cinematography

• how all aspects of cinematography can generate multipleconnotationsandsuggestarangeofinterpretation

• howshotselectionrelatestonarrativedevelopment and conveys messages and values

• howlighting,including3pointlighting,conveyscharacter, atmosphere and messages and values.

Mise-en-scène • how the principal components of mise-en-scène (setting,props,costumeandmake-up)cangeneratemultipleconnotationsandsuggestarangeofpossibleinterpretations

• how changes in mise-en-scène contribute to characterandnarrativedevelopment

• how mise-en-scène conveys messages and values

• howthesignificanceofmise-en-scèneisaffectedbycinematography,inparticularthroughvariationindepthoffield,focusandframing

• how mise-en-scène can be used both naturalisticallyandexpressivelytocommunicatemeaning

• thesignificanceofmotifsinmise-en-scène,includingtheirpatternedrepetition.

14© OCR 2021


2

ThetablebelowcontainstheindicativesubjectcontentforComponent01:ElementsofFilm.

Component01:ElementsofFilm(continued)


Film form (micro-elements)

Editing • theshottoshotrelationshipsofcontinuityeditingincludingmatchediting,the180°ruleandtheroleofeditingincreatingmeaningincludingtheKuleshoveffect

• howtheprincipalcomponentsofeditingcangeneratemultipleconnotationsandsuggestarangeofinterpretations

• howeditingimpliesrelationshipsbetweencharactersandcontributestonarrativedevelopmentincludingthrougheditingmotifsandtheirpatternedrepetition

• howeditingconveysmessagesandvalues

• howvisualeffects(createdinpost-production) are used, including the way they are designed to engagethespectatorandcreateanemotionalresponse.

Sound • distinctionbetweenparallelandcontrapuntalsound,whetherdiegeticornon-diegetic,foleysound and sound used expressively

• how the principal components of sound can generatemultipleconnotationsandsuggestarangeofinterpretations

• howsoundrelatestocharactersandnarrativedevelopmentincludingtheuseofsoundmotifs

• how sound conveys messages and values.

Meaning and response Aesthetics • the role of mise-en-scène, cinematography includinglighting,compositionandframingincreatingaestheticeffectsinspecificfilmsequences

• theroleofmusicandeditinginconjunctionwiththeaboveincreatingaestheticeffects

• thesignificanceoftheaestheticdimensioninfilmincludingthepotentialconflictbetweenspectacleandthedrivetowardsnarrativeresolutioninfilm.


2

3 “intertextual”:thewayaspectsofaparticularfilmrelatetoanotherandthusaccrueadditionalsignificance.



Meaning and response Spectatorship • how the spectator has been conceived both as ‘passive’and‘active’intheactoffilmviewing

• howthespectatorisindynamicinteractionwithfilmnarrativeandfilmfeaturesdesignedtogenerate response

• reasons for the uniformity or diversity of response bydifferentspectators,includinghowandwhydifferentspectatorsdevelopdifferentinterpretationsofthemicro-elementsoffilmform.

Contextsoffilmmaking Social, cultural, political,historicalandinstitutional

• howfilmsstudiedcanactasameansofreflectingsocial,culturalandpoliticalattitudestowardswiderissuesandbeliefsexploredwithinafilm’snarrative,characterisationandrepresentations

• howfilmsstudiedcanactasameansofconstructingsocial,culturalandpoliticalattitudestowards wider issues and beliefs explored within a film’snarrative,characterisationandrepresentations

• howfilmsstudiedcanactasameansofreflectinghistorical issues and events

• howfilmsstudiedcanpotentiallybeanagentinfacilitatingsocial,culturalandpoliticaldevelopmentsthroughtherepresentationandre-constructionofhistoricalissuesandevents

• howfilmsstudiedareinfluencedbysocial, culturalandpoliticalhistorythroughintertextual3 references

• howfilmsstudiedreflecttheirproduction,financialandtechnologicalopportunitiesandconstraints.

Keycriticalapproaches Criticalapproachestofilmnarrative

• filmnarrative,includingtheformalistandstructuralistconceptionsoffilmnarrative.

Filmpoetics • filmpoeticsasanunderstandingoffilmasaconstructedartefact,resultingfromprocessesofselectionandcombination.

16© OCR 2021


2



Narrative Thewaysinwhichthekeyelementsoffilmare used to create narrativesinfilm

• hownarrativeconstructionreflectsplotandexpressestemporaldurationandellipsis

• narrationaldevicesincludingvoiceover,flashback,theframingnarrative,theopenending,repetitionandotherformsofnarrativepatterning

• howthedramaticqualitiesofasequenceorsceneare constructed, including through dialogue

• hownarrativeconstructionprovidespsychologicalinsight into character

• therelationshipbetweenscreenplayandtherealisedfilmnarrative

• narrativeconventionsofmainstreamscreenwriting,includingtheconstructionofdialogue, character and the use of images and soundtoconveynarrative.

Genre Thewaysinwhichthekeyelementsoffilmareusedtocreatefilmgenres

theconceptofgenreinrelationto:

• genreconventions

• genre as a principal structuring element of narrative.

Representation Thewaysinwhichthemicro-elementsoffilmform and the concepts ofgenreandnarrativecontribute towards representations

theconceptofrepresentationinrelationto:

• cultures

• societies.


2

UnderstandingBritishFilm(Component02/03)isasynoptic,non-examinedassessmentcomponentthatgives learners the opportunity to produce a key filmedsequencefromanewcontemporaryBritishfilmorscreenplayforakeysequencefromanewcontemporaryBritishfilm.

In this component learners will apply knowledge and understandingofnarrativeconstructiontotheproductionofeitheranextractfromafilmorfrom a screenplay.

Learners will also be required to build upon and develop their knowledge and understanding of:

• genre

• representation


• and how the above can be used to constructnarrativewithinasequence.

Learnerswillalsoberequiredtoconsideraestheticeffect,spectatorshipandfilmpoeticsintheirproduction.Morespecifically,learnersmust:

• apply knowledge and understanding of elementsoffilmtotheproductionoffilmorscreenplay(AO3)(30marks)

• apply knowledge and understanding of elementsoffilmtoanalyseandevaluateownworkinrelationtootherprofessionallyproduced work (AO2 strand 2) (15marks)

Thenon-examinedassessmentwillprovidetheopportunity for learners to demonstrate that they:

• can apply their knowledge and understanding of the micro-elements of filmformtotheproductionofafilmorscreenplay and analyse and evaluate their

ownworkinrelationtootherprofessionallyproduced work

• have the ability to use the micro-elements offilmformtoindependentlycreatetheirownfilmedkeysequenceorscreenplayforakeysequencefromafilm

• haveresearch,planningandproductionskillsthroughtheindependentrealisationoftheirownfilmedkeysequenceorscreenplayforakeysequencefromafilm

• can develop the skills to carry out an evaluativeanalysisoftheirproductioninrelationtootherprofessionallyproducedwork.

Learners will research, plan and produce one non-examinedassessmentproductioninresponsetotheset briefs outlined below.

NEAtask:

1Preliminaryactivities(non-assessed)

Eventhoughtherearenomarksattachedtothepreliminaryactivitiesitisessentialforlearnerstocarryouttheseactivitiesinpreparationfortheirchosenproductiontasksothateachindividuallearner’sworkcanbeauthenticated.Failuretocarryoutsufficientresearchintofilmsequencesandadequatelyplanachosenproductionisalsolikely to restrict a learner’s ability to meet the higher levels oftheproductionandevaluationmarkingcriteria.

1(a)Research

Inpreparationfortheproductiontask,learnersmust watch and make notes on at least oneoftheBritishsetfilmsinthefollowinglist,identifyingkeysequencesandthenarrativestructurewithinthem.

2d. Contentofnon-examinedassessment:UnderstandingBritishFilm(02/03)

18© OCR 2021


2

Britishsetfilmlist

The Hallow (Hardy 2015), Directed by Corin Hardy. UK, 15

Gone Too Far(2013).DirectedbyDestinyEkaragha.UK, 12

Ex-Machina (2014). Directed by Alex Garland. UK, 15

The Double (Ayoade). Directed by Richard Ayoade. UK, 15

Under the Skin(2013).DirectedbyJonathanGlazer.UK, 15

Attack the Block(2011).DirectedbyJoeCornish.UK,15

Thepurposeofthisactivityistoresearchandfurtherdevelop knowledge and understanding of how narrativecanbeusedinkeysequenceswithinfeaturefilms,including:

• thenarrativeconventionsofakey sequence

• howthedramaticqualitiesofakeysequence are constructed through a wide-rangeofnarrativetechniques,including through the use of dialogue, characterdevelopmentanddramaticdevices

• hownarrativecanconveypointsofview,both intended meaning and those of the spectator.

Inadditionlearnersmayalsocarryoutsomeofthefollowingresearchactivities:

• fieldwork(e.g.alocationrecceforfilmingordigitallyphotographedstills)

• internet or paper-based research as appropriate

• interviewpotentialcastmembers.

1(b)Planning

Learners should produce planning materials for their individualNEAproductionsthatoutlinetheintentionsoftheirfinalproductions.Centresareencouragedtoexplore appropriate ways of producing relevant planning materials based upon their own strengths and resources.

Thefollowinglistofplanningmaterialsispurelyindicative:

• adraftscript

• writingalocationreport

• notesoncastingconsiderations

• a storyboard

• a series of screen tests with notes.

2IndividualNEAproduction(30marks)

Therearetwodifferentindividualproductionoptions.Learners must choose one of the following:

• akeysequencefromanewBritishfilm (2½–3minutes)

or

• a screenplay for a key sequence from a new Britishfilm(6pages,equivalentto6minutesofscreentime)4;including

• a digitally photographed storyboard of a keysectionofthescreenplay,illustrating,

4Learnersmustreferencethemicro-elementsoffilmform,includingsound,acrossthescreenplay,anddigitalstills.Forexample,sounddirectionmaybementionedinnotesaccompanyingthedigitalstills.


2

throughcarefulconstructionofmise- en-scèneandshotselection,howthescreenplay would be realised (12 digitally photographed key frames).

ThesetfilmschosenalldepictaspectsofBritishfilmmaking.Learners’shouldusethebroadthemes oftheirchosensetfilmasastartingpointfortheirownproductions.

Forthepurposesofboththefilmandscreenplayproductions‘new’isdefinedasanoriginalproductionfrom the learner that isn’t a sequel, prequel or remakeofanexistingfilm.

3Individualevaluation(15marks)

Learnersmustusesubjectspecificterminologyandproduceanevaluativeanalysiswhich:

• evaluatesandanalysestheirproductioninrelationtotheprofessionallyproducedsetfilm

• informsanalysisandevaluationbyselectinga range of appropriate evidence from their ownproductionsandtheprofessionallyproducedfilm

• makesuseofappropriatecriticalapproaches.

Thecompletedindividualevaluationshouldbenolongerthan1,000words.Thisissufficientlengthtogive learners the opportunity to access the full range ofmarkingcriteria.Learnersmustincludeafinalwordcountaspartoftheindividualevaluationsubmittedtoteachersformarking.

Eachevaluationmustbetheworkofanindividuallearner.

Lengthofindividualproductionandindividualevaluation

Thelengthsspecifiedforeachelementoftheindividualproductionandindividualevaluation(e.g.2½–3minutesforthefilmedproduction,1000words

fortheindividualevaluationetc.)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

Filmed key sequences and screenplays for key sequences must be undertaken by learners as individuals and all materials must be assessed individually.

However,forthefilmedkeysequenceorthedigitallyphotographed storyboard to accompany a screenplay, a learner may make use of unassessed students 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,havecreativecontrolasdirector,andcreatethefinaleditofthefilmedproductionortakeandeditthephotosforthedigital storyboard and write the screenplay.

20© OCR 2021


3

NEAportfoliorequirements

As a summary each individual learner’s completed NEAportfoliowillconsistofthefollowing:

• non-assessed research notes and planning materialstoaidtheauthenticationofwork

• ateacherassessedfilmedkeysequenceorscreenplay for a key sequence, including digitalstills

• ateacherassessedevaluation

• a coursework cover sheet.

ThepreliminaryactivitieswillbesubmittedtotheBoard but will not be assessed. If the preliminary activitiesarenotsubmitted,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’productionskillsteacherscouldconsiderofferinglearnerstheopportunitytocompletesmallscaleproductionexercisesthroughoutthecourse,whereappropriate.Thiswouldalso

enablelearnerstoreinforcetheirtheoreticalknowledge and understanding of the micro-elements offilmformbyapplyingpracticedirectly.

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 ofNEAproductionscanbefoundinSection5d–GuidanceonNEAproductions(Component02/03).

MarkingNEAproductions

ThemarkingcriteriaforthiscomponentcanbefoundinSection3f–Non-examinedassessment.

SuitabilityofNEAProductions

GuidanceonthesuitabilityofNEAproductionscanbefoundinAppendix5d–GuidanceonNEAproductions(Component02/03).

SubmittingNEAproductions

Movingimageanddigitalstillphotographsshould besubmittedinuniversaldigitalformatsthatareplayable on all PCs and Macs. Work should be checked on a universal media player such as a VLC media player before submission to ensure compatibility.

2e. Priorknowledge,learningandprogression

Thiscoursewillbuildontheknowledge,understanding and skills established at key stage 4. Nopriorknowledgeofthesubjectisrequired.

Learners who are beginning an AS Level course may havecompletedaGCSE(9–1)inFilmStudiesoraLevel 2 Media course.

OCR’s AS Film Studies course is also an ideal introductiontotheALevelforlearnerswithlimited

experience of studying Film.

Thisqualificationprovidesastrongfoundation for learners to progress to A Level and to Higher Educationandequipslearnersforprogressionintothe workplace.

ThereareanumberofFilmspecificationsatOCR.Find out more at www.ocr.org.uk/filmstudies.

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


3

3a. Formsofassessment

OCR’s AS Level in Film Studies consists of one component that is externally assessed and one component that is assessed by the centre and externally moderated by OCR.

3 Assessment of AS Level in Film Studies

Elements of Film (01)

Thiscomponentisworth105marksandrepresents70%ofthemarksfortheASLevel.ThisisanexternallyassessedwrittenpaperassessingAO1andstrand 1 of AO2.

Learnerswillberequiredtocompleteanexaminationpaperlastingtwohours.Theexaminationpaperwillconsistofthreesections.

• SectionA:FilmForminUSCinemafrom1930to1990(35marks)

• SectionB:ComparativeContextualStudy(35 marks)

• SectionC:Closestudy:Europeanfilm(35 marks).

22© OCR 2021


3

SectionA:FilmForminUSCinemafrom1930 to 1990

SectionB:ComparativeContextualStudy

SectionC:CloseStudy:Europeanfilm

Learners are required to study twoUSsetfilms,onefromeachofthefollowingtimeperiods:

• 1930–1960• 1961–1990

Learners are required to study and compare twosetfilms,onefromeach of the following categories:

• US Independent• English language (non-US)

A choice of three themes is available to learners.

Learners are required to study onesetfilmfromthefollowingcategory:

• European non-English language

Total:35marks

• AO1: 15 marks• AO2: 20 marks

Total:35marks


Total:35marks


Learners must answer:

• the two 5 mark questions

• one from a choice of two 25 mark essay questions

Learners must answer one from a choiceoftwoquestions.

Learners must answer one from achoiceoftwoquestions.

Questiontype:

• Two5markquestions• Extended response

(25 mark essays)

Questiontype:

• Extended response (35markessay)

Questiontype:

• Extended response (35markessay)

Questionswillfocuson:

• the micro-elements of filmform

• aesthetics• spectatorship

Criticaldebateson:

• filmpoetics

Questionswillfocuson:

• contexts• how meaning and

response is created through the use of:•• micro-elementsoffilm

form•• genre•• narrativeconstuction•• and the ways in which

the above contribute torepresentationsinfilm.

Thissectionissynoptic.

Questionswillfocusonlearningfrom the whole course and in additioncriticaldebatesonnarrative.


3

UnderstandingBritishFilm(02/03)

Thisnon-examinedassessmentisworth45marksandrepresents30%ofthemarksfortheASLevel.

Thiscomponentisinternallyassessedbyteachersandexternally moderated by OCR assessors.

ThiscomponentassessesAO2strand2andAO3(seeSection3b).

Learners will be required to produce an individual key sequencefromanewBritishfilmorascreenplayfor akeysequencefromanewBritishfilm(30marks) andtocarryoutanevaluationoftheirproduction (15marks).

3b. AssessmentObjectives(AO)

TherearethreeAssessmentObjectivesinOCRASLevelFilmStudies.Thesearedetailedinthetablebelow.

Learners are expected to demonstrate their ability to:

AssessmentObjective Weighting

AO1 Demonstrateknowledgeandunderstandingofelementsoffilm. 30%

AO2 Applyknowledgeandunderstandingofelementsoffilmto:1. (a)analyseand(b)comparefilms,(c)includingthroughthe

useofcriticalapproaches2. analyseandevaluateownworkinrelationtoother

professionally produced work.

40%

10%(NEAonly)

AO3 Applyknowledgeandunderstandingofelementsoffilmtotheproductionoffilmorscreenplay.

20%(NEAonly)

AOweightingsinASLevelinFilmStudies

Therelationshipbetweentheassessmentobjectivesandthecomponentsareshowninthefollowingtable:

Component% of OCR AS Level in Film Studies (H010)

AO1 AO2 AO3

Elements of Film 30 40 0

UnderstandingBritishFilm 0 10 20

Total 30 50 20

24© OCR 2021


3

3c. Assessment availability

TherewillbeoneexaminationseriesavailableeachyearinMay/Junetoall learners.

All examined components must be taken in the same examinationseriesattheendofthecourse.

ThisspecificationwillbecertificatedfromtheJune2018examinationseriesonwards.

3d. Retakingthequalification

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

non-examassessment(NEA)orcarryforward(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 that are integrated into the marking criteria.

3f. Non-examinedassessment

Centres will assess all the work of their learners in the non-examinedassessmentcomponent(02/03).

Thebriefsforthenon-examinedassessmentaresetbyOCRandpublishedwithincomponent02/03ofthisspecification.

OCR will moderate marks for the non-examined assessment in accordance with standard policy relatingtothestandardisationandsamplingofwork.WorksubmittedforthisASLevelNEAcomponentshouldreflectthestandardexpectedforalearnerafterafullASLevelcourseofstudy.

Thenon-examinedassessmentisworth30%of thetotalmarksforthisASLevel.Theamountof timegiventolearnersforthecompletionofthenon-examined assessment component should be determined by centres. All work must be completed bythedesignatedfinishingtimesetbythecentreinordertofacilitatethecompletionofmarkingandinternalstandardisationbytheOCR-setdeadline.

However, it is strongly recommended that learners spendnomorethan30%oftheirtotalcoursetime oncompletingthenon-examinedassessmentcomponent.Asguidance,30%ofalearner’stimeequatestoapproximately50hoursofafull180guided learning hour (GLH) AS Level course of study. Itshouldbenotedthatexcessivetimespentonthiscomponent could be detrimental to the overall attainmentoflearnersandthatteachersshouldbemindful of the guidance given above when striking abalancebetweenthecompletionoftheNEAcomponent and preparing for the examined component,thelatterofwhichcontributes70% of the overall available marks for this AS Level.

Cover sheets for the non-examined assessment will be made available to centres via the OCR website. Theseshouldbesubmittedwiththelearner’swork to the moderator.

Guidance should be given to learners about availability and choice of resources, health and safety,


3

avoidanceofplagiarismandcompletionofworkinaccordancewithspecificationrequirementsandprocedures.

ForfurtherguidancepleasealsoseeSection4d–Adminofnon-examinedassessment.

Exams directory: www.ocr.org.uk

Useof‘bestfit’approachformarkingcriteria

Theassessmenttask(s)foreachcomponentshouldbe marked by teachers according to the given markingcriteriausinga‘bestfit’approach.Foreachof the marking criteria, 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.

Toselectthemostappropriatemarkwithinthebanddescriptor, teachers should use the following guidance:

• where the learner’s work convincingly meets the statement, the highest mark should be awarded

• where the learner’s work adequately meets the 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 thatfullymeetsthatdescriptor.Thisisworkthatis‘thebestonecouldexpectfromlearnersworkingatthat level’.

For mark bands with three marks the marks on either sideofthemiddlemark(s)for‘adequatelymet’should be used where the standard is the highest or lowest mark in the band.


26©

OCR 2021


3

ProductionMarkingCriteria:Filmedsequenceorscreenplay(30marks)

Thelearner’sproductionasawholeisassessedandamarkgivenundereachoftwo headings:

1. ApplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform(15marks)

2. Applicationofknowledgeandunderstandingofmicro-elementsoffilmform(15marks)

Twoseparatemarksshouldbecreditedandthiswillgiveeachlearneratotalmarkoutof30fortheirproduction.Thesemarkingcriteriaaregenericandmust be used forboththefilmedextractandscreenplayoption.

Learners’productionsshouldbejudgedoneachofthetwosetsofmarkingcriteriaindividually.Marksshouldbecreditedaccordingtothelevelattainedforeach setofcriteria.Itshouldbenotedthatitispossibleforalearnertoachieveadifferentlevelforeachofthetwosetsofmarkingcriteria.Forexample,alearnermaydemonstrateanexcellentapplicationofknowledgeandunderstandingofmicro-elementsoffilmformbutonlydemonstrategoodormoderateapplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.

Learnersshouldaimtoproduceworkofthespecifiedlength.Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlengthcanbecredited.Anyworkbeyondthismustnotbeconsideredforcreditagainstthemarkingcriteria.Teachersshouldstopwatchingorreadingworkbeyondthespecifiedlength.

Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.

27©

OCR 2021


3

ProductionMarkingCriteria:Filmedsequenceorscreenplay(30marks)

1. ApplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform(15marks)

Level 513–15marks

• ThelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Asophisticateduseofawiderangeofnarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevices

thatdeliveranaccomplisheddemonstrationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Aconvincingnarrativeconstructionwhichcreatesclearinsightsintocharactermotivation.

Level 410–12marks

• ThelearnerdemonstratesgoodapplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Agooduseofarangeofnarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevicesthatdelivera

confidentdemonstrationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Goodnarrativeconstructionwhichcreatesmainlyclearinsightsintocharactermotivation.

Level 37–9marks

• ThelearnerdemonstratesadequateapplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Anadequateuseofarangeofmostlyappropriatenarrativetechniquesincludingtheuseofdialogue,characterdevelopmentand

dramaticdevicesthatdeliveracompetentdemonstrationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Anadequatenarrativeconstructionwhichcreatesinsightsintocharactermotivation.

Level 24–6marks

• ThelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Abasicuseofalimitedrangeofnarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevicesthat

deliverapartialdemonstrationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Basicnarrativeconstructionwhichattemptstopresentlimitedinsightsintocharactermotivation.

Level 11–3marks

• ThelearnerdemonstratesminimalapplicationofBritishfilmanditsnarrativeform.• Apooruseofaminimalrangeofnarrativetechniquesincludingtheuseofdialogue,characterdevelopmentanddramaticdevicesthat

deliveraninadequatedemonstrationofknowledgeandunderstandingofBritishfilmanditsnarrativeform.• Poornarrativeconstructionwhichpresentsminimalinsightsintocharactermotivation.

0marks • NoworksubmittedorworkwhichdemonstratesnoknowledgeandunderstandingofBritishfilmanditsnarrativeform.

28©

OCR 2021


3

2. Applicationofknowledgeandunderstandingofmicro-elementsoffilmform(15marks)

Level 513–15marks

• Thelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Asophisticatedresponsedemonstratingexcellentunderstandingoffilmformthroughasophisticateduseof(production)orindicationof

intended use of (screenplay):•• cinematography:movement,positioning,framingandlighting•• mise-en-scène:settings,props,costumesandmakeup•• editing:transitions,pace,juxtapositionsofshots,storytelling•• sound:music,dialogue,soundeffects,atmospheric(ambient)effects.

Level 410–12marks

• Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Awell-developedresponsedemonstratingagoodunderstandingoffilmformthroughagooduseof(production)orindicationofintended

use of (screenplay):•• cinematography:movement,positioning,framingandlighting•• mise-en-scène:settings,props,costumesandmakeup•• editing:transitions,pace,juxtapositionsofshots,storytelling•• sound:music,dialogue,soundeffects,atmospheric(ambient)effects.

Level 37–9marks

• Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Anadequateresponsedemonstratingasoundunderstandingoffilmformthroughanadequateuseof(production)orindicationof

intended use of (screenplay):•• cinematography:movement,positioning,framingandlighting•• mise-en-scène:settings,props,costumesandmakeup•• editing:transitions,pace,juxtapositionsofshots,storytelling•• sound:music,dialogue,soundeffects,atmospheric(ambient)effects.

29©

OCR 2021


3

Level 24–6marks

• Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Abasicresponsedemonstratingbasicunderstandingoffilmformthroughalimiteduseof(production)orindicationofintendeduseof

(screenplay):•• cinematography:movement,positioning,framingandlighting•• mise-en-scène:settings,props,costumesandmakeup•• editing:transitions,pace,juxtapositionsofshots,storytelling•• sound:music,dialogue,soundeffects,atmospheric(ambient)effects.

Level 11–3marks

• Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingofthemicro-elementsoffilmform.• Apoorlydevelopedresponsedemonstratingpoorlydevelopedunderstandingoffilmformthroughaminimaluseof(production)or

indicationofintendeduseof(screenplay):•• cinematography:movement,positioning,framingandlighting•• mise-en-scène:settings,props,costumesandmakeup•• editing:transitions,pace,juxtapositionsofshots,storytelling•• sound:music,dialogue,soundeffects,atmospheric(ambient)effects.

0marks • Noworksubmittedorworkthatdemonstratesnoknowledgeandunderstandingofthemicro-elementsoffilmform.

30©

OCR 2021


3

EvaluationMarkingCriteria(15marks)

Thelearner’sevaluationisassessedandamarkgivenunderone heading:

1. AnalyseandevaluatetheproductioninrelationtotheBritishfilm(s)whichinfluencedit.(15marks)

Onetotalmarkshouldbecreditedandthiswillgiveeachlearneratotalmarkoutof15fortheirevaluationandatotalmarkoutof45fortheirNEAportfolio.

Learnersshouldaimtoproduceworkofthespecifiedlength.Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlengthcanbecredited.Anyworkbeyondthismustnotbeconsideredforcreditagainstthemarkingcriteria.Teachersshouldstopreadingworkbeyondthespecifiedlengthandindicateclearlywheretheyhavestopped.

Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.

31©

OCR 2021


3

Level 513–15marks

• ThelearnerdemonstratescomprehensiveapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothechosenBritishfilm.

• SophisticatedandfluentevaluationofownproductioninrelationtoprofessionallyproducedworkofferingapreciseanddetailedrangeofevidencefromownworkandtheBritishfilmstudied.

• Sophisticatedevaluativeanalysiswhichmakesconvincinguseofappropriatecriticalapproaches.• Highlydeveloped,accurateuseofsubject-specificterminology.

Level 410–12marks

• ThelearnerdemonstratesgoodapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothechosenBritishfilm.

• Well-developedandmainlyfluentevaluationofownproductioninrelationtoprofessionallyproducedworkofferingarelevantrangeofevidencefromownworkandtheBritishfilmstudied.

• Well-developedevaluativeanalysiswhichmakesgooduseofappropriatecriticalapproaches.• Good,mostlyaccurateuseofsubject-specificterminology.

Level 37–9marks

• ThelearnerdemonstratesadequateapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothechosenBritishfilm.

• AdequateevaluationofownproductioninrelationtoprofessionallyproducedworkofferingarangeofevidencefromownworkandtheBritishfilmstudied.

• Adequateevaluativeanalysiswhichmakesadequateuseofappropriatecriticalapproaches.• Adequate,generallyaccurateuseofsubject-specificterminology.

Level 24–6marks

• ThelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothechosenBritishfilm.

• Abasicresponseshowinglimitedunderstandingoftherequirementsoftheevaluation• LimitedevaluationofownproductioninrelationtoprofessionallyproducedworkofferingsomeevidencefromownworkandtheBritish

filmstudied.• Clearattemptatanevaluativeanalysiswhichmakeslimiteduseofappropriatecriticalapproaches.• Limiteduseofsubject-specificterminologywhichissometimesusedaccurately.

Level 11–3marks

• ThelearnerdemonstratesminimalapplicationofknowledgeandunderstandingtoanalyseandevaluatetheirproductioninrelationtothechosenBritishfilm.

• Minimal,ifany,evaluationofownproductioninrelationtoprofessionallyproducedworkofferinglittle,ifany,evidencefromownworkandtheBritishfilmstudied.

• Poorattemptatanevaluativeanalysiswhichmakesminimaluseofappropriatecriticalapproaches.• Minimaluseofsubject-specificterminologywhichisoftenusedinaccurately.

0marks • NoworksubmittedorworkwhichdemonstratesnoknowledgeandunderstandingoftheirproductioninrelationtothechosenBritishfilm.

32© OCR 2021


3

Synopticassessmentisthelearners’understandingoftheconnectionsbetweendifferentelementsofthesubject.Itinvolvestheexplicitdrawingtogetherofknowledge,skillsandunderstandingwithindifferentparts of the AS level course.

• Theemphasisofsynopticassessmentistoencourage the understanding of Film Studies as a discipline.

• Each component of AS Level in Film Studies requireslearnerstoapplytheirtheoreticalknowledgeandunderstandingtotheirpracticalwork.

• Synopticassessmentisincludedwithinallcomponents.

• TheCloseStudy:EuropeanFilminSectionC ofcomponent01offersopportunitiesforsynopticassessment.Theclosestudyrequireslearners to draw upon their knowledge and understanding from the full course in terms of micro-elementsoffilmform,contextsandmeanings and response.

• InNEAcomponent02/03,theindividualproductionandevaluationtasksrequirelearners to draw upon knowledge and understanding from across the course of study in their response to the set brief.

3g. Synopticassessment

3h. Calculatingqualificationresults

Alearner’soverallqualificationgradeforASLevelinFilm Studies will be calculated by adding together their marks from the two components taken to give theirtotalweightedmark.Thismarkwillthenbe

comparedtothequalificationlevelgradeboundariesfortheentryoptiontakenbythelearnerandfortherelevant exam series to determine the learner’s overallqualificationgrade.


4

Theinformationinthissectionisdesignedtogive an overview of the processes involved in administeringthisqualificationsothatyoucanspeaktoyourexamsofficer.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.Estimatedentries

shouldbesubmittedtoOCRbythespecifieddeadline.Theyarefreeanddonotcommityourcentre in any way.

Finalentries

Final entries provide OCR with detailed data for each learner, showing each assessment to be taken. It isessentialthatyouusethecorrectentrycode,considering the relevant entry rules and ensuring thatyouchoosetheentryoptionforthemoderationyou intend to use.

FinalentriesmustbesubmittedtoOCRbythepublished deadlines or late entry fees will apply.

All learners taking an AS Level in Film Studies must beenteredforoneofthefollowingentryoptions:

Entryoption Components

Entrycode Title Code Title Assessment type

H010 AFilm Studies (Repository)

01 Elements of Film External assessment

02 UnderstandingBritishFilm Non-examinedassessment(Repository)

H010 BFilm Studies

(Postal)


03 UnderstandingBritishFilm Non-examinedassessment(Postal)

H010 CFilm Studies

(Carried forward)


80 UnderstandingBritishFilm Non-examinedassessment(Carried forward)

*EntryoptionH010Cshouldonlybeselectedforlearnerswhoareretakingthequalificationwhowanttocarryforward their mark for the non-examined assessment.

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

34© OCR 2021


4

4b. Specialconsideration

Specialconsiderationisapost-assessmentadjustmenttomarksorgradestoreflecttemporaryinjury,illnessorotherindispositionatthetimetheassessment was taken.

DetailedinformationabouteligibilityforspecialconsiderationcanbefoundintheJCQpublication A guide to the special consideration process.

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 AS 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 on the OCR website: http://www.ocr.org.uk

Headofcentreannualdeclaration

TheHeadofCentreisrequiredtoprovideadeclarationtotheJCQaspartoftheannualNCNupdate,conductedintheautumnterm,toconfirmthatthecentreismeetingalloftherequirementsdetailedinthespecification.

Any failure by a centre to provide the Head of Centre AnnualDeclarationwillresultinyourcentrestatusbeing suspended and could lead to the withdrawal of our approval for you to operate as a centre.

4d. Adminofnon-examinedassessment

RegulationsgoverningarrangementsforinternalassessmentsarecontainedintheJCQpublicationInstructions for conducting non-examination assessments.

http://www.jcq.org.uk/



4

Authenticationoflearner’swork

Centresmustdeclarethattheworksubmittedforassessmentisthelearner’sownbycompletingacentreauthenticationform(CCS160).ThisinformationmustberetainedatthecentreandbeavailableonrequesttoeitherOCRortheJCQcentreinspectionservice.

Itmustbekeptuntilthedeadlinehaspassedforcentres to request a review of results. Once this deadline has passed and centres have not requested a review, this evidence can be destroyed.

Authenticationcontrol

Research(limitedsupervision–non-assessed)

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:

• explain the brief

• advise on how the brief could be approached

• advise on resources

• alert the learner to key things that must beincludedintheirfinalpieceofwork.

Teachersmust not:

• practisethelearner’schosenbriefwiththem.

Research must include:

• learnersnotesonnarrativeconventionswithinkeyfilmsequencesareappliedintheprofessionallyproducedfilmstheyviewinpreparationforthebrief.

Research may also include:

• fieldwork(e.g.alocationrecceforfilmingordigitallyphotographedstills)andinternetor paper-based research as appropriate.

Learnersmustbeguidedontheuseofinformationfromothersourcestoensurethatconfidentialityandintellectual property rights are maintained at all times.

Planning(formalsupervision–non-assessed)

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 of acceptable found materials would include:

• found footage, for example a short clip of an explosion that would be impossible for alearnertofilm,oraveryshortcontextualsegmentfromanewsbulletin

• found audio, for example music from an existingartistusedcontextuallywithinthediegeticornon-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.

36© OCR 2021


4

Teacherscan:

• explain the purpose of planning materials

• advise on approaches to planning materials

• advise on resources for planning materials

• alert learners to key elements of planning materialse.g.theconventionsandlayout of a storyboard

• adviseonhealthandsafetyconsiderationsto take into account when planning a production.

Teachersmust not:

• makecreativeplanningdecisionsforlearners.

Productions(formalsupervision–30marks)

Allelementsoftheproductionmustbecompletedunder formal supervision within the centre, withtheexceptionoffilminganddigitalstillphotography, whichmaytakeplaceoff-site,whereappropriate.However,alloff-siteactivitiesmustbeagreedinadvancewithteachingstaffandparentalpermissionsmust be sought where required from the learner and castmembers.Teachersmustbesatisfiedlearnershavecarriedoutsufficienthealthandsafetychecksbeforeallowingoff-siteworkandlearnersmust submitcopiesoftheirpre-shootingshotlistsandstoryboards to teachers.

Duringtheproductionphaselearnerscanbegivensupport and guidance.

Teacherscan:

• explainthepurposeoftheproductionbrief

• adviseonresourcesforindividualproductions

• train learners to use any necessary technology orsoftwareneededfortheproduction

• alert the learner to key things that must be includedintheirfinalproduction

• review learners’ work before it is handed inforfinalassessment(thisincludesroughcuteditsoffilmedproductionsanddraftscreenplaysandstills)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.5

Individualevaluation(formalsupervision– 15marks)

Allindividualevaluationsmustbecompletedunderformal supervision within the centre.

5Providedthatadviceremainsatthegenerallevel,enablingthelearnertotaketheinitiativeinmakingamendments,thereis no need to record this advice as assistance or to deduct marks.


4

Firstdrafts

Whatteacherscando:

Teacherscanreviewlearners’workbeforeitishandedinforfinalassessment.Advicemustremainat the general level, enabling learners to take the initiativeinmakingamendments.Onereviewshouldbesufficienttoenablelearnerstounderstandthedemands of the assessment criteria.

Whatteacherscannotdo:

Teacherscannotgivedetailedadviceandsuggestionson how the work may be improved in order to meet theassessmentcriteria.Thisincludesindicatingerrorsor omissions and personally intervening to improve thepresentationorcontentofthework.Providedthat advice remains at the general level, enabling the learnertotaketheinitiativeinmakingamendments,there is no need to record this advice as assistance or to deduct marks.

38© OCR 2021


4

Internalstandardisation

Centresmustcarryoutinternalstandardisationtoensurethatmarksawardedbydifferentteachersareaccurate and consistent across all learners entered for the component from that centre.

Ifcentresareworkinginaconsortiumtheymustcarryoutinternalstandardisationofmarkingacrosstheconsortium.Centresshouldretainevidencethatinternalstandardisationhasbeencarriedout.

Moderation

Thepurposeofmoderationistobringthemarkingofinternally-assessedcomponentsinallparticipatingcentrestoanagreedstandard.Thisisachievedbychecking a sample of each centre’s marking of learners’ work.

Followinginternalstandardisation,centressubmitmarks to OCR and the moderator. If there are 10 or fewerlearners,alltheworkshouldbesubmitted formoderationatthesametimeasmarksaresubmitted.

OncemarkshavebeensubmittedtoOCRandthemoderator,centreswillreceiveamoderationsamplerequest. Samples will include work from across the rangeofattainmentofthelearners’.

Therearetwowaystosubmitasample:

ModerationviatheOCRRepository Thisiswhereyouuploadelectroniccopiesofthework included in the sample to the OCR Repository and the moderator accesses the work from there.

Postalmoderation Thisiswhereyoupostthesampleofworktothemoderator.

Themethodthatwillbeusedtosubmitthemoderationsamplemustbespecifiedwhen makingentries.Therelevantentrycodesare giveninSection4a.

Alllearners’workmustbesubmittedusingthesameentryoption.Itisnotpossibleforcentrestoofferbothoptionswithinthesameseries.

Centreswillreceivetheoutcomeofmoderationwhentheprovisionalresultsareissued.Thiswillinclude:

Moderationadjustmentsreport Thislistsanyscalingthathasbeenappliedtointernally assessed components.

Moderatorreporttocentres Thisisabriefreportbythemoderatorontheinternalassessment of learners’ work.

Carryingforwardnon-examinedassessment(NEA)

Learnerswhoareretakingthequalificationcanchoose to either retake the non-exam assessment –UnderstandingBritishFilm(02,03)orcarryforwardtheir most recent result for that component.

TocarryforwardtheNEAcomponentresult,youmustusethecorrectcarryforwardentryoption(seetableinSection4a).

Learners must decide at the point of entry whether theyaregoingtocarryforwardtheNEAresultornot.

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.


4

4e. Resultsandcertificates

ASlevelqualificationsaregradedonthescale:A,B,C,D, E, where A is the highest. Learners who fail to reach the minimum standard for E will be graded

Unclassified(U).OnlysubjectsinwhichgradesAtoEareattainedwillberecordedoncertificates.

Gradescale

Results

Results are released to centres and learners for informationandtoallowanyqueriestoberesolvedbeforecertificatesareissued.

Centres will have access to the following results informationforeachlearner:

• thegradeforthequalification

• the raw mark for each component

• the total weighted mark for the qualification.

Thefollowingsupportinginformationwillbeavailable:

• raw mark grade boundaries for each component

• weighted mark grade boundaries for the qualification.

Untilcertificatesareissued,resultsaredeemedtobeprovisionalandmaybesubjecttoamendment.

Alearner’sfinalresultswillberecordedonanOCRcertificate.Thequalificationtitlewillbeshownonthecertificateas‘OCRLevel3AdvancedSubsidiaryGCEinFilm Studies’.

4f. Post-resultsservices

A number of post-results services are available:

Reviewofresults If you are not happy with the outcome of a learner’s results, centres may request a review of their moderationand/ormarking.

Missingandincompleteresults Thisserviceshouldbeusedifanindividualsubjectresult for a learner is missing, or the learner has been omittedentirelyfromtheresultssupplied.

Accesstoscripts Centres can request access to marked scripts.

4g. Malpractice

Anybreachoftheregulationsfortheconductofexaminationsandnon-examinedassessmentmayconstitutemalpractice(whichincludesmaladministration)andmustbereportedtoOCRas

soonasitisdetected.DetailedinformationonmalpracticecanbefoundintheJCQpublication Suspected Malpractice in Examinations and Assessments: Policies and Procedures.

40© OCR 2021


5

5a. Overlapwithotherqualifications

ThereisasmalldegreeofoverlapbetweenthecontentofthisspecificationandthoseforotherAS

levelqualificationsinEnglishLiterature,MediaStudies, History and Art and Design.

5 Appendices

5b. Accessibility

Reasonableadjustmentsandaccessarrangementsallowlearnerswithspecialeducationalneeds,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 theJCQpublicationAccess Arrangements and Reasonable Adjustments.

TheASlevelqualificationandsubjectcriteriahavebeenreviewedinordertoidentifyanyfeaturewhichcould disadvantage learners who share a protected CharacteristicasdefinedbytheEqualityAct2010.Allreasonable steps have been taken to minimise any such disadvantage.

5c. Acceptedfileformats

Furtherexplanationoftheuseofformatsfornon-examinedassessmentcanbefoundinSection2dunderSubmittingNEAProductions.

MovieformatsfordigitalvideoevidenceMPEG (*.mpg) QuickTimemovie(*.mov)Macromedia Shockwave (*.aam) Macromedia Shockwave (*.dcr) Flash (*.swf) Windows Media File (*.wmf) MPEG Video Layer 4 (*.mp4)

AudioorsoundformatsMPEGAudioLayer3(*.mp3)

GraphicsformatsJPEG(*.jpg)Graphicsfile(*.pcx)MS bitmap (*.bmp) GIF images (*.gif)

AnimationformatsMacromediaFlash(*.fla)

TextformatsComma Separated Values (.csv) PDF (.pdf) Richtextformat(.rtf)Textdocument(.txt)

MicrosoftOfficesuitePowerPoint (.ppt) (.pptx)Word (.doc) (.docx)


5

5d. GuidanceonNEAproductions(Component02/03)

Incomponent02/03learnersarerequiredtoproduce:

(a)akeysequencefromanewBritishfilm (2½–3 minutes)

or

(b)ascreenplayforakeysequencefromanewBritishfilm(6pages,equivalentto6minutesofscreentime)6;including

• a digitally photographed storyboard of a key sectionofthescreenplay,illustrating,throughcarefulconstructionofmise-en-scèneand shotselection,howthescreenplaywould be realised. (12 digitally photographed key frames).

ThefollowingguidancehasbeenprovidedtosupportcentresinensuringsuitableNEAproductionsareundertaken by learners at AS level.

Learners’NEAproductionsmay (but are not required to) contain:

• infrequent and occasional use of strong swearing(e.g.‘F***’)

• occasional sexualised language or references to sex may be present, but not if gratuitously crude or if they are unchallengedbytheproductionasawhole

• themesofdiscrimination

• frequentorstrongaggressionand/orviolence or strong threats thereof

• references to drug use which is not endorsed by the sequence as a whole

• references to self-harm, suicide.

Learners’NEAproductionsmay not contain:

• violence acted out against another characterwhichdwellsontheinflictionofpainorinjury

• gratuitous violence

• frequent, gratuitous and or aggressive use of strong language and swearing

• explicitportrayalsofsexualactivity

• scenes of sexual violence

• nudity

• imitationofdangerousbehaviour

• scenesdemonstratingorpromotingdrugtaking

• materialthatcouldbeconsideredoffensiveon the grounds of race or gender.

6Learnersmustreferencethemicro-elementsoffilmform,includingsound,acrossthescreenplay,anddigitalstills.Forexample,sounddirectionmaybementionedinnotesaccompanyingthedigitalstills.

42© OCR 2021


5

NEAGlossaryoftermsandexpectations

ViewingofthechosensetBritishfilmandanalysis of key sequences from within this should provide sufficientclarityontheexpectationsfortheproduction;however,forclaritywehavedefined the terms below:

‘Key sequence’

• A series of related shots and scenes in a film,whichconstitutesasignificantphaseofactionoramoveintheplot.7

Thescreenplayfora‘keysequence’

Each learner’s screenplay must be correctly formatted,followingcinematicscreenplayconventions.Examplesofthesecanbeinprofessionallyproducedfilmscreenplaysavailable

freely online or commercially. A good example to follow is the freely available screenplay guide from the BBC: 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).

7ThisdefinitionistakenfromtheKuhn,AandWestwell,G.2012.Oxford Dictionary of Film Studies. Oxford University Press

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

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


Summary of updates

Date Version Section Title of section ChangeMay 2018 1.1 Front cover Disclaimer Addition of DisclaimerAugust 2018 1.2 3d

4dRetaking the qualificationAdmin of non-examined assessment

Update to the wording for carry forward rules

January 2020 1.3 4d

4f

Authentication oflearners’ work

Post-results services

Enquiry about results changed to Review of results.

Update to specification covers to meet digital accessibility standards

44© OCR 2021


Our aim is to provide you with all the information and support you need to deliver our specifications.

o Bookmark OCR website for all the latest resources, information and news on AS Level Film Studies

o Be among the first to hear about support materials and resources as they become available – register for Film Studies updates

o Find out about our professional development

o View our range of skills guides for use across subjects and qualifications

o Discover our new online past paper service

o Learn more about Active Results

o Visit our Online Support Centre

YOUR CHECKLIST


https://ocr.org.uk/updates

https://www.ocr.org.uk/qualifications/professional-development/

https://ocr.org.uk/qualifications/skills-guides

https://ocr.org.uk/qualifications/past-paper-finder/exambuilder/

https://ocr.org.uk/administration/support-and-tools/active-results/

https://support.ocr.org.uk

Download high-quality, exciting and innovative AS Level Film Studies resources from ocr.org.uk/alevelfilmstudiesResources and support for our AS 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

Visit our Online Support Centre at support.ocr.org.uk

ocr.org.uk/alevelfilmstudies

follow us on

facebook.com/ocrexams

linkedin.com/company/ocr

@OCRexams youtube.com/ocrexams

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 2021 Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered office The Triangle Building, Shaftesbury Road, Cambridge CB2 8EA. Registered company number 3484466. OCR is an exempt charity.

OCR operates academic and vocational qualifications regulated by Ofqual, Qualifications Wales and CCEA as listed in their qualifications registers including A Levels, GCSEs, Cambridge Technicals and Cambridge Nationals.

Cambridge Assessment is committed to making our documents accessible in accordance with the WCAG 2.1 Standard. We’re always looking to improve the accessibility of our documents. If you find any problems or you think we’re not meeting accessibility requirements, please contact us.


mailto:media%40ocr.org.uk%20?subject=Contact%20us

https://www.ocr.org.uk/qualifications/email-updates/

https://support.ocr.org.uk


https://www.facebook.com/ocrexams

https://www.facebook.com/ocrexams

https://linkedin.com/company/ocr

https://linkedin.com/company/ocr

https://twitter.com/OCRexams

https://www.youtube.com/c/ocrorguk

https://www.youtube.com/c/ocrorguk

mailto:resources.feedback%40ocr.org.uk?subject=

specification film studies

Documents