GCSE TEACHERS’ GUIDE New Specifications: for teaching from September 2008
Film Studies
GCSE in FILM STUDIES Teachers’ Guide 1
Contents GCSE in Film Studies Teachers’ Guide
Page Introduction
2
Assessment Objectives
3
Summary of Assessment
4
Requirements of Specification
5
Micro Aspects of Film Language
9
Macro Aspects of Film Language
12
Guidance on Externally Assessed Examinations: Exploring Film and Exploring Film Outside Hollywood
13
Resources
16
Coursework: Exploring and Creating
26
GCSE in FILM STUDIES Teachers’ Guide 2
Guidance notes for WJEC GCSE in Film Studies INTRODUCTION WJEC is the first Awarding Body to offer a GCSE Film Studies course. This course builds upon students’ own experience of film, as consumer and creator, and encourages them to investigate and develop their knowledge and understanding of the sometimes complex relationship between the film industry and film audiences. It may also provide a ‘springboard’ into A/S and A Level for those who may wish to take the subject to a higher examination level. The course is designed to allow students to begin their programme of study by focussing on films that they have particularly enjoyed, or are familiar with, and from that starting point they will be encouraged to broaden out their study into an exploration of the place film occupies in today’s global society, the communication of ideas, attitudes and cultural beliefs. Each element of the course is approached through three study areas. These areas are all connected and work together to give you a strong framework for teaching, studying and creating film: THE LANGUAGE OF FILM
the elements that create meaning within a film, and how they are organised in order to tell a story to their audience
FILM ORGANISATIONS
the film companies which make, sell and screen the films we watch
FILM AUDIENCES
the ways in which you respond to the films you watch and the issues raised by films made for a range of different groups of people
Each student will be expected to complete four linked pieces of coursework which will give them 50% of your overall marks. In the final term of the course they will complete two written examinations which will account for the final 50% of their marks. See table below. Each of the three sections within the course should include a consideration of audience, industry and film language. Throughout the emphasis will be on integration, so coursework will also allow a deeper knowledge and understanding of the areas covered within the final two examinations (Genre and Non- Hollywood cinema). Equally the preparation for examinations will be provide a strong theoretical framework for the development and creation of coursework. In addition each of the final examinations will provide an opportunity (in the last question on the paper) for the creative application of knowledge and understanding. Active learning is encouraged and constantly reinforced through a variety of tasks and assessments. The coursework, the close study of genre, and Non Hollywood cinema will each encompass the following common aims:• • • • •
To develop an interest and enjoyment of films in their national and global contexts and foster an appreciation of cultural diversity To encourage a critical, investigative approach to films, film organisations and audience To explore how films represent people, places, ideas, issues and events to different audiences To experiment with and explore the creative possibilities of films and film products To engage with the aesthetic, technological, economic, ethical and moral issues as they arise within the study of film, audiences and industry
GCSE in FILM STUDIES Teachers’ Guide 3
ASSESSMENT OBJECTIVES Candidates will be expected to:
AO1
Demonstrate knowledge and understanding of how films communicate meanings, evoke personal responses and engage audiences.
AO2
Explore, respond to and evaluate on a range of films and topics, including their own preproduction and production work, using key film concepts and appropriate terminology.
AO3
Demonstrate planning, research and presentational skills.
AO4
Use creative and technical skills to construct film products.
GCSE in FILM STUDIES Teachers’ Guide 4
SUMMARY OF ASSESSMENT 1:
External Assessment (50%)
Paper 1: Exploring Film (1 hr 30 minutes, 30%) Four compulsory questions focusing upon film genre. These questions will assess the knowledge and understanding of film language and key industry and audience issues. The film genre will be set by the Awarding Body and will change every three years. Paper 2: Exploring Film outside Hollywood (1 hour, 20%) Three compulsory questions on one film produced outside Hollywood film chosen from a list prescribed by the Awarding Body. Questions will be based on: •
Characters, narratives, themes and issues in the film chosen
•
The way people, places, events and issues are represented in the film and
•
A creative question involving individual responses to the film (e.g., reviews, blogs, website entries)
2:
Internal Assessment (50%)
Exploring and Creating Four main pieces of work: an exploration of a film extract, a film pitch leading to a preproduction, a production and a reflective analysis. 1.
Exploring a film of candidate’s choice (25 marks) An exploration of the micro features of film language in a short extract from a film of candidate’s choice (350 – 750 words).
2.
Pitch and Preproduction (30 marks) Candidates create a pitch for an imaginary film (approximately 150 words) and then use it to form the basis of a pre-production chosen from options.
3.
Production (35 marks) Create a short sequence, produce a home page and at least one linked page for a website promoting a new film; produce a poster campaign for a new film; produce a press pack for a new film, produce a feature based on the production of a new film.
4.
Evaluative Analysis (10 marks) A brief evaluative analysis highlighting what candidates have learnt about the main study areas for film from their preproduction and production work (film language, film organisations and audiences).
GCSE in FILM STUDIES Teachers’ Guide 5
REQUIREMENTS OF SPECIFICATION Internal Assessment Film Exploration: Industry (5 marks) The first short piece of coursework should also provide students with their first introduction to the language of film and film industry. They will begin by exploring a film that they have particularly enjoyed and do some brief research into how it was produced, distributed and exhibited. They will then complete a specially designed coversheet (proforma is printed in the back of the specification) putting in a summary of all their research findings. This initial work should then lead into a more detailed consideration of the ways in which the ‘micro’ elements of film language communicate meaning. Textual (Micro) Analysis (20 marks) The initial film exploration should then lead into a more detailed consideration of film language. Students should be given the opportunity to look at a variety of different film sequences and to think about the way in which the film’s language is used to create certain meanings and how we respond to those meanings. We have suggested a number of different approaches to this in the Film Language section. Certainly this work underpins everything else in the course; it provides students with the analytical tools and terminology needed to succeed. As with any new area of study getting used to understanding the ways in which, for example, lighting and sound (two of the micro elements of film language) can combine to create a particular kind of atmosphere in a film chosen sequence and producing a detailed analysis takes time and practice. Make sure that your students are given lots of opportunities to explore and write about the ways in which film language communicates. This work will underpin the rest of the course, success in the examined papers depends upon the students’ ability to ‘read’ and respond to a range of different films. Selling an Idea – Pitch and Pre-production (30 marks) These two linked pieces are designed to enable an understanding of the ways in which films are created and sold. Students will have already completed their initial research and analysis focussing on a film that they have chosen, the following two elements of the coursework gives them the chance to explore ideas for their own film. They should work on their own with a specific target audience in mind. Pitch (10 marks) The first task is to create a pitch for their film in order to attract potential backers who may want to help fund and produce the film. The sales pitch should be about 150 words long and should begin with a ‘log line’. Students must have an audience in mind for your film and have a clear idea of the places in which to show it when it’s finished. The pitch needs to convey a lot of information in a short time. Students should also be aware that investors will need to be provided with a brief outline of the story and an indication of its genre. They will also want to know what kind of audience it appeals to, if it’s like any other films, and what stars may be best suited to the main roles.
GCSE in FILM STUDIES Teachers’ Guide 6
Pre-production (20 marks) Once your students have completed their sales pitches they will be able to choose one of the following pre-production options based on the film they have outlined in the pitch: • Write a short script for the opening scene for the film (approx 500words) • Create a storyboard of approximately 20 frames for a key sequence for the film • Produce digitally a design for a front page and contents page for a new film magazine, featuring the new film • Produce a marketing campaign for the film ( at least four items) Production (35 marks) This piece of coursework allows students to create a polished film- based product which uses an appropriate format and demonstrates an understanding codes and conventions. If they choose to make a sequence for a film they may work in groups of no more than four. However, if they do work in a group they must have clearly delineated and documented roles and responsibilities within the group. Their written analyses must underline their specific contribution to the making of the film. All the other Production options must be completed individually. These are the option choices: • Create a short sequence of no more than 90 seconds for any section of a film. • Produce a homepage and at least one linked page for a website which promotes a new film • Produce a poster campaign for a new film • Produce a press pack for a new film • Produce a feature about a new film for a film or school/college magazine Evaluative Analysis (10 marks) When researching and creating your pre-production and production pieces it is advisable to encourage students to keep a working notebook in which to note down the processes and stages involved in the creation of their production piece. They should describe what they have done, how ideas changed and adapted as work developed and what they have learnt creatively and practically. This notebook will then be used to inform the final analysis which requires them to reflect on what they have learnt about the main study areas (film language, film organisations and film audiences) through your coursework.
GCSE in FILM STUDIES Teachers’ Guide 7
EXTERNAL ASSESSMENT Two written examinations, both of which are not tiered. Exploring Film (1 hour 30 minutes) 30% The first examination is called ‘Exploring Film’ containing four questions about film genre. During the course they will have studied the concept of genre and its importance in terms of audience, film production and marketing. This paper will focus upon Genre. The Disaster Movie will be the set Genre from 2008 to 2011. The knowledge and understanding students gain gained through their practical coursework will also help them to explore the ways in which certain Disaster Movies communicate to their audiences. They should study at least two Disaster Movies in class and will have noticed and discussed the similarities and differences between the films. You are encouraged to screen and explore several other Disaster Movies in order to allow a deeper awareness of common patterns in terms of characters and narrative structures and to explore the ways in which genres can be fluid and change over time. The questions in Section 1 of the paper will relate to a sequence from a Disaster Movie which will be shown three times at the start of the examination. It will usually take about 20 minutes to watch and make notes on the sequence. In Section 2 the questions will then broaden out in order to allow you to compare the sequence to the Disaster Movies you have studied in class. Section 3 will use print based resource material which relates to the Disaster movie. Students will be asked to identify typical genre features. They will also need to analyse the layout, images and text used and comment on why or how they have been used. They should also consider carefully how this material appeals to its target audience. In section 4 students will have the opportunity to demonstrate their knowledge and understanding of genre in a creative way .Here the pre-production and production work they have completed for coursework will provide a solid foundation. The questions in this section will give them the chance to show the importance of genre in terms of audience appeal and to demonstrate how it is used by the organisations which produce and market films. This section will also require the ability to identify the typical features of the Disaster Movie, for example, codes and conventions, camera techniques, characters, narrative structures, audience appeal. Exploring Film outside Hollywood (1 hour) 20% The second exam will require students to focus upon at least one film made outside Hollywood chosen from a set list. (See Appendix A) They will have an hour in which to answer three compulsory questions. Section 1 of the paper will require them to describe and discuss the kinds of characters, narratives, themes and issues that have been explored in their chosen film. In Section 2 you they must focus carefully on an important sequence from the close study film and describe in detail the ways in which key themes and issues are represented. Here again, the work they have already done in the first part of your coursework, for example on mise-en-scene, camera movement and framing, editing and sound, will help to inform their responses. The Genre study will also help in terms of the knowledge and understanding of
GCSE in FILM STUDIES Teachers’ Guide 8
how narratives are structured, the identification of specific character types, and repeated ideas. Section 3 is designed to give students the chance to respond in a creative way to the film and to show an understanding of a range of the ways in which films are marketed and reviewed. They may, for example, be asked to write a review of their chosen film for a specific target audience, publication, or media platform. Although this question invites them to think carefully about producers and audiences, their personal response to the themes, issues and performances within the film is really important. Film Language The most important aspect of any Film Studies course is learning how to analyse films using the appropriate terminology. Your students will already have a good understanding of the different conventions used by film-makers. They will be sophisticated audiences aware of how different aspects of film language make them feel as a member of an audience; so in learning film language they will be merely putting technical terms to this unspoken understanding. Possible approaches to teaching An introduction to film language starts with the basic differences between: • •
macro elements of film language and micro elements of film language
The macro elements of film language are key concepts of the whole course. It is important to emphasize to students that all their work in Film Studies is in some way linked to these. • • •
Narrative Genre Representation
For analytical purposes these areas are separated but students should always be making links between areas of their learning. Micro elements are the smaller details by which audiences make meaning of narrative, genre and representation. These are: • • • •
•
Camerawork Editing Sound Mise en scène Special effects
GCSE in FILM STUDIES Teachers’ Guide 9
MICRO ASPECTS OF FILM LANGUAGE
CINEMATOGRAPHY When considering the teaching of cinematography, you are obviously considering the visual impact of moments in a film. Camera shots are chosen to draw our attention to various aspects, important to the development of the narrative. Long and wide shots establish the setting or dramatic events; close-ups bring our attention to significant props or emotional expression. All films use the camera in this way so it is easy to find suitable clips; but you may also want to find clips with low and high angle shots, tilted frames and 360° shots. Possible activities: •
Spotting shots – Use stills to identify shots.
•
Analyse how shots are used in a range of genres. If in groups students can split shots between them. Otherwise play the clip a few times.
•
Construct storyboards – for an exciting/climactic part of a specific genre film. This is an excellent way for students to learn various aspects of film language but particularly helps them to connect genre with cinematography choices.
Possible extracts: Back To The Future 1 – scene where Marty is being sent ‘back, to the future’. Lots of low and high angle shots and tilted frames. References to gothic horror genre. The Day After Tomorrow – scene where the tidal wave hits New York. Some particularly interesting camera movement and emphasis on the dramatic special effects using birds eye view and a 360°panning shot.
EDITING The most significant aspect to talk about when looking at editing is how it affects the pace of the narrative. Students need to be aware of how the choices of edits used effects the narrative flow; i.e. dissolves maintain the connection between scenes; fades often signify an ending of some sort. But often is more important to look at the timings of shots and what images the edits cut between. This is of great importance as it can build up drama, fear or excitement. Possible activities •
Trailers are great for studying editing as they often use lots of different types of edits and the pace created is obvious.
•
Watch a couple of sequences from different genres and compare how they use editing to create pace and atmosphere in different ways, appropriate to that genre.
•
Film a short sequence and edit it in 2 different ways, experimenting with styles and speed to see what difference this makes to the narrative.
GCSE in FILM STUDIES Teachers’ Guide 10
Possible extracts: Titanic –scene as the ship is going down. Look at how drama is built by the different shots edited between. Mission Impossible 2 - the final fight scene. Look at how pace builds up and the cuts between the enemies. SOUND Students need to be clear of the differences between diegetic and non-diegetic sound and how they impact on the film. Music is one of the most significant aspects of a film’s sound, as it is used so regularly to build atmosphere, to identify particular moments in the narrative. It is also interesting to consider ambient sound as an important part of establishing setting and sound effects related to aspects of genre, e.g., exaggerated knife noise in a horror film; loud punch sounds in action movies. Possible activities: •
Play the sound from an extract of a film without the images and see if the students can guess the genre/what film they are watching is happening/what.
•
Compare how a couple of film’s use music to create tension. Get students well practiced at describing how music builds and what kind of music is being used – orchestral/rock, piano etc.
•
Watch a trailer and examine the different uses of sound within it. Often sound effects, music, dialogue and narration will all be used so students can consider the significance of each use to how the film is being marketed to its target audience.
Possible extracts: The opening of Raiders of the Lost Ark – great for ambient sound, sound effects (whip,gun)and use of music. Also no dialogue from central character, significant to establishing of character. Face Off – scene: child listening to ‘Over the Rainbow’ over the top of violent shoot out. – Contrapuntal sound. Also dramatic sound effects in between. *www.filmsound.org is a useful resource for teaching about sound* MISE EN SCÈNE Analysing mise en scène is a matter of tying together the aspects outlined below and considering their importance in terms of the development of the narrative. Analysing the mise en scene in one still image can also help students consider genre conventions. Mise en scene includes: • • • • •
The positioning of characters within the frame Facial expressions and body language Settings and props Costume, hair and make-up. Lighting & colour
GCSE in FILM STUDIES Teachers’ Guide 11
Props and costume are important in portraying the time and place in which a film is set and the positioning of characters and body language reveal much about their place in the narrative. Lighting and colour can be taught separately as there is a lot to discuss, such as how the positioning of lights creates certain moods, how colour can be symbolic and how lighting and colour are used in particular ways to connote genre. Possible activities: • •
•
Obtain some still images from films from different genres and ask students to annotate the mise en scene saying how its use reflects the genre of the film. (Available on various websites, including imdb.com). Look at an extract from a film set in a clear historical period and set students the task of comparing the props, costume and settings used with real historical examples in order to comment on authenticity. (This could bring up important discussions about whether authenticity is important.) Compare the use of lighting and colour in 3 films from different genres. (Sci fi/horror/action adventure are particularly good choices). Look for how they establish setting and what is connoted by the use of particular colours -e.g. blue=cold, red=violence, white=innocence.
Possible extracts: The Mummy, scene where the heroes send Imhotep back to the Underworld. Different uses of colour and lighting can be analysed to discuss connotations, setting and genre. Star Wars episode 3, scene where Anakin and Obi Wan are fighting. The use of lighting and colour – hell and the dark side; setting and costuming – sci-fi genre
SPECIAL EFFECTS Teachers of this subject do not need to be experts in social effects but you should be able to discuss the nature of different special effects and what they add to the film. *Extras on DVDs can be good resources as they often include explanations of how special effects are used within the film. It is also interesting to discuss the place of special effects in audience pleasures, particularly with genres like the disaster movie. We expect amazing special effects in some genres and they can play a large part in our appreciation of a film. Possible activities: • •
Compare the use of special effects in an original film and its remake – such as King Kong. Discuss the differences technology has made to the viewing experience. Debate the place of CGI in contemporary films. Some Directors are rejecting them in favour of real stunts and actors (e.g. Casino Royale 2006); but would Lord of the Rings trilogy been created so successfully without them?
GCSE in FILM STUDIES Teachers’ Guide 12
MACRO ASPECTS OF FILM LANGUAGE Many references have already been made as to how the study of micro aspects of film language can be used to gain knowledge regarding genre and/or narrative. As key concepts it is important to make connections between elements of learning with GENRE, NARRATIVE and REPRESENTATION. The study of macro elements of film language should also be used as a stepping stone into Paper 1. It is important for students to be able to define, recognize and analyse film genre. The best way to do this is to compare different films and the conventions they use. So show students extracts from a variety of films, including ones that are not easily identifiable as one particular genre, to make them aware of the complexities around genre and how it is not a rigid concept.
GCSE in FILM STUDIES Teachers’ Guide 13
NOTES FOR GUIDANCE Exploring Film The intent of this unit is very much spelled out in its title. The students should now be prepared with the basic tools they need to explore this specific Hollywood genre. They will use their knowledge of film language to look at the Disaster Movie. This should include both the familiar (to help their application) and the unfamiliar (to increase the challenge slightly). This part of the course ‘bridges’ many areas as the students look at films they may not have seen before that still follow familiar Hollywood practices it is a first step towards the very unfamiliar of the Film Outside Hollywood unit. Perhaps more significantly it brings together the Film Language Unit (through micro and macro analysis of the films) and film industry production that is a big part of the coursework in Exploring and Creating. This brings us to the two main ‘anchors’ of working with the Exploring Film section; Film Language and Film Organisations. In studying any mainstream Hollywood genre these two should ‘go hand in hand’. Film Language should be used to consider the ‘art’ of the films, how meaning is constructed, what works and what does not. The films studied should provide opportunity to deepen and hone the students understanding of Film Language both macro and Micro. In terms of Film Organisation looking at a mainstream Hollywood genre is the perfect opportunity to study how the ‘business’ aspect of film operates. All the aspects of production, distribution, exhibition and audience should be considered through the films chosen. The following maxim summarises much of this ‘double-study’: “The trouble with films as art is that they are a business, and the trouble with films as a business is that they are an art.” Choice of Films Aside from the usual restrictions of availability and certification there is no prescription on the films to be considered. One focus of genre study is to spend time considering the parameters of the genre itself. What is a Disaster Movie, what is not and why? Teacher latitude and discretion is assumed here. Indeed if intelligent argument is used by a student in any assessment to justify a ‘left of field’ selection this should be rewarded. Nevertheless this is guidance and a basic (probably imperfect) definition of the Disaster Movie might be: “A Disaster Movie is a movie that considers the effect on people of a large scale catastrophe. This event will typically be a natural disaster or its like stimulated by the actions (or inactions) of mankind.” Again teachers should not be too prescriptive in applying this and any other definition but ultimately there has to be some films inside, and many more outside, the genre. Even with a tight definition the list of potential films is thankfully longer that one first imagines. As a general guideline it is hoped that at least one film from the 1970’s and 1990’s cycles will be studied. This augmented by others and even documentary material to provide a contrast between the real and the fictional. How many films in total are a matter of teacher choice and time available but through either full screenings or selected sequences it is hoped the coverage be as wide as possible. There are many lists available on the internet the contents of which provide debate in and of themselves as a general guide here are some of the main ones:
GCSE in FILM STUDIES Teachers’ Guide 14
The Poseidon Adventure Poseidon The Airport series The Towering Inferno Earthquake A Night to Remember Titanic Armageddon Deep Impact The Core Dante’s Peak Daylight Juggernaut The Hindenburg Meteor Outbreak The Perfect Storm The Swarm Twister United 93 Volcano World Trade Centre This list is not exhaustive teachers are encouraged to use it or add to it in the course of studying this unit. POSSIBLE APPROACHES Film Language Any initial work should centre on the review of genre theory and an attempt to define the Disaster Movie. Once this ground work has been done then testing this can be done through screening whole films and/or sequences. Sequences in particular should be used to consider elements of film language, either as part of a whole film or a small selection. The macro elements of film language are probably best considered across a whole film. In terms of topics within which to apply Film Language the following is suggested: The Disaster movie Codes and Conventions Themes Iconography Narrative and Plot Style Characters and stars Ideologies These topics can be studied as standalone components or applied jointly to a specific film. Specific approaches could take the form of studying one film, sequences, contrasting a selection from the 1970’s & 1990’s, comparing original and remake, or different films about the same disaster. Whatever approach chosen students should build up clear ideas of what each of these topics means in terms of the Disaster Movie.
GCSE in FILM STUDIES Teachers’ Guide 15
Film Organisations The potentially ‘driver’ of the two themes should have at least two study components – research and creativity. Straight teaching will be required to ensure students grasp what is meant by the film industry and its various components. Discussion of the relative importance of production, distribution and exhibition will be part of this, in particular the role of marketing within this process. Staff is advised to build up their own research base regarding these topics but as importantly students should be encouraged to ‘look behind the curtain’ and research the industry responsible for the films they are studying. This can take whatever form deemed appropriate focus on an element (production, distribution, exhibition and marketing) as a class, group or individual. The creative aspect of this is linked to the coursework when students are asked to design their own ‘products’ using what they have learned. In researching the business background to any film it should reveal the ‘nuts and bolts’ of box office receipts. This is a link into considering audience as the amount of revenue a film generates will at least describe the size of its audience. This can then lead into the specific considerations of audience outline in the specification. Any study of audience at this level should emphasis that the important people to mainstream cinema going are the students, 15-25’s, rather than the teachers who may fall outside of this age bracket. Teachers are encouraged to devise their own approaches to this section of the course. Anything is acceptable providing the three areas of the specification are reflected across the study of the Disaster Movie.
GCSE in FILM STUDIES Teachers’ Guide 16
RESOURCES The Disaster Movie is not amongst the most written about of film genres. This has the advantage that one isn’t confronted by the huge often confusing (sometimes contradictory) array of resources that come along with more popular genres like science-fiction. There are resources out there sufficient to the task and the internet is an invaluable tool in this search. General Imdb – The Internet Movie Database – http://www.imdb.com Wikipedia – On line encyclopedia – http://en.wikipedia.org Film Education - http://www.filmeducation.org Has general education packs both free and to buy plus the following film specific downloads: The Day After Tomorrow, Titanic, Backdraft, United 93 and War of the Worlds. These may be specific to other subjects however, for example The Day After Tomorrow focuses on global warming in a geographical way. All of these are useful sources of information and of links to more specific sites. Specific sites Earthquake – Earthquake Trivia and More! – http://members.aol.com/earthquakemovie The Towering Inferno Website – http://www.thetoweringinferno.info There are many, many others as a quick Google will reveal these are two examples that I have either found useful or referred to. There is even a Disaster Movie quiz on the Guardian Unlimited website. The teacher should use their own judgment as to the use and value of these websites but they do provide a valuable source of background information. DVD All of the films are readily available on DVD. Those that are special editions provide many useful and valuable extra features that will enhance the study of all aspects of this section. In some cases, for example The Towering Inferno, the region 1 (USA) release is a superior package. Additionally there are documentaries available that have not been released on region 2. If you have ready access to this facility then they are worth a look, although not worth the extra expense of new hardware. These are Boom! Hollywood's Greatest Disaster Movies. and The Fantasy Worlds of Irwin Allen. Both resemble an extended DVD extra and cover mainly the film output of the issuing studio. Channel 4 also made Fire In The Sky – Hell Underwater hosted by Mark Kermode which gives a very good general overview of the genre if you can get hold of copy.
GCSE in FILM STUDIES Teachers’ Guide 17
Books It is assumed that there will be access to general film textbooks (including the course specific one) that may or may not deal with the Disaster movie. There are some books dedicated to this or related genre. Disaster Movies: A Loud, Long, Explosive, Star-studded Guide by Glenn Kay, Michael Rose Publisher: Reynolds & Hearn Ltd., ISBN-10: 1905287453, ISBN-13: 978-1905287451. - A good fun round up and reminder in review form as to the extent of the genre’. Disaster Movies: the Cinema of Catastrophe (Short Cuts) by Stephen Keane, Publisher: Wallflower Press, ISBN-10: 1903364051, ISBN-13: 978-1903364055 – A much more academic work more suited to staff than students some good ideas and references. Apocalypse Movies (Paperback) by Kim Newman
GCSE in FILM STUDIES Teachers’ Guide 18
Films outside Hollywood This unit is designed to expand your student’s knowledge and understanding of films that feature people, cultures and settings that may be outside their direct experience of life. However, the films chosen all contain universal themes and have young people at the heart of their narratives. Students will be expected to study at least one of the following films in depth:Tsotsi Whale Rider Devil’s Backbone Amelie Bend it Like Beckham Goodbye Lenin Spirited Away Yasmin Ratcatcher Ghosts
South Africa/UK 2005 New Zealand/Germany 2002 Spain/Mexico 2001 France/Germany 2001 Gurinder Chadha, UK/Germany/US, 2002 Germany/ 2003 Japan 2001 UK/ Germany 2004 UK/France 1999 UK 2006
Through these close studies students will explore in depth the following areas: • • • • • •
The differences and similarities between films made in mainstream Hollywood and those made in other parts of the world. The social and historical context of a selection of the close study films. The characters, narratives, themes and issues raised within the non Hollywood close study films. The ways in which people, places, events and issues are represented. The organisations which produce the films and the audiences who respond to them. Their own response to the film and the forms in which this critical response may be expressed.
How to Approach the Focus Film It is important to begin the study of films made outside Hollywood with a session which explores what your students expect from a Hollywood film and a consideration of the ways in which other forms of cinema may either be similar or differ from this. Whilst the concept of ‘world cinema’ may be problematic because of the sheer diversity of film-making in other countries, other cultures, students will already have a set of expectations that they bring with them when watching a British film, this should provide a good starting point for this paper. • • • • •
Posters can also provide an interesting ‘way in’ to this work. You could start with three stimulus posters, for example, ‘Clueless’ and ‘ Amelie’ and ‘The Full Monty’ then explore the following areas: Which is the Hollywood Film, the British and the French film? What kinds of clues do the posters contain which help to identify their country of origin? What kinds of expectations are set up through the choice of images, the titles, genre, or stars? Which film would they prefer to see? Why?
GCSE in FILM STUDIES Teachers’ Guide 19
These questions should provide a spring board into a discussion of what they already expect from films made in these here countries. Does the prospect of having to read subtitles form a barrier to their enjoyment of films made in non-English speaking countries? Perhaps the desire to see one of their favourite ‘A List’ Hollywood stars appeals to them much more than watching actors they have never seen before. Draw out audience issues already tackled in the genre study, for example, the fact that audiences base their viewing choices on what they already know and like. They don’t want to be disappointed so they pick familiar films of a specific genre, containing their favourite stars, or director. Invariably these will be the main bill of fare at their local multiplex – again take this opportunity to consolidate issues of industry already introduced. In short get your students thinking about the set of expectations they have when watching films and underline the fact that many of the films they have studied for this course will have been made in Hollywood. Often when we think cinema, we automatically think Hollywood and then we compare other kinds of cinema to it. •
Research a typical week’s programme at your nearest multiplex cinema.
•
How many films are American? How many are from other countries?
•
How do we identify, for example, a French Film? Is it because all or most of the money to make the film came from France? Is it because the principal actors were French? Is t because it was set in France? Is it because it tells us more about French history or culture?
When we talk about ‘British Cinema’ or ‘French Cinema’ or ‘Australian Cinema’ we perhaps assume that the films made in these countries are somehow quite different to Hollywood Cinema. This is not necessarily true and although students will identify several differences in terms of style, or settings, between their chosen focus film and a typical Hollywood film, there may also be striking similarities. The focus films have been chosen because we think they are both challenging and enjoyable. They provide clear opportunities for students to study performance. Invariably they contain interesting performances by actors that students have probably never seen before – sometimes these actors have had very similar life experiences to the characters they play. The issues dealt with are worthy of thoughtful, reflective exploration and can be responded to on a number of different levels. Some of the settings may be unfamiliar to your students but the problems or situations which face the characters may not. The focus film should provide both the opportunity for students to learn more about the people and places featured within the film’s world, and the chance to engage, understand and respond to the film’s issues. It would be useful, if you have time, to study two of the films on the list especially as they do explore similar themes. So ‘Tsotsi’ and ‘Rat catcher ’, for example, deal with the problems of poverty and the importance of family. ‘Amelie’ and ‘Sozhou River’ with love and loss. ‘Yasmin’, ’Ghosts’, ‘Whale Rider’ and ‘Goodbye Lenin’ feature the difficulties of prejudice, culture clashes and living within a fast changing world. ‘Spirited Away’ and ‘Devil’s Backbone’ create worlds where ghosts and spirits are seen as both negative and positive controlling forces. All the films have the experience of young people within the world at the heart of their narratives. All explore what we call ‘universal themes’ – situations and problems that affect us all at certain points in our lives.
GCSE in FILM STUDIES Teachers’ Guide 20
It will be useful to introduce the films by giving the students a brief overview of the film’s story together with its institutional and cultural context. So, for example you are looking at ‘Tsotsi’ they will need to have been made aware of the social and historical context of the film e.g. South Africa today set against its history of Apartheid. The study of ‘Ghosts’ could begin with research on the cockle pickers tragedy in Morecombe Bay (Wikipedia provides a useful starting point as it contains external links to a wide variety of related newspaper and television reports). Trailers can be very useful in terms of exciting interest in the focus film. Tsotsi’s trailer is only 30 seconds or so long and yet all of the major themes are previewed through the imagery, voice-over and word wall that is repeatedly shown as a backdrop to dialogue and images. It is also useful to view and analyse the opening sequence of the film before the full screening. This allows students to predict what might happen, to consider the ways in which the film’s world is established and to identify key ideas and themes. Whichever film you have chosen to study with your students, this section of the course will require a close analysis of key sequences, beginning with the opening sequence. The work that students have already completed on the ‘macro’ and ‘micro’ elements of film language will provide the foundation learning for the exploration of how central characters, and some of the ‘Universal’ themes, or issues, mentioned above are represented in the close study film.
GCSE in FILM STUDIES Teachers’ Guide 21
Tsotsi Introduction South Africa has had a violent, troubled history. Although ‘Tsotsi’ has been set in contemporary Post-Apartheid South Africa a consideration of this history will allow a deeper understanding of the themes and issues explored within the film. Athol Fugard wrote the novella on which the film was based in the early 1960’s and set the story in the 1950’s during the Apartheid years. Why Gavin Hood chose to transpose the story into a modern context is an interesting question which should allow a focus upon the problems which still face the 21st century South Africa. Today South Africa is governed by those who represent the majority of the people. It has abundant natural wealth and yet the majority of its people live in poverty. The film ‘Tsotsi’ reflects these contrasts – economic wealth with terrible poverty, freedom and vibrant optimism with crime, disease and drug addiction. Industry This is an interesting case study in terms of a consideration of industry. The film is a joint Uk/South African production and has sold well across the world and yet it is atypical of the film usually produced in South Africa. The DVD extras touch on the problems caused by the act that 11 different language groups interact within South Africa. Post Apartheid and up until quite recently it was much cheaper for Hollywood to make films in Cape Town. It may be useful to encourage students to watch one of these films, for example, ‘Sarafina’ starring Whoopi Goldberg , ‘Cry ,the Beloved Country’ with James Earl Jones or ‘Cry Freedom’ with Denzil Washington in order to look at the important differences between these and ‘Tsotsi’. The consideration of industry should inevitably involve questions of audience also. Tsotsi is an example of a film that has attracted both black and white audiences in South Africa. So saying, most cinemas in South Africa are situated in shopping malls and have very high ticket prices thus prohibiting many of the poorer sectors of society from Cinema –going (see ‘Hour of the Thug’ Emma Brockes Guardian March 10, 2006) Exploring the Film Begin at the beginning. In ‘Tsotsi’s case with the trailer. This will allow you to explore the industrial purpose of a film trailer, what it is selling and how. Encourage your students to focus carefully on the images chosen to attract us to the film, how important sound is in creating this particular film world, what information is communicated about the characters and narrative and how enigmas are created in order to arouse our curiosity. The next point of entry could be the opening sequence (approx. 10minutes). Here an analysis of mise-en-scene will provide an opportunity to focus in upon recurring motifs such as chance, decency, Aids/HIV, family and name. It will also allow a consideration of the ways in which film language helps to establish the differences between each of the gang members e.g. by closely focusing on their different reaction to the murder on the train. By the time the students to watch the film through for the first time they should already be aware of the ways in which particular themes are signed and may also have formed a fairly negative opinion of Tsotsi’s character. It will be useful to consider how and why opinions change after the full screening and to evaluate how thematic concerns are developed, or deepened as the film progresses. In terms of narrative structure it is useful to look at the flashbacks, chart where they appear in the film and explore the effectiveness of revealing Tsotsi’s past in this way.
GCSE in FILM STUDIES Teachers’ Guide 22
At a deeper level it is useful to look at the interview with Gavin Hood on the DVD extras and explore the ways in which his own beliefs provide the driving force for the messages and values represented within the film. This unit is designed to encourage a spirit of discovery and to engage on a number of different levels. Some students may want to explore in depth the complex social questions raised, ‘Why haven’t things changed in South Africa over a decade after Apartheid?’, ‘What connections can be made between Tsotsi’s situation and the social conditions of marginalized communities in other countries?’ Others may read and be moved by the story on another level. In terms of focusing upon the differences between Hollywood mainstream and this film it is useful to look at the choice of ending (see DVD extras) and discuss which of the alternate endings your students would choose and why. Resources ‘Tsotsi’ DVD Extras Film Education: Tsotsi Study Guide GCSE Film Studies: Fairclough, Garvey, Newman & Patrick ‘Hour of the Thug’ :Emma Bockes - Guardian 10/4/2006 Tsotsi: Philip French -Observer 19/4/2006 ‘I saw blood on the street’ – Dorian Lynskey- Guardian 16/4/2006
GCSE in FILM STUDIES Teachers’ Guide 23
Spirited Away Introduction Spirited Away provides an ideal opportunity to explore the world of film outside Hollywood. Even though as a film it has found a wide audience in western markets validated to some extent by an Academy Award it should still represent part of ‘the other’ of the film world. As a teaching resource it should be regarded as a ‘gateway film’. A ‘gateway’ to the world of anime films and the wider areas of Japanese culture and far eastern cinema in general. It is expected that the bulk of student experience of animated films will be decidedly western – Disney, Pixar, Aardman, Warner Brothers and so on. Contrasting Spirited Away’s tone and approach should be a key in its consideration. Staff should be aware that students may be aware of/experienced ‘Japanimation’ in some form or other Pokemon, Yughio and should utilize this in exploring the Anime genre. A note of caution needs to be sounded here that anime is a broad genre with large sections of adult content and vetting of films and student contributions may be necessary. One of the differences this exploration will highlight being that in Japan ‘cartoons’ and ‘comics’ are not just for kids. Exploring the Film One of the great advantages of anime is the way it deliberately works on different levels. The first level that is often the initial point of engagement is the purely visual. Anime will present highly imaginative and superbly executed visual to look at and examining them is a good start. The level of detail, the use of colour, the depiction of characters and the ‘cinematic’ quality are just a few points of entry here. The story itself is the next level to consider. In Spirited Away it resembles an old fashioned fairy story or fable. It familiarity in terms of the lost child theme can be linked to any number of western stories (Alice In Wonderland, Red Riding Hood and so on). Issues such why is it a little girl lost, where is she lost, why is she lost, is it just her that is lost are possible avenues of exploration. The deeper levels then can consider what this story tells us, in particular the younger audience. Discussing Myazaki’s motivation to teach a ten year old some lessons could be used as a spring board for this. Indeed its success should reveal how there are lessons there for everybody on all different levels. Even if it only as basic as a world of animated feature exists outside of Disney and Pixar. There are ‘industrial’ concerns consider also. Are the production, distribution, exhibition and marketing of these films different? If so how so, if not why not? Overall the study of Spirited Away should serve to begin a process of discovery for the student. It should be borne in mind that the most important aim of this section of the course is to if nothing else introduce the ideal that there may be films from other parts of the world worth watching.
GCSE in FILM STUDIES Teachers’ Guide 24
Other/supporting films? Suggestion is the only prerogative here. As anime is a whole different set of genres then this may well be a matter of taste. Again there are some basics to consider – many texts are unsuitable for students at this level (any viewer would be well advised to steer clear of the whole tentacle sex thing for a start, and many texts are not strictly films as they are made for TV or OVA (original video animation). Given these the field is wide open. It would probably be reasonable to expect reference to other Ghibli texts, particularly Miyazaki’s. Perhaps use of some of the other famous films like Akira (the first big anime breakthrough film) and Ghost in The Shell (a key 1990’s film). Others could include The Animatrix, Memories, Steamboy, and so on. As long as the choice serves the aim of expanding awareness of a culturally alien genre then anything is fine. Resources DVD. The films themselves and the often extensive extras packages are invaluable. Resources GCSE Film Studies Fairclough, Garvey, Newman &Patrick
GCSE in FILM STUDIES Teachers’ Guide 25
Creative Responses to Films made outside Hollywood. The final question in the examination is designed to allow you to allow students to creatively apply their knowledge and understanding of the ways in which their focus film communicates all the issues, ideas that have been explored and discussed in class. They may, for example, be asked to write a review for a specific target audience, create a poster, design a page for a website, or produce a ‘blog’. Any of the tasks set will require a consideration of the following areas: • • • • •
The issues raised by the focus film Characters, performance and narrative The representation of people and places and how film language contributes to those representations. A personal response to the film. An understanding of how different film related media products are formatted and designed to appeal to a specific target audience.
All of these areas will have been covered in other areas of the course and we recommend the regular inclusion of opportunities to learn about and creatively explore different ways of demonstrating knowledge and understanding (e.g. designing a web site, or creating a poster for a specific Disaster Movie during their Genre study) As with any examination practice is important, here are some activities which may help them to prepare for a film review task. • •
•
•
•
Buy and read a selection of Film magazines, discuss style and format in class, and carry out some research on the target audience for these publications. Visit www.imdb.com and go to the relevant page for their film. Along the right hand side of the page you will find a column which contains ‘external reviews’. These reviews have been written by film critics or journalists with specific audiences in mind. Read through some of these reviews, and note which publication or platform they were written for. Print off two that you find interesting. Go back to the home page for your film, just under the main credits you should find a heading called ‘user reviews, click on this and read through some of the comments that ‘ordinary’ viewers have posted onto the web site. Print off two interesting or challenging examples. Are these reviews different to the external reviews you have looked at? If so why? Look through your 4 reviews carefully and make notes on what the writers have included. You should end up with a list like this: language, themes and issues raised performance, music, narrative, cinematography, awards won and critics’ personal responses. Decide where you want your review to go. If you choose Empire or Total Film look carefully at the style and language used in these publications. If you decide on a user review why not post it directly onto the imdb web site?
GCSE in FILM STUDIES Teachers’ Guide 26
COURSEWORK: EXPLORING AND CREATING
1.
Exploring a Film of Candidate’s Choice.
The work for this short analysis (350-750 words) is designed to consolidate knowledge and understanding of the ways in which the ‘micro’ elements of film language create meaning and response in an extract from a film chosen by the student. Preparation for the initial analysis should begin with a brief research project based on the student’s favourite film. This research should focus on the production of the film- who made it and how? The distribution of the film – who sold it and how? And the exhibition of the film – why and where have audiences chosen to see it? After completing their research students should summarise their findings on coversheet F? After completing their initial research students should begin work on their close analysis. This analysis should focus on a short sequence (approx. 5 minutes) from a film of their own choice (possibly their research film). Although it is envisaged that in the introduction to the micro elements of film will involve teaching particular extracts each student should be given a free choice of film to study for this element of their coursework. In order to allow a deeper, more detailed analysis students should also be encouraged to focus on one or two ‘micro’ elements e.g. Sound and editing. During the course it will be necessary/useful to ‘build in’ a number of opportunities for your students to complete short ‘micro’ analyses of a range of films – any one of these may be chosen for submission for this unit.
2.
Pitch and Pre-production
Pitching Time to get the students thinking about their own films and coming up with brief synopses. Could begin by asking them at they understand by ‘pitching’ and where they think the term may have come from. Introduce to industry – role play- they are screenwriters who want to have their screenplay made into a film. What is the first thing they should do? Write the screenplay, or test the idea before wasting time and energy on writing something that may not be produced. Time is money in any business context. They need funding in order to develop their ideas. Screenwriter may have less than a minute to convince a producer that their idea is bankable and worth pursuing. Building on successful commercial enterprises. Make reference to other successful film, specific stars as ‘shorthand’ to allow producer to visualise film. Ideas about combining two successful films or stories eg.’Romeo and Juliet’ meets ‘Gone in Sixty Seconds’ Pre-Production Script At this level students should be encouraged to view the project as a ‘shooting script’ rather than a ‘play’ and should aim to strike a 50/50 balance between dialogue and visual exposition.
GCSE in FILM STUDIES Teachers’ Guide 27
Visual exposition refers to all of the things that the audience would see when they are watching the film (as opposed to the dialogue which they would hear). Considering the word restrictions one possible way of approaching the task would be as a ‘pre-credit’ sequence. Many films run for 2-3 minutes before the title sequence commences so there should be plenty of examples that could be used in class. Learners need to remember that that the aim of the pre-credit sequence (or any opening for that matter) is to establish: • • • •
Character(s) Setting Themes Significant Narrative Event
Format: Students do not need to follow the conventions of a professional screenplay (although looking at these is good practice). They do need to make it clear that the script is designed to be a film – not a stage-play. Basic cinematic elements such as camera distance, angles and direction will help to make this distinction clear. Other Resources: •
Drew's Script-o-rama
•
Screenwriting For Dummies (Shellhardt, L. 2003) Aimed at those who think they have what it takes to be a professional screenwriter, the book is reasonably accessible for students and has a good chapter on breaking down the elements of your story.
www.drewsscriptorama.com
There are plenty of other books available on this subject, although they are better for teachers than students at this level. Storyboard There are plenty of good web based resources, and good professional examples of storyboards. But students really need to look at films and list the shots used in a 15 shot sequence. This is useful as students often assume they know how to construct a film storyboard sequence but do not include the range or number of shots that a real film would. Students also thing that every shot has to be massively different from the last, rather than the more subtle shot changes that real films include. Students should be aiming to cover as many different shot types as possible in their 15 frames as the task is ultimately about showing their knowledge of film storytelling (not artistic ability). This works best when candidates focus on a pivotal scene rather than a conversation between two characters which relies heavily on shot-reverse-shot. There are also plenty of templates available online for students to use. They should be encouraged to use wider frame ratios as some templates use 4:3 which is more suited to television.
GCSE in FILM STUDIES Teachers’ Guide 28
The most important features of a storyboard for showing their knowledge of film storytelling are the technical directions and instructions on how the storyboard would translate to the screen. Storyboards should include the following: • • • • •
Shot Duration (make sure this is realistic) Camera Distance (is this an accurate description of the shot?) Camera Angle (is this correctly labeled?) Dialogue Sound Effects (has this been carefully considered? – Films are very rarely completely silent!)
One good way of getting students to assess the quality of their storyboards (and to see if they make sense) is to transfer the images onto PowerPoint slides and get the student to present them to the group. This will highlight any problems with the sequencing of shots and is a good way of gathering information for the self reflection. Other Resources: • • • • •
Exploring Storyboarding (Tumminelo, W. 2004) http://www.exposure.co.uk/eejit/storybd/ has a couple of tips but is useful for its downloadable storyboard templates in different aspect ratios. http://www.steponline.com/everest/Everest_lesson_1.pdf class exercises on creating photo storyboards, this includes lesson ideas based around conflict, and the tasks can be easily adapted. http://www.ersoz.com/storyboard/storyboard_main.htm Sahin Ersoz’s site is good for examples as the storyboards play on a timeline allowing students to see how the images come together to form a sequence. You Tube www.youtube.com provides plenty of examples of storyboards from professionals as well as the occasional storyboard from films students will be familiar with.
Teaser Posters As this task is a mock up it is expected that students may submit hand drawn work or work that contains images found on the internet. For learners to understand the difference between a teaser poster and one intended for display during the theatrical release, they really need to look at some genuine teaser posters. Most official sites for films due to be released should have these or a trip to your local cinema is another place to see these. Some time should be spent discussing the function of a teaser poster, which is usually: to alert potential audiences to: • • • •
Stars Genre Artwork (logo, key image) Basic Premise
Good recent examples include Superman (2006) Transformers (2007) and the forthcoming Star Trek Movie (which has a poster but does not yet have a title!). Students should approach the 2 teaser posters required as complimentary, rather than simply variations on the same central image. They should attempt to follow the conventions in terms of the information they include and the basic size ratio.
GCSE in FILM STUDIES Teachers’ Guide 29
Other Resources: • •
Google Image Search typing the name of the film ‘+ teaser poster’ should locate most examples although it can bring up all posters for the film not just teasers. Poster wire http://www.posterwire.com a blog/discussion board about the latest posters released.
Merchandising Evidence that the student has considered their target audience is the key to success with the merchandising portfolio. It is one place where students can let their imagination go wild, but if the items they design are not suitable for the films audience then they are not demonstrating they understand the issues. Learners are only required to provide the designs for the merchandise, but more eager candidates may want to produce actual items (t-shirts, mugs, key rings). Hand drawn images are perfectly acceptable, but must be clearly labeled and identifiable as ‘licensed’ products. Students should be aiming to produce 3-5 items and should hopefully cover a range of different types of item. Ideally the work produced will show that students are familiar with ‘tieins’ and ‘spin-off’ merchandise. Typing Harry Potter into amazon.co.uk will demonstrate to students the wealth of licensed material that can be released. Catalogues from companies that specialise in film memorabilia/merchandise such as Forbidden Planet and the classified ads in the back of film magazines can also be a useful source of discussion and ideas. Not all films are suitable for merchandise and students should consider if their film has merchandisable qualities. Looking at products currently available should highlight that the most common films to spawn a wealth of licensed products are Children’s films and those with cult appeal of specific niche audiences known to spend money (sometimes considerable amounts) on products related to their favourite film. 3.
Production
Students are only required to produce one of the following productions. The only brief available for group work is the film production task. Film Production For students to do this successfully they need to understand the purpose and limitations of the task. Even though eager students will want to produce more substantial films, they should try to stick to the 90 second recommendation and aim to show their understanding of film storytelling devices applying knowledge acquired elsewhere on the course. Looking at short films can be a good way of demonstrating to the class what can be achieved in a short space of time. Websites like Depict shorts which hosts a variety of films less than 90 seconds could be a good source of class discussion. Careful planning is required to ensure that the sequence will: • • • • •
Use a range of camera distances Use a range of camera angles Use appropriate sound (music/effects) Edit the sequence so that meaning is apparent Create atmosphere
GCSE in FILM STUDIES Teachers’ Guide 30
Getting learners to work on a sequence that does not contain dialogue really gets them to focus on the visuals. Even though sound is clearly an area of assessment, more marks can be gained from the creation of an atmospheric soundtrack than one that relies on either dialogue of simply playing one of the student’s favourite music tracks over the top. A group size of three should be ample and give each student plenty of work to do. Even though students may see themselves as a budding Tarantino and want the role of director on a project of this size there is no need for a director. Instead the students should be given one of the following responsibilities: • • •
Camera (all camera, this probably covers what they would think of as director) Sound Editing
Other Resources: •
Single-Camera Video Production (Musburger, R. 2002) this is useful as the information is broken down into easy to understand tips and the index is clear – a good reference text for students.
•
www.filmsound.org A comprehensive website on all aspect of film sound with links to actual examples. A good place for a student interested in film sound to explore the role.
•
Digital Video for Dummies (Underdahl, J. 2006)
•
Teaching Digital Video Production (Fraser, P & Oram, B. 2003 available from BFI)
GCSE in FILM STUDIES Teachers’ Guide 31
Web Page This should stem through close investigation into a range of contemporary film websites, with students making notes on how these are designed and what features they contain. For centres that do not have access to web design packages this may seem daunting, but there are other ways of approaching the project. The task is designed to show students knowledge of the design and content of promotional websites rather than their ability to construct a fully operational site. Students should aim to produce 1-2 web pages. Links to pages must be made clear (and students may well include links to pages that they have not produced. Research into a range of official film websites will provide plenty of ideas, common features include: • • • • • •
Synopsis Gallery (Images/posters) Production diaries Information on characters Information on stars Games
The web page can be hand drawn (using 1 A4 side per page). If students do choose to draw their site by hand they should still attempt to show typical website conventions (blue underlining of hyperlinks, frames etc.) PowerPoint could also be used with student using 1 slide to represent 1 page. One advantage of this is that it allows students to create active links and buttons that can be clicked on to navigate around the ‘website’. Centres’ with web design facilities (Front Page, Dreamweaver, Flash) and student who can handle more complex design tools are encouraged to do so but it should be noted that they are not being assed on their technical ability to produce a website but their ability to replicate the conventions of an official film website. Poster Campaign The poster campaign could ultimately be linked to the web page as one more substantial production. Students who produced teaser poster designs for their pre-production should be discouraged from working on a poster campaign (unless combined with other tasks as above) as this may not be stretching enough. As this is a production task students will need to produce the poster rather than hand drawn designs and it is expected that students will use their own images. This project should be thought of as a campaign of posters rather than a couple of variations on the same theme. Getting students to think about where the poster will ultimately be displayed can lead them to think carefully about how much information and what kind of information should be included. Details on different size ratios for posters and adverts can be found on the internet, the most common for film posters are: • • • • •
1 Sheet Quad Magazine (dependent on publication) Bus Stop (6 Sheet) Billboard (48 Sheet)
GCSE in FILM STUDIES Teachers’ Guide 32
Several case studies of poster campaigns (readily available on most official sites – especially for Hollywood films) may be needed to get students looking at the different functions of each poster. They must then produce a campaign of 2-4 to do this for their film. It is expected that students should be able to follow the conventions of professional posters to demonstrate their engagement with the form. Stills The stills task could be ultimately linked to the web page as one more substantial production. Examples of stills are readily available on the internet. Students should draw on their knowledge of mise-en-scene as a starting point when analysing professional stills and publicity photographs. Resources that discuss film stills and their function may be more difficult to find, but this should certainly be an area of investigation if students are to produce high quality images for this task. Students need to understand that stills are part of the publicity campaign and would be supplied to the press for use when reviewing the film. They are carefully constructed photographs and not simply screenshots from the film. A series of stills will cover: • • •
Main characters (and clearly draw attention to stars) Major settings Key narrative events
Each still may serve a specific purpose in relation to this list. Stills produced by students must be appropriately captioned. New line Cinema has a great website where stills can be viewed for their current and forthcoming releases; these also include the original captions for the images (www.moviepublicity.com). Other sources include Yahoo and IMDB (Internet Movie Database) which include stills as part of ‘publicity photos’, this will include photographs from premieres and events as well as stills and students will need to differentiate between the two. In 6-10 stills students should be aiming to include 5 different shot types. Magazine Article The magazine article could take the form of the following: • General article on the making of …(imaginary film) • Interview with a star about the making of…. (Imaginary film) It must be a work of fiction and the images used (minimum 2) must be the students own work. Students are being assessed on their understanding of the type of information which is given to the press when films are in production. They really need to look at real articles, as very often they assume they know what kind of things to include, but the work can show limitations in this knowledge. Looking at popular accessible magazines like Empire is a good starting point. In terms of format, at this level students should be aiming to replicate the layout/style of a similar publication where possible.
GCSE in FILM STUDIES Teachers’ Guide 33
Additional Resources Classroom Resources GCSE Film Studies -Fairclough,Garvey, Newman &Patrick (Heinemann) Film Language – Study Guide and compilation DVD (Film Education) Film Industry, Film Audiences –Free study guide (Film Education) Reading Films - Stafford & Newman (bfi) Film Education – Study Guides (www.filmeducation.com ) Reference Books for Teachers Teaching Scriptwriting, Screenplays and Storyboards – Readman & Clark (bfi) How to Read A Film - Monaco (Oxford) Understanding Movies - Gianetti (Prentice Hall) Studying Film - Abrams, Bell, Udris (Arnold)
GCSE Film Studies Teachers' Guide (2010)/HW 10 March 2009
WJEC 245 Western Avenue Cardiff CF5 2YX Tel: (029)2026 5000 Fax: (029) 2057 5994 www.wjec.co.uk WJEC CBAC Ltd is registered in the UK at the above address as a company limited by guarantee (no 3150875) and a charity (no 1073332).