GCE EXAMINERS' REPORTS
FILM STUDIES AS/Advanced SUMMER 2013
Grade boundary information for this subject is available on the WJEC public website at: https://www.wjecservices.co.uk/MarkToUMS/default.aspx?l=en Online results analysis WJEC provides information to examination centres via the WJEC secure website. This is restricted to centre staff only. Access is granted to centre staff by the Examinations Officer at the centre. Annual Statistical Report The annual Statistical Report (issued in the second half of the Autumn Term) gives overall outcomes of all examinations administered by WJEC. This will be available at: http://www.wjec.co.uk/index.php?nav=51
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FM1
1
FM2
4
FM3
10
FM4
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FILM STUDIES General Certificate of Education Summer 2013 Advanced Subsidiary/Advanced
Principal Moderator (FM1): Principal Examiner (FM2): Assistant to Principal (FM2): Chief Examiner:
Freddie Gaffney Jill Poppy Steve Robson Patrick Phillips
FM1: Exploring Film Form (Freddie Gaffney, Principal Moderator, FM1) General Points FM1 this year has continued relatively unproblematically. Most centres were able to encourage their candidates to engage broadly across the internal assessment components and develop a deep understanding of film form and the process of making meaning. Centres exhibited good practice in facilitating an individual approach to internally assessed work through all components, allowing candidates to work to their strengths and from a position of interest and enthusiasm. The majority of candidates across all levels demonstrated a high level of engagement with Film Studies and there is a clear sense that candidates are using the subject learning to inform their wider learning at this level. Whilst most centres were able to offer candidates appropriate tasks to facilitate their learning, some centres were not as strong in offering candidates advice as they could have been. It is essential that all centres make themselves and their candidates aware of the requirements of the current specification. There was, for example, a marked tendency towards a tighter control over candidates and the setting of more delineated tasks as opposed to open individualised tasks. In the Analysis of the Film Extract, for example, some centres offered fixed titles for selected films. Whereas centres may need to offer a menu of options for candidates to study, the Analysis of a Film Extract should be individually completed and it is therefore recommended that candidates develop their own focus and titles. Centres do need to be aware that teaching an extract is not permitted in the current specification. Similarly, in the Creative Project some centres are corralling candidates into particular genre or thematic approaches; whilst this may provide a support for creative production, in some cases it appears to be constraining candidates. Individualised learning allows differentiation, and this is obviously a benefit to the candidate and to the centre. Assessment was generally within tolerance in most centres, although using the full range of marks is to be encouraged. There seemed to be a noticeable decrease in internal standardisation occurring. Whilst time pressures are always a problem, the specification does require centres, where there is more than one teacher, to standardise internally prior to be submission of marks. Centres should ensure that the FM1a forms are fully completed with Aims and Context succinctly addressed. Candidates working in a group should identify the role they are responsible for (and the corresponding micro feature), and even when working individually a micro focus should be identified in order to provide a focus for assessment. 1
Analysis of Film Extract A trend this year has been towards rather overly complex centre devised titles/questions that frame the analysis. Taking a more straightforward approach to the analysis and focusing on the use of the chosen micro feature(s) appears more beneficial to candidate achievement and should be promoted. It is advisable that candidates identify the micro feature(s) that they are exploring in the extract in the opening paragraph. Anchoring the analysis to the micro feature(s) serves to focus the candidate on the extract and tends to reduce unnecessary description. Candidates who looked only at a single micro feature produced deeper analysis and were able to better evidence the application of learning, and so therefore this approach is strongly recommended. Whilst some candidates were able to analyse an extract from the perspective of more than one micro feature, all but the very best were not helped by this, running the risk of being superficial. It is recommended that centres encourage focus (concentrating on one or possibly two micro features to demonstrate their interaction). As in previous years, an excellent range of films and extracts was chosen by candidates stemming from and reflecting their own interests and enthusiasms. An exploration of making meaning was at the centre of the analyses. Candidates can be encouraged to deepen this through focusing on the micro features across the shot-to-shot relationship at key moments. A consideration of spectators and the way the micro feature impacts on them is recommended. The use of screen grabs and other illustrative material in the analysis is evident in many candidates’ work and is encouraging a further refining of the analysis, anchoring it to particular shots or sequences. Creative Project A significant number of centres seem to offer their candidates a single creative option rather than the freedom to choose from the full range. Whilst it is appreciated that centre conditions may prevent offering all options, it is felt that centres could still offer more than one option to allow candidates to work to their strengths and thus lead to better results. Candidates should provide Aims and Context for their work and (whether working individually on the Storyboard or Extended Step Outline or in a group for the Production option) should indicate what micro feature(s) they are focusing on for their assessment. The Digital Storyboard option continues to work for most centres, with candidates engaging with the task of structuring information and deploying micro features. It is essential that the descriptive information accompanying the images offers sufficient information for the sequence to act as a blueprint to shooting. Centres are advised to look at the guidance offered by WJEC in producing storyboards. As has been highlighted in previous reports, storyboards can be improved by including the following five pieces of information:
Camera Description (what the camera is doing, what shot size, etc.) Shot Description (what is happening in the shot – particularly useful for shots that are hard to recreate) Sound Description (consideration of both diegetic and non-diegetic sound including dialogue, atmos, spot effects, incidental music, etc.) Shot to Shot Relationship (description of editing – cut to, dissolve to, fade, etc.), and Timing (is a shot two seconds or two minutes long? Candidates should be encouraged to explore the difference). 2
There has been an increase in storyboards that cover an extended sequence (in some cases entire short films), where each frame is covering a scene. This is inappropriate and centres must encourage their candidates to explore professionally produced storyboards or work with extracts from existing films to get a sense of how a sequence can be broken down into a series of shots. The Extended Step Outline continued to show significant improvements, with candidates engaging with the ‘writerly’ nature of the task. Some centres still continue to encourage candidates to describe shots in the scene description and this is inappropriate as this is a cinematographer’s task rather than a writer’s. Instead, intended construction can be alluded to, enabling a director’s visualisation. The Production option offered some very focused work that highlighted the use of the chosen micro features within the scene. Longer work tended to hamper the exploration of micro features with complex and unnecessarily extended narrative development. The focus should be on micro features – narrative should definitely be seen as secondary to this. Candidates working together in a group must identify a role and related micro feature that they will be assessed on. Whilst collaboration is permitted, sharing roles does not meet the demands of the specification. This year there were some very effective approaches used in the reflective analysis. Online, suitably edited blogs and DVD commentaries (both audio and visual) enabled candidates to focus directly on the particular, encouraging close analysis of form and meaning rather than process. Centres are reminded that the reflective analysis for FM1 is not an evaluation of process. Please see the Notes for Guidance (on WJEC website).
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FM2: British and American Film (Jill Poppy, Principal Examiner FM2, Steve Robson, Assistant to Principal, FM2) General points
There were some very well-prepared candidates over all areas with sound, workable film choices. In Section A, a number of candidates repeated and even rewrote the resource material. The resource material should provide a springboard for responses and may be debated or even challenged. Centres preparing their candidates with sound case study material enabled them to do well in this section. In many well-taught cases, a voice was clearly emerging and engagement with issues was evident. In Sections B & C, some extremely good teaching from centres enabled large numbers of all candidates to provide good responses. These centres ensured that their candidates used sound textual referencing. Some film choices, however, made it very difficult for candidates to respond in sufficient detail. There were quite a number of rubric issues with candidates answering questions from inappropriate sections for their chosen films. Notably, candidates seemed sometimes unsure of what topic they had studied, particularly in section B. Where centres appeared to have selected films applicable to more than one topic, this appeared to confuse candidates in the examination. It is recommended that centres aim to concentrate on one topic only for this section. Preparing candidates to be flexible on topics can disadvantage them. Exam technique/practice is essential. Support needs to be provided to enable candidates to read the examination paper carefully, select the topic for which they have been prepared and then read the question closely. Although it can be useful to refer to more than two films for the Production Companies topic (to discuss range and diversity), examiners still recommend focusing on two main films so that candidates can answer in sufficient depth. A good knowledge of the micro details of the opening and closing sequences together with at least two other key sequences from their chosen films enables candidates to support statements with the appropriate filmic detail. Centres need to address the relevant British or American social, cultural and production contexts of the films they study for Sections B & C. Lack of contextual information (particularly in section C) disadvantages candidates.
Section A: Producers and Audiences There was a pleasing increase in the number of candidates who used the Resource Materials as a launch pad for discussions of the issues raised by the questions. In most cases, they were able to weave their own knowledge and understanding into these discussions. Many candidates were able to use their own, often detailed, case studies and examples to support points made and to develop their answers. Some of the best answers in Section A were able to engage critically with the question whilst providing a clear and sophisticated knowledge and understanding of the film industry in the UK and the US. However, Section A continues to cause some common problems for many candidates. Some candidates seem not to have been adequately prepared on how to use the resource material to provide additional ideas to help answer the question and either fail to go beyond repeating what is in the resource material or be unable to offer any evidence of the knowledge and understanding required for study of Producers and Audiences, as detailed in the specification.
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It was pleasing to see that many candidates were quite confident about discussing audiences and producers and many highlighted the distinction between the two in their answers. There was evidence of candidates carrying out independent research into key areas for this section which was good to see (an improvement on last year). Most candidates were able to engage with the questions and sustain a meaningful response. Better candidates were able to identify key points in the resource material and use them, in conjunction with their own examples and case studies, to engage with the question. Weaker responses tended to be those that merely described everything in the resource material, ignored it completely or did not offer any examples of their own. Both questions seemed equally popular and there was little disparity in standard between the responses for questions 1 and 2. Q.1
produced some very good answers as many candidates were able to show a familiarity with common issues in British cinema and include some detailed case studies worked on in class. Some candidates spent far too long repeating everything that was included in the Resource Material when all that was needed was for them to identify key strategies for maintaining success and then include their own learning. Quite a few candidates showed engagement with the issues and produced passionate responses that were supported by well-chosen examples. The best candidates were able to draw on a varied knowledge of British cinema by adopting a historical perspective or by comparing ‘mainstream’ and ‘independent’ British cinema or by considering how production choices and distribution strategies could help maintain current success.
Q.2
was answered well, by and large, although a lot of candidates wrote responses that only focused on how the internet has changed the film experience for producers, drawing on factors like viral marketing and advertising campaigns and ignoring the effects upon audiences, which was the main focus of the question. Better candidates were able to identify a variety of ways in which the internet has changed the film experiences of audiences by discussing changes in distribution and exhibition. Many candidates were able to discuss recent developments in the online distribution of films and how this reduced costs and improved the film experience as access to films was easier and the range of film choices was wider and more varied. Many candidates productively used their experiences of LoveFilm, NetFlix and iTunes as well as more ‘niche’ websites to illustrate their points. This was a good example of how candidates can effectively use their personal experiences within the academic framework of a Producers and Audiences study. Some candidates looked very critically at the development of illegal downloading and whether this is beneficial to the film experience for audiences. Other answers focused on the different viewing platforms and experiences made possible by the internet and other contemporary devices such as the relative merits of ‘portable’ film-viewing. Some candidates focused on technology and film viewing pleasure by comparing watching a film on a computer monitor with cinematic viewing.
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Section B: British Film Topics In order to make feedback as clear as possible for Sections B & C, bullet-pointed notes have been used. British Film and Genre Q.3 and Q.4
Some centres need to provide a more solid understanding of genre conventions so that their candidates can avoid providing only a descriptive account of the conventions. There were some issues about what candidates really understood by messages and values. Question 4 was the more popular and there were some good responses using Shaun of the Dead and Wicker Man. Most candidates had sequences they could use to demonstrate a sound grasp of representation. Points made on Hammer films were often reductive and sometimes incorrect. Candidates need to explore the relationship between contexts and their films in order to produce more sophisticated answers. Work on The Descent showed a good understanding of genre conventions. Albatross and Submarine were used very well for comedy on the theme of coming of age. There was also some excellent work on comedy, supported by good textual references, using Life of Brian and Four Lions to show how humour and irony undermine bigotry. Work on Wicker Man and Attack the Block demonstrated a good understanding of hybridity. The Full Monty, Four Weddings and Brassed Off were also used well for comedy. Some good theoretical approaches such as ‘the final girl’ were applied to horror films. Good candidates were able to apply such theories to produce effective answers, although this approach was clearly challenging for some candidates. Many responses discussed horror generally without sufficient focus on how it has been used in ‘British’ film. The term ‘shaped’ was not fully exploited.
British Film and Stars Q.5 and Q.6
There were very few responses to this section. There was some use of Dyer’s work in a productive way and one centre demonstrated some excellent contextualised work on Julie Christie with one candidate getting full marks. Many candidates were not able to discuss roles with any real sense of authority and sometimes lack textual information. There was some good work on Ewan McGregor, which could be updated with films such as The Ghost, Salmon Fishing in the Yemen or Perfect Sense.
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British Film and Production Companies Q.7 and Q.8
In question 7, many candidates chose to discuss both style and substance, which is understandable as they are linked although there was some uncertainty about ‘style’. Working Title dominated the responses; there were very few responses on Ealing. Four Weddings, Love Actually, Bridge Jones’ Diary, Notting Hill and Billy Elliot were popular choices. Some responses dealt very well with class. Question 8 seemed to be quite difficult for some centres, many of whom are still rooted in Hugh Grant or Edgar Wright films. It would be interesting to see work on such films as Atonement and Tinker Tailor Soldier Spy. Some candidates engaged particularly well with question 8. Some centres responded well to Working Title’s changing identity from My Beautiful Laundrette to Notting Hill, Hot Fuzz, Mr Bean’s Holiday and Shaun of the Dead. These centres dealt well with heritage and action and looked at the diversity of the offer and demonstrated that questions can be debated not necessarily agreed with.
British Film: Cultural Study Q.9 and Q.10
Swinging Britain remains the more popular topic within this section and there were useful close analyses. In question 9, there were very few responses to the 1980s; the 1960s predominated with Alfie, A Hard Day’s Night and Performance the most popular texts. These were straightforward responses with sound textual references. For question 10 there was some excellent work on A Hard Day’s Night and Performance. Centres dealt well with the idea of change and there was some insightful and thoughtful work on Billy Liar. Good work was also seen on Darling, If and Kes looking at class. A minority of centres are using non-1980s films for Thatcher’s Britain: the 1980s (This is England, Iron lady and Billy Elliot.) Please note that only films made in the 1980s should be studied for this topic (see WJEC website, AS Notes for Guidance, which does allow films made in 1991!). More recent films can of course help introduce topics to candidates but the focus of the cultural study is to study how films made during the period (1963 to 1973 or the 1980s ‘responded to this moment’ (Specification, p15).
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British Film: Social-Political Study – ‘Living with Crime’ Q.11 and Q.12
In question 11, some candidates appeared to be less confident about discussing aspects of narrative. There needs to be a more confident understanding of narrative and the way narrative is constructed. In question 12, the focus of the question on ‘victims of circumstance’ caused problems with some candidates, who were able to discuss ‘circumstances’ but were not always able to make use of context and talk about ‘how’. ‘How far’ was not always addressed and some responses lapsed into description only. Bullet Boy, Sweet Sixteen, London to Brighton, Get Carter and Lock Stock and Two Smoking Barrels were the most popular texts. The Long Good Friday and Trainspotting were also well used. One centre used Wild Bill very successfully. Examiners felt that, on the whole, these questions gave candidates ample to discuss with a good range of responses.
British Film: Identity Study – ‘Borders and Belonging’ Q.13 and Q.14
There were fewer responses to question 13 and ‘opening sequences’ seemed to cause some difficulty. Identity was covered but quite superficially. Question 14 was more popular with candidates who were able to discuss the importance of the ‘need to belong’ quite emphatically. Centres used This is England and Trainspotting very well to examine peer groups, skinhead culture, subcultures and nationalism. This is England, Dirty Pretty Things & Yasmin were popular and well used. Trainspotting and Ratcatcher were also used well for this question. Candidates who looked at ‘The Troubles’ in this section did some extremely productive work. Examiners commented that it would be good to see centres studying a broader range of films, including past or recent films.
Section C: American Film – Comparative Study Q.15 and Q.16
Many centres have understood the importance of selecting useful, comparable combinations of films. Generally candidates know films very well; there were sound responses, which demonstrated engagement, enthusiasm and debate. Some candidates are able to reflect what is clearly independent learning in their answers very effectively. Many candidates are failing to maximise their marks by not showing any evidence of appropriate contexts in their response. Candidates were sometimes limited by an inappropriate choice of films and appeared to be unclear about common themes in films. It is recommended that centres choose films where the genre and thematic comparisons are immediately clear to candidates. (One centre chose Avatar and Sands of Iwo Jima, which candidates struggled to compare productively.) 8
Film Noir was a popular genre and some candidates made good productive links to context throughout. Some examiners felt that there was insufficient knowledge of the ‘genre’ however. Question 15 was the most popular choice although there was a sense that candidates weren’t always sure of ‘themes’ and there was some confusion about generic conventions. Not all candidates were prepared for the ‘key sequences’ element of question 15. In question 16 many candidates were unable to show any real knowledge of context beyond the superficial notion that women were completely oppressed until recently (a reductive assertion). Understanding of social, cultural, political and industry contexts can lead to really engaged responses. Only a few candidates acknowledged regulation and censorship and even fewer examined production contexts. There were a lot of answers on the Hays Code but little sense of the wider American context directly linked to films. Historical distance allows more effective comparisons. There was some pleasing integration of context evident and this was most evident when films from different eras were compared.
Films used:
Brick and The Maltese Falcon – comparison based on Film Noir genre. Good combinations were two versions of Cape Fear and Casablanca and The English Patient. Double Indemnity and The Last Seduction – sound comments on genre, women and context. Do The Right Thing and Crash – themes of prejudice, corruption, racism and morality. Angels with Dirty Faces and Sleepers – social determinism, representation, religion. I am Legend and Omega Man – race, representation The Invasion of the Body Snatchers (two versions) – social and historical context, political background. The Magnificent Seven and The Quick and the Dead – social and historical contexts, genre, representation of character. The Postman Always Rings Twice (two versions) – social and historical context important American Graffitti and Dazed and Confused – coming of age. Forrest Gump and American Beauty – American Dream, idealism and patriotism. Thelma and Louise and Butch Cassidy and the Sundance Kid – gender, ‘buddy’, narrative (endings). Halloween and Scream – genre and themes. Unforgiven (1992) and My Darling Clementine - genre, representation of violence Bonnie and Clyde and Natural Born Killers – celebrity and media, violence and television, the American Dream. Gun Crazy and Bonnie and Clyde – genre, gender Silence of the Lambs and Misery – genre, themes of loneliness and isolation. Batman (1989) and The Dark Knight Rises – genre, social context, representations of fear of the unknown. Double Indemnity and Chinatown - genre Rear Window and One Hour Photo – thematic and genre comparison The Shawshank Redemption and One Flew Over the Cuckoo’s Nest – thematic comparison Goodfellas and American Gangster - genre American Beauty and Falling Down – thematic comparison. 9