Draft A level Spec Eduqas

A LEVEL FILM STUDIES 1

WJEC Eduqas GCE A LEVEL in FILM STUDIES For teaching from 2017 For award from 2019 Page Summary of assessment

2

Films set for study

3

1.

Introduction 1.1 Aims and objectives 1.2 Prior learning and progression 1.3 Equality and fair access

5 5 6 6

2.

Subject content 2.1 Component 1 2.2 Component 2 2.2 Component 3

7 15 19 24

3.

Assessment 3.1 Assessment objectives and weightings 3.2 Arrangements for non-exam assessment

28 28 29

4.

Technical information 4.1 Making entries 4.2 Grading, awarding and reporting

33 33 33

Appendix A Component 3: Marking grids and indicative content

34

This draft qualification has not yet been accredited by Ofqual. It is published to enable teachers to have early sight of our proposed approach to A Level Film Studies. Further changes may be required and no assurance can be given at this time that the proposed qualification will be made available in its current form, or that it will be accredited in time for first teaching in September 2017 and first award in 2019.

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 2

GCE A LEVEL FILM STUDIES SUMMARY OF ASSESSMENT Component 1: American and British film Written examination: 3 hours 35% of qualification This component assesses knowledge and understanding of six feature-length films.

Section A: Classical Hollywood: One question from a choice of two, requiring reference to one US Hollywood Studio film.

Section B: Hollywood since the 1960s (two-film study) One question from a choice of two, requiring reference to two American films, one produced between 1961 and 1990 and the other more recent.

Section C: Contemporary American independent film One question from a choice of two, requiring reference to one American independent film.

Section D: British film (comparative study) One question from a choice of two, requiring a comparison of two British films, one produced between 1930 and 1960 and the other more recent.

Component 2: Varieties of film Written examination: 3 hours 35% of qualification This component assesses knowledge and understanding of five feature-length films and one compilation of short films.

Section A: Film movements (two-film study) One question from a choice of two, requiring reference to at least one film from the silent era.

Section B: Documentary film One question from a choice of two, requiring reference to one documentary film.

Section C: Global film (two-film study) One question from a choice of two, requiring reference to two global films, one European and one produced outside Europe.

Section D: Short film One question from a choice of two, requiring reference to a compilation of short films.

Component 3: Production Non-exam assessment 30% of qualification This component assesses one production and its evaluative analysis. Learners produce:  either a short film (4-5 minutes) or a screenplay for a short film (1600-1800 words) and a digitally photographed storyboard of a key section from the screenplay  an evaluative analysis (1250-1500 words).

This linear qualification will be available for assessment in May/June each year. It will be awarded for the first time in summer 2019.

Qualification Accreditation Number: Click here to enter accreditation number.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 3

Films set for study

Component 1: American and British film

Six feature-length films will be studied for this component.

Section A: Classical Hollywood One film produced in Hollywood in the 1940s and 1950s chosen from the following:  Casablanca (Curtiz, 1942), U  The Lady from Shanghai (Welles, 1947), PG  Vertigo (Hitchcock, 1958), PG  Some Like It Hot (Wilder, 1959), U. Section B: Hollywood since the 1960s (two-film study) Two Hollywood films are studied, one chosen from group 1 and one chosen from group 2: Group 1: 1961-1990  Bonnie and Clyde (Penn, 1967), 15  One Flew over the Cuckoo's Nest (Forman, 1975), 15  Blade Runner (Scott, 1982), 15  Do the Right Thing (Lee, 1989), 15 Group 2: Recent films  No Country for Old Men (Coen Brothers, 2007), 15  Inception (Nolan, 2010), 12A  Django Unchained (Tarantino, 2012), 18  Carol (Haynes, 2015), 15.

Note: It is the centre's responsibility to decide whether to select a film classified 18 for study.

Section C: Contemporary American independent film (produced after 2010) One of the following American independent films is studied:  Winter's Bone (Granik, 2010), 15  Frances Ha! (Baumbach, 2012), 15  Beasts of the Southern Wild (Zeitlin, 2012), 12A  Boyhood (Linklater, 2015), 15.

Section D: British film (comparative study) One of the following pairs of British films is studied for comparison:  Brief Encounter (Lean, 1945), PG and Atonement (Wright, 2007), 15  A Matter of Life and Death (Powell & Pressburger, 1946), PG and Brazil (Gilliam, 1985), 15  The Third Man (Reed, 1949), PG and The Constant Gardener (Meirelles, 2005), 15  Sapphire (Dearden, 1959), PG and Secrets and Lies (Leigh, 1996), 15.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 4

Component 2: Varieties of film Five feature-length films and one compilation of short films will be studied for this component.

Section A: Film movements (two-film study) Two films representing film movements are studied, one film chosen from group 1 and one film from group 2. At least one silent film option must be selected.

Group 1 (Experimental)  Silent film option – European Expressionist and Surrealist film: The Cabinet of Dr Caligari (Wiene, Germany, 1920), U and Un Chien Andalou (Bunuel, France, 1928), 15  Silent film option - Montage/Constructivism: Man With a Movie Camera (Vertov, USSR, 1929), U and A Propos de Nice (Vigo, 1930), U  Feminist Avant-Garde: Daisies (Chytilova, Czechoslovakia, 1965), 15 and Saute ma ville (Akerman, Belgium, 1968)  Digital experimentation: Timecode (Figgis, US, 2000) 15.

Group 2  Silent film option - Expressionism and Hollywood Melodrama: Sunrise (Murnau, US 1927), U  Silent film option - Vaudeville and American comedy: Keaton short films - One Week (US, 1920), The Scarecrow (US, 1920), The 'High Sign' (US, 1921), Cops (US, 1922)  French New Wave: Vivre sa vie (Godard, France, 1962), 15  Asian New Wave: Fallen Angels (Wong, Hong Kong, 1995), 15.

Section B: Documentary film One of the following films is studied:  Sisters in Law (Ayisi and Longinotto, Cameroon/UK, 2005), 12A  The Arbor (Barnard, UK, 2010), 15  Stories We Tell (Polley, Canada, 2012), 12A  20,000 Days on Earth (Forsyth and Pollard, UK, 2014), 15.

Section C: Global film (two-film study) Two films are studied, one chosen from group 1 and one from group 2: Group 1: Non-English language European film  Pan’s Labyrinth (Del Toro, Spain, 2006), 15  The Diving Bell and the Butterfly (Schnabel, France, 2007), 12  Ida (Pawlikowski, Poland, 2013), 12A  Girlhood (Sciamma, France, 2014), 15.

Group 2: Non-English language film produced outside Europe  Dil Se (Ratnam, India, 1998), 12  House of Flying Daggers (Zhang, China, 2004), 15  Timbuktu (Sissako, Mauritania, 2014), 12A  Wild Tales (Szifrón, Argentina, 2014), 15.

Section D: The short film All films in the following compilation are studied:  About a Girl (Percival, UK, 2001)  Wasp (Arnold, UK, 2003)  High Maintenance (Van, Germany, 2006)  New Boy (Green, Ireland, 2009)  Connect (Abrahams, UK, 2010)  Curfew (Christensen, US, 2012)  The Gunfighter (Kissack, US, 2014)

© WJEC CBAC Ltd.

09' 24' 09' 11' 05' 19' 09'.

A LEVEL FILM STUDIES 5

GCE A LEVEL FILM STUDIES 1 INTRODUCTION 1.1 Aims and objectives Many consider film to be the main cultural innovation of the 20th century and a major art form of the last hundred years. Those who study it characteristically bring with them a high degree of enthusiasm and excitement for what is a powerful and culturally significant medium, inspiring a range of responses from the emotional to the reflective. Film Studies consequently makes an important contribution to the curriculum, offering the opportunity to investigate how film works both as a powerful medium of representation and as an aesthetic medium.

The WJEC Eduqas specification is designed to introduce A level learners to a wide variety of films in order to broaden their knowledge and understanding of film and the range of responses films can generate. This specification therefore offers opportunities to study mainstream and independent American and British films from the past and the present as well as more recent global films, both non-English language and English language. The historical range of film represented in those films is extended by the study of silent film and significant film movements (such as European avant-garde and new wave cinemas in Europe and Asia) so that learners can gain a sense of the development of film from its early years to its still emerging digital future. Studies in documentary, experimental and short films add to the breadth of the learning experience.

Production work is a crucial part of this specification and is integral to learners' study of film. Studying a diverse range of films from several different contexts is designed to give learners the opportunity to apply their knowledge and understanding of how films are constructed to their own filmmaking and screenwriting. This is intended to enable learners to create high quality film and screenplay work as well as provide an informed filmmaker's perspective on their own study of film.

The WJEC Eduqas A level in Film Studies aims to enable learners to demonstrate knowledge and understanding of:      

a diverse range of film, including documentary, film from the silent era, experimental film and short film the significance of film and film practice in national, global and historical contexts film and its key contexts (including social, cultural, political, historical and technological contexts) how films generate meanings and responses film as an aesthetic medium the different ways in which spectators respond to film.

It also aims to enable learners to:  apply critical approaches to film and  apply knowledge and understanding of film through either filmmaking or screenwriting.

The specification is additionally designed to reflect the diversity of film culture through both filmmakers and the films they make. The wide choice of films offered includes films by women directors and films which represent particular ethnic and cultural © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 6

experiences. Over forty films are offered from which eleven feature-length films will be chosen. In addition, a compilation of seven short films will be studied.

WJEC's Eduqas A level specification consequently provides a framework for the systematic study of a broad range of film as well as providing opportunities for creative work, an integral part of film study. Most of all, it offers the opportunity to explore a range of important ideas and emotions, reflect on art and technology and connect theory and creative practice in ways which are designed to provide an absorbing and motivating educational experience.

1.2 Prior learning and progression Any requirements set for entry to a course following this specification are at the discretion of centres. It is reasonable to assume that many learners will have achieved qualifications equivalent to Level 2 at KS4. This specification builds on the knowledge, understanding and skills established at GCSE, particularly literacy and Information Technology skills. Some learners may already have gained knowledge, understanding and skills through their study of film at GCSE or AS. This WJEC Eduqas specification provides a suitable progression to a range of higher education degree and vocational level courses or to employment. For those who do not wish to progress further with Film Studies, this specification also provides a coherent, engaging and culturally valuable course of study.

The specification is not age specific and, as such, provides opportunities for learners to extend their life-long learning.

1.3 Equality and fair access This A level Film Studies specification may be followed by any learner, irrespective of gender, ethnic, religious or cultural background. It has been designed to avoid, where possible, features that could, without justification, make it more difficult for a learner to achieve because they have a particular protected characteristic.

The protected characteristics under the Equality Act 2010 are age, disability, gender reassignment, pregnancy and maternity, race, religion or belief, sex and sexual orientation. The specification has been discussed with groups who represent the interests of a diverse range of learners, and the specification will be kept under review.

Reasonable adjustments are made for certain learners in order to enable them to access the assessments (e.g. candidates are allowed access to a Sign Language Interpreter, using British Sign Language). Information on reasonable adjustments is found in the current Joint Council for Qualifications (JCQ) document: Access Arrangements and Reasonable Adjustments: General and Vocational Qualifications.

This document is currently available on the JCQ website (www.jcq.org.uk). As a consequence of provision for reasonable adjustments, very few learners will have a complete barrier to any part of the assessment.

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 7

2 SUBJECT CONTENT Introduction: Studying film At the root of all film studies is a recognition that films are made: they are constructed using a range of elements – cinematography, mise-en-scène, sound, editing and performance (the key elements of film form) – which are organised structurally in terms of narrative and often genre (the structural elements of film form). How filmmakers use these elements, frequently in complex and highly artistic ways, is a large part of what constitutes the formal study of film. Equally important is how we respond to the works filmmakers create, both as spectators and as learners studying relevant contexts, applying critical approaches and engaging in critical debate.

Framework for studying film For this specification, these underpinning elements have been used to create a framework for studying film, which learners will be able to apply to all the films they explore: 1.

2.

3.

4.

5.

6.

7.

8.

the key elements of film form – cinematography, mise-en-scène, editing, sound and performance, which have significance both individually and in combination with one another the structural elements of film form – narrative, the processes of narration, including the role of the screenplay in providing narrative structure, and genre (where relevant to the film studied) how film creates meaning and generates response, including how it functions as a medium of representation film as an aesthetic medium the spectator and spectatorship the social, cultural, political, historical and institutional, including production, contexts of film critical approaches to studying film – arising from the idea of film as 'constructed' and including different conceptions of narrative, ideology and the idea of the 'auteur' key debates (the realist versus the expressive in film and the digital) and filmmakers' theories of film.

A checklist and brief clarification of the main elements learners need to study within each of these areas is set out below.

1. The key elements of film form (cinematography, mise-en-scène, editing, sound and performance) Filmmakers use a range of elements to construct their films, often expressing complex ideas and emotions through them. The key elements of film form consist of cinematography, mise-en-scène, editing, sound and performance and provide an important starting point for learners' study of film at A level.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 8

Learners study the following: Cinematography, including lighting Principal elements  camera shots including point of view shots, focus including depth of field, expressive and canted angle shots, handheld camera in contrast to steadicam technology  composition, including balanced and unbalanced shots.

Creative use of cinematography  camerawork including subjective camera, shifts in focus and depth of field, mixed camera styles, filters  monochrome cinematography  the principles of 3-point lighting including key, fill and backlighting  chiaroscuro lighting and other expressive lighting effects.

Conveying messages and values  how shot selection relates to narrative development and conveys messages and values  how lighting, including 3-point lighting, conveys character, atmosphere and messages and values  how cinematography, including lighting, provides psychological insight into character  how all aspects of cinematography can generate multiple connotations and suggest a range of interpretations  how and why different spectators develop different interpretations of the same camera shots and lighting  how cinematography, including lighting, is used to align spectators and how that alignment relates to spectator interpretation of narrative  how cinematography, including lighting, contributes to the ideologies conveyed by a film.

Indication of an auteur approach and film aesthetic  how cinematography including lighting can be indicative of an auteur approach (director or cinematographer)  how cinematography contributes to a film’s overall aesthetic.

Mise-en-scène Principal elements  setting, props, costume and make-up  staging, movement and the use of off-screen space  how the significance of mise-en-scène is affected by cinematography, in particular through variation in depth of field, focus and framing (a significant area of overlap with cinematography).

Creative use of mise-en-scène  how mise-en-scène can be used both naturalistically and expressively  how changes in mise-en-scène contribute to character and narrative development.

Conveying messages and values  how mise-en-scène conveys messages and values  how mise-en-scène, including setting, props, costume and make-up, can generate multiple connotations and suggest a range of possible interpretations  how staging, movement and off-screen space are significant in creating meaning and generating response  the significance of motifs used in mise-en-scène, including their patterned repetition  how mise-en-scène is used to align spectators and how that alignment relates to spectator interpretation of narrative  how and why different spectators develop different interpretations of the same miseen-scène  how mise-en-scène contributes to the ideologies conveyed by a film.

Indication of an auteur approach and film aesthetic  how mise-en-scène can be indicative of an auteur approach (director or designer)  how mise-en-scène contributes to a film’s overall aesthetic. © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 9

Editing Principal elements  the shot to shot relationships of continuity editing including match editing, the 180° rule  the role of editing in creating meaning, including the Kuleshov effect  montage editing and stylised forms of editing including jump cuts.

Creative use of mise-en-scène  how editing implies relationships between characters and contributes to narrative development including through editing motifs and their patterned repetition  how visual effects created in post-production are used, including the way they are designed to engage the spectator and create an emotional response  the use of visual effects created in post-production including the tension between the filmmaker's intention to create a particular emotional response and the spectator's actual response.

Conveying messages and values  how editing conveys messages and values  how editing is used to align the spectator and how that alignment relates to spectator interpretation of narrative  how and why different spectators interpret the same editing effects differently  how editing contributes to the ideologies conveyed by film.

Indication of an auteur approach and film aesthetic  how editing can be indicative of an auteur approach (director or editor)  how editing contributes to a film’s overall aesthetic.

Sound Principal elements  vocal sounds (dialogue and narration), environmental sounds (ambient, sound effects, Foley), music, silence  diegetic or non-diegetic sound  parallel and contrapuntal sound and the distinction between them  multitrack sound mixing and layering, asynchronous sound, sound design.

Creative use of sound  how sound is used expressively  how sound relates to characters and narrative development including the use of sound motifs.

Conveying messages and values  how sound conveys messages and values  how the principal elements of sound can generate multiple connotations and suggest a range of interpretations  how sound is used to align the spectator and how that alignment relates to spectator interpretation of narrative  how and why different spectators interpret the same use of sound differently  how sound contributes to the ideologies conveyed by film.

Indication of an auteur approach and film aesthetic  how sound can be indicative of an auteur approach (director or sound designer)  how sound contributes to a film’s overall aesthetic.

Performance Principal elements  the use of non-verbal communication including physical expression and vocal delivery  the significance of the interaction between actors  performance styles in cinema including method and improvisatory styles  the significance of casting. © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 10

Performance as a creative collaboration  the role of directing as a 'choreography' of stage movement  the relationship between performance and cinematography.

Conveying messages and values  how performance conveys messages and values  how performance is used to align the spectator and how that alignment relates to spectator interpretation of narrative  how and why different spectators interpret the same performance differently  how performance contributes to the ideologies conveyed by film.

Indication of an auteur approach and film aesthetic  how editing can be indicative of an auteur approach (director or actor)  how performance and choreography contributes to a film’s overall aesthetic.

2. The structural elements of film form – narrative and genre Narrative Narrative structure requires consideration of the whole film, most obviously in the way a story is told through plot. A practical approach to narrative is to be found in the practice of screenwriting with the idea of the narrative ‘arc' and the commonly used three-act structure.

In addition, mise-en-scène, cinematography, sound and performance can all have a narrative function.

A significant aspect of narrative study is based on how narrative construction aligns spectators with characters and issues and how it positions spectators to adopt particular values, attitudes and points of view conveyed in the film. This is an area of narrative which links with spectators and spectatorship (set out in area 5 below).

Learners' understanding of narrative structure can also be developed by reference to formalist and structuralist conceptions of narrative and the messages and values a narrative conveys can be explored through an ideological analysis (see area 7 of this framework).

Learners study the following:  how narrative construction reflects plot and expresses temporal duration and ellipsis  narrational devices including voiceover, flashback, the framing narrative, the open ending, repetition and other forms of narrative patterning  non-linear narratives  narrative forms which reject the three-act structure  how narrative construction is used to align the spectator and how that alignment encourages the adoption of a particular spectator point of view (the way spectators are positioned by narrative construction)  ambiguity in narrative including the ambiguous relationship between cause and effect and uncertainty over character identification  the significance of narrative structures which are alternative to and/or in opposition to conventional narrative structures.

Aspects of screenplay as they relate to narrative:  the relationship between screenplay and the realised film narrative  narrative conventions of mainstream screenwriting, including the construction of dialogue, character and the use of images and sound to convey narrative  how the dramatic qualities of a sequence or scene are constructed, including through dialogue  how narrative construction provides psychological insight into character.

Distinctive aspects of the narrative of the short film  the narrative conventions of the short film demonstrated in film and screenplay  how the dramatic qualities of a short film are constructed, including through dialogue.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 11

Formalist and structuralist conception of narrative (see also area 7, below)  the formalist conception of narrative, based on Shlovsky's distinction between story and plot  the structuralist conception of narrative based on binary oppositions.

Study of ideology as a critical approach to film (see also area 7, below)  how narrative construction contributes to the ideologies conveyed by film and how narrative can function as an ideological framework.

Genre (where relevant to the film studied) Although not all films will necessarily follow an overt genre structure, the way some films conform to a genre structure will affect the way the key elements of film are used, including the kind of narrative which is created for the film.

Learners study the following:  the concept of genre, genre conventions and genre as a principal structuring element of narrative.

3. Creating meaning and generating response: film as a representational medium In making sense of film, learners explore how films create meaning and generate response through all aspects of film form (both its key elements and its structural elements). This includes the possibility that some films give rise to several possible meanings, which in turn generate a wide variety of responses. Some of these different meanings and responses will relate to a film’s representation of, for example, gender, ethnicity, age and other aspects of culture and society and to the ideological nature of those representations.

Learners study and develop a critical understanding of:  how film creates meaning and generates response through cinematography, miseen-scène, editing, sound and performance (including staging and direction) both individually and in combination as set out in area 1 above  how all aspects of film form, including narrative, contribute to the representations of cultures and societies, including the ideological nature of those representations  the significance of narrative structures which are alternative to and/or in opposition to conventional narrative structures (noted in area 2 above).

4. Creating meaning and generating response: film as an aesthetic medium The study of film as an aesthetic medium includes the ways in which filmmakers create memorable visual and aural moments within a film through of the use of, for example, stylised cinematography and lighting, a particular shot composition or a specific use of music - moments which may or may not have a narrative function. Aesthetic effects tend to have a fundamentally sensory impact on the spectator. In addition, the aesthetic dimension of film is important when considering the overall conception of a film, such as the way some filmmakers use a recurring visual pattern created through cinematography, mise-en-scène or editing or a recurring sound motif. Beyond the level of the single film, an entire film movement may be characterised by its aesthetic dimension, for example German Expressionism or Film Noir.

This aesthetic dimension of film can also be explored in terms of critical approaches: we can ask, for example, how far the aesthetic dimension of film communicates messages and values (what ideologies it may convey); and, from an auteur starting point, we can ask how far the filmmaker’s ‘signature’ is contained in the film’s aesthetics.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 12

Learners study the following:  the role of mise-en-scène, cinematography including lighting, composition and framing in creating aesthetic effects in specific film sequences  the role of music and editing in conjunction with the above in creating aesthetic effects  the significance of the aesthetic dimension in film including the potential conflict between spectacle and the drive towards narrative resolution in film  the aesthetic qualities of specific films and the concept of film aesthetics  film aesthetics, approached critically, including the relationship between film aesthetics and the auteur as well as film aesthetics and ideology.

5. The film spectator and spectatorship A central part of Film Studies is exploring how films address individual spectators through, for example, particular shots, editing, music and performance as well as narrative and genre to engage their interest and emotions. Films are generally constructed to provide the spectator with a particular viewing position, most often aligning the spectator with a specific character or point of view. This in turn raises questions about how ‘determined’ spectators' responses to a film are and how far spectators can and do resist the position they are given. Learners will thus consider how far spectators are ‘passive’ or ‘active’ in their responses to film and how social and cultural factors, as well as the specific viewing conditions in which a film is seen, influence spectators' responses.

Learners study the following:  how the spectator has been conceived both as ‘passive’ and ‘active’ in the act of film viewing  how the spectator is in dynamic interaction with film narrative and film features designed to generate response  the impact of different viewing conditions on spectator response  how narrative, visual, musical, performance, genre and auteur cues relate to spectator response  how spectators' responses are affected by social and cultural factors  reasons for the uniformity or diversity of response by different spectators, including the possibility of preferred, negotiated, oppositional and aberrant interpretations of a film.

6: The social, cultural, political, historical and institutional, including production, contexts of film Films are shaped by the contexts in which they are produced. They can therefore be understood in more depth by placing them within two important contextual frames. The first involves considering the broader contexts of a film at the time when it was produced – its social, cultural and political contexts, either current or historical. The second involves a consideration of a film’s institutional context, including the important contextual factors affecting production such as finance and available technology.

Learners study the following: Social, cultural, political contexts (either current or historical)  social factors contemporaneous with a film's production such as debates about ethnicity or gender  cultural factors contemporaneous with a film's production such as a significant film or artistic movement  political factors contemporaneous with a film's production such as the imposition of restrictions on freedom of expression or a major movement for political change.

Institutional, including production, context  relevant institutional aspects of a film's production  key features of the production process including financial and technological opportunities and constraints.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 13

7. Critical Approaches to studying film Learners study four important and interlinked critical approaches to film:   



film understood as a constructed artefact, resulting from processes of selection and combination of film elements formalist and structuralist conceptions of film narrative (see also area 2 above) ideology - the concept of film as ideological (see also area 2 above) auteurism.

In addition, learners must be able to evaluate the validity of an ideological and an auteurist critical approach to film.

Critical approaches are rooted in investigation and analysis and aim to increase understanding of a film as well as reveal ideas which influenced it or are incorporated in it. (a) Film as a constructed artefact Analysing the key elements of film form provides an insight into how a film works, for example, to create particular effects. Analysis may therefore include focusing on shot composition and the implications of how shots are edited together. (b) Film as structure Analysing a film's structural elements, especially narrative, is equally important in understanding a film. A critical perspective on film is provided by investigating the distinction between story and plot (a distinction rooted in Russian formalist theory) and the implications of seeing narrative as a set of binary oppositions (views based on structuralist theory). (c) Ideology A critical approach based on ideology involves exploring what ideologies are conveyed by a film as well as those which inform it. This can be achieved through:  an analysis of the connotations of visual and aural elements  an identification and analysis of binary oppositions, both those contained in the narrative and those contained in film’s use of formal elements  a study of the implications of spectator positioning and address  an investigation into a film from a particular ideological perspective (such as a feminist or a political perspective), which can reveal whether, for example, a film reinforces or challenges dominant beliefs and attitudes within a society. (d) 'Authorship' – the auteur and auteurism The fourth of these critical approaches derives from an earlier period of Film Studies when critics were anxious to demonstrate that films are ‘authored’ by individuals, most obviously the film’s director, rather than being generic products. Today, the concept of the auteur can be applied to a film or group of films in order to identify and explain its distinctive characteristics, arguing that these derive from a principal creative individual (most commonly the director, but may include cinematographers, performers or institutions).

An auteur critical approach thus involves:  establishing in what ways the auteur determines the 'look' and style of the film through his or her characteristic choice of key elements of film  establishing in what ways the signature features of an auteur can be used to explain a film’s messages and values.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 14

8. Key debates and filmmakers' theories of film Debate 1: The realist and the expressive In the 1940s, the French film critic André Bazin set in motion a major debate when he argued that both German Expressionist and Soviet Montage filmmaking went against what he saw as the ‘realist’ calling of cinema. This opposition between the realist and the expressive has informed thinking about film from the beginnings of cinema when the documentary realism of the Lumière Brothers was set in opposition to the fantasy films of Méliès. The debate continues to be reflected in significant aspects of filmmaking today.

Debate 2: The impact of the digital on filmmaking and new possibilities for cinema The degree of the impact the digital has had on film since the 1990s is a developing debate.

Some film commentators argue that, although digital technology could potentially transform cinema, so far films, especially narrative films designed for cinema release, have changed very little from pre-digital times. Others consider that the impact of digital filmmaking is only beginning to emerge, both in high concept Hollywood filmmaking and in much lower budget experimental work.

Filmmakers' theories and filmmakers-as-theorists A productive way to explore these key film debates is to consider theories about film that different filmmakers have evolved and which they put into practice in their work.

Learners choose two filmmakers' theories of film to explore from a choice of three: Alfred Hitchcock, Jean-Luc Godard and Mike Leigh. A list of key sources for each of the filmmakers’ theories will be published on WJEC's Eduqas website and guidance will be provided to support learners' study of the significance of their theories.

The three filmmakers are highly contrasting:  Alfred Hitchcock represents a Classical Hollywood approach and his interest is primarily in playing with spectator expectations in order to intensify the pleasures associated with creating and releasing tension, both across the narrative as a whole and within particular sequences. Hitchcock is therefore also raising issues about the nature of the pleasures at the heart of some genres of popular cinema.  Jean-Luc Godard in the 1960s represents a very contrasting and more political, avant-garde approach, rejecting many of the conventions of Classical Hollywood and French commercial cinema in order to challenge the spectator with a new relationship to the characters and events portrayed on screen. His films are marked by discontinuity and by a political critique of the ways film can lull an audience into passive forms of pleasure.  Mike Leigh belongs to a social realist tradition in cinema that has its roots in earlier movements such as neo-realism. His work also reflects a strong engagement with theatrical and television drama where the focus is sharply on character and situation, often using improvisation with his actors. Leigh is also motivated by a larger political perspective and is prepared to balance realism with the use of melodrama and stereotype in order to make a larger point about, for example, class or gender.

Whilst there is no requirement to study their films, each of the three filmmakers chosen is represented by one film on the specification:  Hitchcock: Vertigo (Component 1: Classical Hollywood)  Godard: Vivre sa vie (Component 2: Film movements)  Leigh: Secrets and Lies (Component 1: British film).

Learners will study:  the debate surrounding the opposition of realist and expressive tendencies in filmmaking  the debate over the significance of the digital in film and new possibilities for cinema  the significance of at least two filmmakers' theories of film. © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 15

2.1 Component 1 American and British film External assessment Written examination: 3 hours 35% of qualification 120 marks Introduction For this component, learners must study:  one film from the classical Hollywood period (1940s and 1950s)  two Hollywood films produced since the 1960s (a two-film study)  one contemporary American independent film (produced after 2010)  two British films, one produced between 1930 and 1960 and the other more recent (a comparative study).

All films will be studied through the framework for studying film, set out in detail in the introduction to Section 2: 1.

2.

3.

4.

5.

6.

7.

8.

© WJEC CBAC Ltd.

the key elements of film form – cinematography, mise-en-scène, editing, sound and performance, which have significance both individually and in combination with one another the structural elements of film form – narrative, the processes of narration, including the role of the screenplay in providing narrative structure, and genre (where relevant to the film studied) how film creates meaning and generates response, including how it functions as a medium of representation film as an aesthetic medium the spectator and spectatorship the social, cultural, political, historical and institutional, including production, contexts of film critical approaches to studying film – arising from the idea of film as 'constructed' and including different conceptions of narrative, ideology and the idea of the 'auteur' key debates (the realist versus the expressive in film, the digital) and filmmakers' theories of film.

A LEVEL FILM STUDIES 16

(a) Classical Hollywood Classical Hollywood, together with the two sections following, provides the opportunity to consider what are some of the characteristic and distinctive features of American cinema as a whole. For this section, learners must study one of the following films produced in Hollywood in the 1940s and 1950s:    

Casablanca (Curtiz, 1942) The Lady from Shanghai (Welles, 1947) Vertigo (Hitchcock, 1958) Some Like It Hot (Wilder, 1959).

The films in this section cover the middle (1940s) and final part (1950s) of the Classical Hollywood period that began in the 1920s with the establishment of the studios and their streamlined production system.

The best films of Classical Hollywood have been described by film historian Thomas Schatz as exemplifying ‘the genius of the system’. All four film options are distinguished by sophisticatedly crafted screenplays and benefit from the high production values that resulted from high quality artistic and technical direction combined with the extremely efficient organisational structures both within and across the studios. The Studio System effectively ended in the late 1940s but there is a continuity in style and subject matter into the different context of the 1950s. (b) Hollywood since the 1960s: two-film study Learners must study two American mainstream films: one must be chosen from group 1 (films produced between 1961 and 1990) and one from group 2 (more recent films): Group 1: films produced between 1961 and 1990  Bonnie and Clyde (Penn, 1967)  One Flew Over the Cuckoo's Nest (Forman, 1975)  Blade Runner (Scott, 1982)  Do the Right Thing (Lee, 1989) Group 2: Recent films  No Country for Old Men (Coen Brothers, 2007)  Inception (Nolan, 2010)  Django Unchained (Tarantino, 2012)  Carol (Haynes, 2015).

Note: It is the centre's responsibility to decide whether to select a film classified 18 for study.

This section requires the study of two films produced by Hollywood in the periods following the collapse of the Studio System: films in the first group were produced between 1961 and 1990 and in the second list from the period since then.

Bonnie and Clyde is one of the key films of American film history, the first to incorporate the influence of 1960s European cinema, and a film which changed the representation of violence in Hollywood cinema. One Flew Over the Cuckoo's Nest also shows European influence in its portrayal of a healthy man incarcerated in a psychiatric hospital. The film is both comic and serious, strongly questioning forms of institutionalisation. Blade Runner incorporates film noir in the science fiction film and is another film which has been very influential on subsequent filmmakers. The most political of the films is Do the Right Thing which presents a challenging view of race relations in Brooklyn, New York at the end of the 1980s.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 17

No Country for Old Men, set in rural Texas in the early 1980s, is a powerful, intricately plotted thriller that explores the consequences of the choices individuals make. Inception, which experiments with conventional narrative, brings spectacular CGI to bear on the science fiction thriller. Django Unchained explores slavery and race in 19th century America, playing with characteristics of the western genre within a distinctive auteur framework. Carol revisits the classic Hollywood melodrama of the 1950s while dramatising a story of the love between two women.

Any combination of films from groups 1 and 2 can be selected for study although centres may wish to explore some of the possible links suggested by different films. Possible connections to explore will be suggested in the online Guidance for Teaching. Whatever selection is made, learners must study both films in an integrated way using the framework for studying film. There is, however, no requirement to compare films in this two-film study. (c) Contemporary American independent film (produced after 2010) Learners must study one of the following films:    

Winter's Bone (Granik, 2010) Frances Ha! (Baumbach, 2012) Beasts of the Southern Wild (Zeitlin, 2012) Boyhood (Linklater, 2015).

These independent American films, all made with a relatively low budget, characteristically explore non-mainstream cinema subjects and tend to adopt stylistic features associated with lower budget production. Winter’s Bone, Beasts of the Southern Wild and Frances Ha! are all films with young female protagonists. The first two are family dramas within very distinct and marginalised regional communities. By contrast, Frances Ha! is set in middle class New York City and is much lighter and more ironic in tone. Boyhood is another family drama with the unique distinction of having been shot over twelve years, the characters ageing as the actors. (d) British film: comparative study Learners must study one of the following pairs of films for a comparative study:    

Brief Encounter (Lean, 1945) and Atonement (Wright, 2007).

A Matter of Life and Death (Powell & Pressburger, 1946) and Brazil (Gilliam, 1985) The Third Man (Reed, 1949) and The Constant Gardener (Meirelles, 2005) Sapphire (Dearden, 1959) and Secrets and Lies (Leigh, 1996)

This section offers the opportunity to study and compare two British films from different historical periods and raises questions about what may be distinctive about British cinema.

In each pairing, one film was produced between 1930 and 1960 whilst the other is more recent. Whilst all films will be compared in a comprehensive way using the framework for studying film, the films have been chosen to exploit some thematic links or links through issues the films raise. A Matter of Life and Death and Brazil are spectacular fantasy films concerned with the opposition between bureaucratic machines and human love. Sapphire and Secrets and Lies raise issues about ethnicity within families whilst the Third Man and The Constant Gardener use the political thriller to explore corruption, the first in 1940s Vienna, the second in contemporary East Africa. Brief Encounter and Atonement, in contrasting war-time contexts, explore impossible relationships and guilt.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 18

Assessment Written examination: 3 hours 120 marks Learners must answer one question from each of the four sections. There will be a choice of two questions in each section.

Section A: Classical Hollywood, 20 marks Section B: Hollywood since the 1960s (two-film study), 40 marks Section C: Contemporary American independent film (produced after 2010), 20 marks Section D: British film (comparative study), 40 marks All questions will assess AO1, the demonstration of knowledge and learning, and AO2, the application of knowledge and learning, in equal measures (see Section 3.1 for assessment objectives).

The ability to compare films will be assessed in Section D, the comparative study but not in Section B, a two-film study.

Questions can be based on any aspect of the framework for studying film, set out in detail in the introduction to Section 2.

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 19

2.2 Component 2 Varieties of Film Written examination: 3 hours 35% of qualification 120 marks Introduction For this component, learners must study:  two films representing different film movements, including at least one silent film option  one documentary film  two international, non-English language films, one European and one from outside Europe  one compilation of short films.

All films will be studied through the framework for studying film, set out in detail in the introduction to Section 2: 1.

2.

3.

4.

5.

6.

7.

8.

© WJEC CBAC Ltd.

the key elements of film form – cinematography, mise-en-scène, editing, sound and performance, which have significance both individually and in combination with one another the structural elements of film form – narrative, the processes of narration, including the role of the screenplay in providing narrative structure, and genre (where relevant to the film studied) how film creates meaning and generates response, including how it functions as a medium of representation film as an aesthetic medium the spectator and spectatorship the social, cultural, political, historical and institutional, including production, contexts of film critical approaches to studying film – arising from the idea of film as 'constructed' and including different conceptions of narrative, ideology and the idea of the 'auteur' key debates (the realist versus the expressive in film, the digital) and filmmakers' theories of film.

A LEVEL FILM STUDIES 20

(a) Film movements (two-film study) Learners must study one film (or film compilation) from Group 1 and one film from Group 2 for this two-film study. At least one silent film option must be chosen from either group.

Group 1 (Experimental)  Silent film option - European Expressionist and Surrealist film: The Cabinet of Dr Caligari (Wiene, Germany, 1920) and Un Chien Andalou (Bunuel, France, 1928)  Silent film option - Montage/Constructivism: Man With a Movie Camera (Vertov, USSR, 1929) and A Propos de Nice (Vigo, 1930)  Feminist Avant-Garde: Daisies (Chytilova, Czechoslovakia, 1965) and Saute ma ville (Akerman, Belgium, 1968)  Digital experimentation: Timecode (Figgis, US, 2000).

Group 2  Silent film option - Expressionism and Hollywood Melodrama: Sunrise (Murnau, US 1927)  Silent film option - Vaudeville and American comedy: Keaton short films One Week (US, 1920), The Scarecrow (US, 1920), The 'High Sign' (US, 1921), Cops (US, 1922)  French New Wave: Vivre sa Vie (Godard, France, 1962).  Asian New Wave: Fallen Angels (Wong, Hong Kong, 1995).

The films selected for study in this section represent major experimental and stylistic movements in cinema.

The silent period was, by definition, experimental, as filmmakers worked to develop film narrative and film form and to communicate ever more effectively through purely visual means. However, even within that context, some silent films experimented more significantly with the medium as it was developing, as is evident in films like The Cabinet of Dr Caligari, Un Chien Andalou and Man with the Movie Camera. Experimental film covers a wide range of practices, including artists' films such as Bunuel's and Dali's collaboration on Un Chien Andalou. It also includes important avant-garde expressions of the female experience, such as Chytilova's Daisies and Akerman's short film Saute ma ville, both made in the 1960s. In addition, it covers experimenting with digital technology to explore new possibilities of narrative cinema such as Timecode.

The films in Group 2 represent movements which have appealed to mainstream audiences but which have been equally significant in the development of cinema as those in Group 1.

Murnau's first US film combines German expressionism with Hollywood melodrama in a way that would be very influential. Keaton’s adaptation of vaudeville produced a form of film comedy which was subsequently highly influential, including on surrealism. Of the many new waves that can be identified from the end of the 1950s, the original French New Wave is represented by Godard’s Vivre sa vie. Fallen Angels exemplifies the stylistic innovation and energy of the East Asian New Wave over 30 years later.

Any film from Group 1 may be chosen with any film from Group 2 provided at least one silent film option is taken. Possible connections to explore will be suggested in the online Guidance for Teaching. Whatever selection is made, learners must study both films in an integrated way using the framework for studying film. There is, however, no requirement to compare films in this two-film study.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 21

(b) Documentary film Learners study one of the following documentary films:   



Sisters in Law (Ayisi and Longinotto, Cameroon and UK, 2005) The Arbor (Barnard, UK, 2010) Stories We Tell (Polley, Canada, 2012) 20,000 Days on Earth (Forsyth and Pollard, UK, 2014).

The documentary film in its contemporary form has become a much freer form, utilising cinematic techniques in ever more creative ways to tell ‘factual’ stories while problematising the divide between fact and fiction. Each offers much insight into a more creative kind of contemporary documentary practice - one which is as much concerned with the cinematic as it is with its subject.

Sisters in Law is the most conventional of the choices. It takes the form of an observational documentary committed to capturing the reality played out in front of the camera. It is set in Cameroon and looks at the work of women working in the legal system as judges and lawyers, focusing on resolving family cases – including wife abuse and child cruelty. The Arbor is by contrast a very much more innovative documentary; actors lip-synch interviews recorded by the filmmaker. The film explores the life of a young woman, marked by the neglect of her deceased playwright mother, and the community around the family on an estate in Bradford. In Stories We Tell the filmmaker engages in an investigation into her family, specifically seeking the identity of her genetic father. This film too is innovative in its commitment to a self-reflexive approach to filmmaking. 20,000 Days on Earth has been described as close to an advertorial on behalf of its subject, musician Nick Cave. It is better considered as an imaginative approach to autobiography, freely including some fictional elements and much cinematic technique in order to arrive at its particular truth. (c) Global film: two-film study For this two-film study, learners must study one non-English language European film from Group 1 and one non-English language film produced outside Europe from Group 2: Group 1: non-English language European film  Pan’s Labyrinth (Del Toro, Spain, 2006)  The Diving Bell and the Butterfly (Schnabel, France, 2007)  Ida (Pawlikowski, Poland, 2013)  Girlhood (Sciamma, France, 2014) Group 2: non-English language film produced outside Europe  Dil Se (Ratnam, India, 1998)  House of Flying Daggers (Zhang, China, 2004)  Timbuktu (Sissako, Mauritania, 2014)  Wild Tales (Szifrón, Argentina, 2014).

This section further extends the range and diversity of narrative film, requiring the study of two films, each representing a distinct geographical, social, cultural world and a particular expressive use of film form.

Group 1 offers the opportunity to explore a film with a distinctive European context and theme. Each film reflects its director and its country of origin. Pan's Labyrinth and Ida both have a backdrop of war: Pan's Labyrinth mixes elements of surrealism and fantasy in its narrative of civil war Spain whilst Ida uncovers the impact of both the Holocaust and former communist Poland. The Diving Bell and the Butterfly and Girlhood are both French films, but very different in subject and style. The first uses experimental techniques to present a subjective experience of extreme physical handicap. The second uses an episodic narrative © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 22

to present the experiences of a black teenager as she attempts to establish her independence from the social and cultural pressures of her urban Paris environment.

Group 2 offers the opportunity to study a film from another key cinematic territory. The films are from India, China, Africa and South America respectively and each represents distinctive film characteristics. Dil Se appears as an archetypal Bollywood romantic musical – but has some startling differences, not least in its representation of politics and acts of terror. House of Flying Daggers is both a spectacular wuxia genre film and an intense love story. Timbuktu is a subtle, moving response to the imposition of strict Sharia Law by Islamic extremists in West Africa, focusing partly on the lives of a nomadic couple and their daughter, partly on the lives of town people. Wild Tales is a portmanteau film from Argentina – six stories, each separate but linked by the theme of extreme revenge.

Any film from Group 1 may be chosen with any film from Group 2. Possible connections to explore will be suggested in the online Guidance for Teaching. Whatever selection is made, learners must study both films in an integrated way using the framework for studying film.

There is, however, no requirement to compare films in this two-film study. (d) The short film Learners must study the following compilation of short films:       

About a Girl (Percival, UK, 2001) Wasp (Arnold, UK, 2003) High Maintenance (Van, Germany, 2006) New Boy (Green, Ireland, 2009) Connect (Abrahams, UK, 2010) Curfew (Christensen, US, 2012) The Gunfighter (Kissack, US, 2014)

09 minutes 24 minutes 09 minutes 11 minutes 05 minutes 19 minutes 09 minutes.

This section considers short films as being different in kind from feature-length work. The short film is an extremely flexible form. The films chosen provide examples of the distinctive narrative features that are characteristic of shorts in general. The films in the compilation are diverse in genre, theme and cultural context.

About a Girl, Wasp and New Boy can be described as social realist although all three use striking cinematic expression and each has a moment of shock. High Maintenance and Connect both look wryly at male-female attraction, the first in a sci-fi mode, the second using some fantasy features while filmed entirely on a London bus. Curfew and The Gunfighter have high production values - the first a story about the redemption of a suicidal man through contact with his niece and the second a comic send-up of conventions of the western genre.

Assessment Written examination: 3 hours 120 marks Learners must answer one question from each of the four sections. There will be a choice of two questions in each section.

Section A: Film movements, including at least one silent film option (two-film study), 40 marks Section B: Documentary film, 20 marks Section C: Global film (two-film study), 40 marks Section D: The short film, 20 marks.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 23

All questions will assess AO1, the demonstration of knowledge and learning, and AO2, the application of knowledge and learning, in equal measures (see Section 3.1 for assessment objectives).

The ability to compare films will not be assessed in Sections A and C, two-film studies.

Questions can be based on any aspect of the framework for studying film set out in detail in the introduction to Section 2.

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 24

2.3 Component 3 Production Non-exam assessment Internally assessed, externally moderated by WJEC 30% of qualification (production, 20%, evaluative analysis, 10%) 60 marks Production is a crucial and synoptic part of the specification, giving learners the opportunity to put into practice the filmmaking ideas they develop throughout their course of study. The study of film form in particular is intended to enable learners to produce high quality short films and screenplays as well as provide them with a filmmaker's perspective on the films they study. For this reason, a selection of contrasting short films, demonstrating a range of different approaches to the short film narrative, has been set for study.

The production may take the form of either a short film or a screenplay for a short film. The screenplay must be accompanied by a digitally photographed storyboard of a key sequence from the screenplay in order to demonstrate how the screenplay will be realised. Learners must also provide an evaluative analysis of the production, which analyses and evaluates the production in relation to other professionally produced films or screenplays. A different production brief will be set every three years.

The production brief will offer four options, of which one must be chosen. Options will include:  two options based on narrative elements and two options based on character-led elements of the short film.

The requirements of the evaluative analysis will remain unchanged.

The brief for first assessment in Summer 2019 and last assessment in Summer 2021 is set out below. The brief for first assessment in Summer 2022 and last assessment in Summer 2024 will be published by WJEC on its Eduqas website in September 2020.

Individual work All production work must be individual. Unassessed participants and assistants are permitted as noted below:  For the filming option, the individual learner must be responsible for the camerawork and editing of the short film. Unassessed participants may act in, or appear in, the film. Performance skills will not, however, be assessed.

Although there is no explicit requirement for independent lighting or independent sound, unassessed assistants may operate lighting and/or sound equipment, if either is required, provided this is under the direction of the learner being assessed.  For the screenplay option, unassessed learners may appear in the shots taken for the storyboard images. The storyboard shots are indicative and the quality of the images is not assessed. The storyboard shots must, however, represent the shots they describe, although lighting requirements should be detailed in the storyboard's visual instructions.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 25

Production brief (first assessment, Summer 2019; last assessment, Summer 2021)

Production brief Learners are required to create an individual production consisting of: EITHER (i) a short film of between 4 and 5 minutes which includes one of the following:  a narrative twist  a narrative which begins with an enigma  a narrative which establishes and develops a single character  a narrative which portrays a conflict between two central characters.

OR (ii) a screenplay for a short film of between 1600 and 1800 words which includes one of the following:  a narrative twist  a narrative which begins with an enigma  a narrative which establishes and develops a single character  a narrative which portrays a conflict between two central characters.

The screenplay must be accompanied by a digitally photographed storyboard of a key section from the screenplay (approximately 2 minutes' screen time, corresponding to approximately two pages of screenplay and to approximately 20 storyboard shots).

Evaluative analysis Learners must complete an evaluative analysis of their production of between 1250 and 1500 words which consists of:  aims - a brief outline of the aims of the short film or screenplay for a short film (the intended genre, where relevant, the intended visual style and the main audience for the production) as set out in note form on the accompanying production coversheet (approximately 75-100 words)  cinematic influences – an exploration of key aspects of at least two short films or their screenplays which have influenced the narrative and visual/audio elements of the production (which may include short films studied for Component 2) (approximately 300-400 words)  creating overall meaning - an evaluative analysis of how key aspects of the production's narrative and visual/audio construction create meanings for the spectator in comparison with selected sequences from, and/or aspects of, professionally produced short films or their screenplays (approximately 900-1000 words).

Learners must submit the evaluative analysis in the form of extended writing (which may include sub-headings). It must be word-processed and may be illustrated with screen shots or screenplay extracts.

See Section 3.2 for the conditions relating to individual production and the conditions for completing the production and evaluative analysis.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 26

Preparation for the production The short film has a distinctive narrative structure which frequently starts in the middle of a story or with an enigma. Whilst there is likely to be some clear development in character and storyline, the short film frequently concludes with an open, unresolved ending. Short films also frequently employ a narrative twist.

Learners will be studying a selection of short films for their A level. Although these films will be assessed in an examination context, the selection is designed to provide learners with the opportunity to develop knowledge and understanding of the short film form. Learners may supplement this by researching into additional short films and screenplays in preparation for their production (research that can inform their evaluative analysis). Learners will also be exploring examples of key elements of film form and screenplay techniques during their course of study, which they can apply to their production.

Throughout their course of study, learners are encouraged to keep an unassessed portfolio, which could be in electronic form such as a blog, consisting of:  examples of short films which could inform their production work  character(s) and narrative ideas for their short film  examples of cinematography, mise-en-scène, editing and sound which could inform their production  effective screenplay techniques (for the screenplay option in particular)  examples of storyboards (if taking the screenplay option).

This unassessed portfolio will provide learners with material which can be used in their evaluative analysis.

The short film: filmmaking option Learners must be responsible for the camerawork and editing of their short film.

Unassessed participants may act in, or appear in, the film. Performance skills will not, however, be assessed in the production. Although there is no explicit requirement for independent lighting or independent sound, if either of these is required unassessed assistants may operate lighting and/or sound equipment provided they are under the direction of the assessed learner.

Learners are encouraged to put into practice an appropriate range of camera shots and editing techniques in their production, applying their knowledge and understanding of cinematography, mise-en-scène, editing and sound.

The short film: screenwriting option Learners are required to use the conventions of a screenplay to produce their screenplay. The standard format for a screenplay is generally referred to as the 'master scene script' layout and consists of: Format features  single column with wide margins  sequential page numbering (top right)  mf (more follows) (bottom right)  dialogue centred, with speaker's name in upper case  slugline and sound in upper case  character name in upper case on first appearance only  font – courier, 12 point

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 27

Content  each scene is numbered and accompanied with a slugline  the slugline consists of:  an indication of where the action takes place – interior or exterior (INT, or EXT or INT/EXT)  location descriptor  lighting descriptor – DAY or NIGHT or TIME  scene/action descriptor (with succinct descriptor of character on her/his first appearance)  essential camera instructions (in upper case within scene descriptor) or essential editing instructions (in upper case, range right), which will only be used in exceptional circumstances (eg where SLO-MO is vital)  action written in present tense.

It should be noted that screenplays do not include camera directions.

In order to demonstrate visualisation skills equivalent to filming ideas for a short film, learners producing a screenplay are additionally required to create a digitally photographed storyboard for a key section of the screenplay (approximately 2 minutes' screen time, corresponding to approximately two pages of a screenplay and to approximately 20 storyboard shots).

Whilst storyboards can and do vary, the generally accepted conventions of a storyboard must be used as indicated below. The digitally photographed storyboard images may be indicative and need not employ a realistic mise-en-scène. The storyboard must therefore include:      

shot number plus indicative image of main shot (e.g. close-up of face) the indicative image must incorporate the intended framing (e.g. close-up of face ranged right) duration of shot (or a timeline) visual details must include detail of the mise-en-scène as well as account for any camera movement within the shot specific editing techniques (beyond simple cuts) such as DISSOLVE TO and sound details, which must include reference to diegetic or non-diegetic sound but not dialogue.

Whilst digitally photographed images need only be indicative, learners may photoshop backgrounds. This is not, however, assessed. In addition, up to five found shots may be used where a digitally photographed image would not be possible. The source of these shots must be credited.

A template for a storyboard will be made available by WJEC on its Eduqas website.

Assessment Non-exam assessment Internally assessed, externally moderated by WJEC 60 marks Learners must submit the following for assessment:  the production (40 marks)  the accompanying evaluative analysis (20 marks)  the completed production coversheet, authenticated by teacher and learner.

Learners should note that work cannot be assessed without the appropriate authentication.

See Section 3.2 for details of the conditions for non-exam assessment and its administration. © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 28

3 ASSESSMENT 3.1 Assessment objectives and weightings Below are the assessment objectives for this specification. Learners must: AO1 Demonstrate knowledge and understanding of elements of film AO2 Apply knowledge and understanding of elements of film to:  analyse and compare films, including through the use of critical approaches  evaluate the significance of critical approaches  analyse and evaluate own work in relation to other professionally produced work AO3 Apply knowledge and understanding of elements of film to the production of a film or screenplay.

The table below shows the weighting of each assessment objective for each component and for the qualification as a whole.

Component 1 Component 2 Component 3 Overall Weighting

© WJEC CBAC Ltd.

AO1 17.5% 17.5% 35%

AO2 17.5% 17.5% 10% 45%

AO3 20% 20%

Total 35% 35% 30% 100%

A LEVEL FILM STUDIES 29

3.2 Arrangements for non-exam assessment Conditions for completing the production and evaluative analysis Production In order to ensure the authenticity and comparability of all learners' production work, teachers are required to establish the following conditions for production (set out below).

Learners and teachers may carry out the following:  learners may use any filmmaking or screenwriting ideas they may have learnt about during their course of study and collected in their portfolio  teachers may provide general advice about areas of possible improvement for plans, drafts or, in the case of a film extract, an initial edit provided the learner is responsible for completing all work.

Teachers must not provide specific or detailed guidance on how to make possible improvements they advise on or make any creative decisions for learners.

Learners must complete the following authenticating stages:  stage 1: learners must submit to the teacher evidence of initial planning (taking the form of outline ideas and possible examples of work to inform the production)  stage 2: learners must submit to the teacher evidence of a plan for the film extract (for example, an outline storyboard) or a plan for the screenplay (for example, an outline draft and a draft storyboard of a key section of the screenplay)  stage 3: learners must submit to the teacher evidence of instructions to any assistants who provide independent sound or lighting for a film production to confirm that they worked under the direction of the assessed learner  stage 4: learners must confirm that camerawork and editing is the learner's own.

There is no restriction on the amount of time learners spend on planning, developing and creating their production.

Evaluative analysis of the production In order to ensure the authenticity and comparability of all learners' evaluative analysis, teachers are required to establish the following conditions for completing the evaluative analysis: Learners and teachers may carry out the following:  learners may refer to any filmmaking or screenwriting notes, ideas and other relevant resources (such as those collected in the learner's portfolio) in completing their evaluative analysis  teachers may provide general advice on areas of possible improvement for one draft version of the evaluative analysis provided that the learner is responsible for completing all work.

Teachers must not provide specific or detailed guidance on how to make possible improvements they advise on or make any creative decisions for learners.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 30

Learners must complete the evaluative analysis under supervised conditions.

Examination conditions are not required.

There is no restriction on the amount of time learners spend on the evaluative analysis of their production.

Authenticating individual work and retention of work submitted for authentication Both teachers and learners are required to authenticate that each of these conditions has been met on the production coversheet. Work submitted to the teacher for authentication is not required for moderation but must be retained in the centre until December of the academic year following submission to allow for moderation checks if necessary.

The production coversheet will be made available by WJEC on its Eduqas website.

Suspected malpractice and plagiarism Learners should be aware that:  the initial responsibility for any cases of suspected malpractice or plagiarism is with the centre  if either the centre or the moderation process uncovers any cases of malpractice or suspected plagiarism, a formal investigation, following current Joint Council of Qualifications procedures, will be undertaken  marks for either the component or the complete qualification may be withdrawn if malpractice or plagiarism is established.

Assessment procedures Internally assessed work: assessment and internal standardisation The production (a short film or screenplay and storyboard of a key sequence) and its evaluative analysis are internally assessed using the marking criteria set out in Appendix A. In addition, WJEC will, on a regular basis, make available through its Eduqas website, sample assessed work to assist teachers in their assessment.

Centres are responsible for standardising the work of all learners if more than one teacher is responsible for assessment. This must be completed in order to establish an agreed rank order for all learners.

Adhering to production requirements A penalty will be applied to work which either does not reach or exceeds the stipulated length of the short film or screenplay.

Short film (4 minutes to 5 minutes):  work exceeding the maximum length of the production (5 minutes): only the first 5 minutes will be assessed  work which is up to 30 seconds short (3 minutes 30 seconds to 3 minutes 59 seconds): 2 marks must be deducted by the teacher assessing work  work which is less than 3 minutes 30 seconds: a mark between bands 1 and 3 will be awarded depending on how far the evidence indicates the aims of the brief have been met.

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 31

A screenplay for a short film (between 1600 and 1800 words)  work exceeding the maximum length of the production (1800 words): only the first 1800 words will be assessed  work which is up to 180 words short (between 1420 and 1599 words): 2 marks must be deducted by the teacher assessing work  work which is less than 1420 words: a mark between bands 1 and 3 will be awarded depending on how far the evidence indicates the aims of the brief have been met.

Illustrative storyboard (approximately 2 minutes' screen time, corresponding to approximately 2 pages of screenplay and to approximately 20 storyboard shots)  Work which is significantly shorter or significantly longer than the approximate length of storyboard indicated: a mark will be awarded depending on how far the evidence indicates that the screenplay has been appropriately visualised.

Evaluative analysis (1250 to 1500 words)  work exceeding the maximum length of the evaluative analysis (1500 words): only the first 1500 words will be assessed.  work which is up to 125 words short (between 1125 and 1249 words): 2 marks must be deducted by the teacher assessing work  work which is less than 1125 words: a mark between bands 1 and 3 will be awarded depending on how far the evidence indicates the aims of the brief have been met.

Submission of marks to WJEC Once a rank order of all learners has been established, teachers or their examination officers are required to submit all marks to WJEC using an online system, accessed through WJEC's Eduqas secure website. It is recommended that this is completed by late April of the assessment year. Once marks have been submitted online, the sample of work to be submitted to the moderator and the moderator's contact details will be identified. The sample of work must be received by the moderator by a standard date in May of the year of assessment.

Submission of moderation sample For each candidate in the identified sample, the moderator must receive, or be able to access:  the production  its accompanying evaluative analysis  a completed production coversheet, authenticated by teacher and candidate.

Work will not be accepted for moderation without the relevant authenticated production coversheet.

The sample of work identified for external moderation can be submitted to the moderator in the following forms:  in hard copy form (with audio-visual work on DVD using any of the following file formats: .MP4, .MOV or .AVI)  electronically on an appropriately labelled memory stick  uploaded as an e-portfolio using WJEC's secure online system.

As noted above, the sample of work must be received by the moderator by a standard date in May of the year of assessment.

If a moderator is not able to confirm the centre's assessment of their candidates' work, work for the complete cohort may be requested. Should this be the case, centres are required to submit the work of all candidates within three days of receipt of the request to the examination officer, following current Joint Council of Qualifications procedures. © WJEC CBAC Ltd.

A LEVEL FILM STUDIES 32

If the moderation process establishes that a centre's assessment does not conform to national standards set by WJEC, marks for a centre may be adjusted. In cases where an adjustment is made, both the moderator allocated to the centre and a member of the senior moderating team will have moderated the sample of work submitted. Details of any adjustment, together with the rationale for adjusting centre marks, will be clarified in a centre's moderation report.

All centres will receive a moderator's report providing feedback and advice on a centre's submitted internally assessed work. This is made available online to centres on the day examination results are published.

Review of moderation process Centres may request a review of the moderation. As work is initially internally assessed, the work of all learners included in the original sample submitted for moderation must be re-submitted for review following current Joint Council of Qualification procedures.

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 33

4 TECHNICAL INFORMATION 4.1 Making entries This is a linear qualification in which all assessments must be taken at the end of the course. Assessment opportunities will be available in May/June each year, until the end of the life of this specification. Summer 2019 will be the first assessment opportunity.

Where learners wish to re-sit the qualification, all components must be re-taken.

The entry code appears below.

WJEC Eduqas A level Film Studies: A670QS The current edition of our Entry Procedures and Coding Information gives up-to-date entry procedures.

4.2 Grading, awarding and reporting A level qualifications are reported as a grade from A* to E. Results not attaining the minimum standard for the award will be reported as U (unclassified).

Š WJEC CBAC Ltd.

A LEVEL FILM STUDIES 34

APPENDIX A COMPONENT 3: Marking grids and indicative content Production (filmmaking or screenwriting) Production: film or screenplay and illustrative storyboard Marking grid AO3: Apply knowledge and understanding of elements of film to the production of a film or screenplay (20%) Band/mark

Filmmaking: short film Completely 39-40 marks

Band 5

Very securely 37-38 marks

33-40 marks

Reasonably securely 35-36 marks

  

Screenwriting: short film screenplay plus illustrative storyboard

Applies an excellent knowledge and understanding of elements of film to the production of a short film Applies an excellent creative and technical knowledge and understanding of cinematography and editing Demonstrates an excellent ability to visualise a narrative through a short film production



Applies a good knowledge and understanding of elements of film to the production of a short film Applies an excellent creative and technical knowledge and understanding of cinematography and editing Demonstrates an excellent ability to visualise a narrative through a short film production



 

Applies an excellent knowledge and understanding of elements of film to the production of a screenplay for a short film and an illustrative storyboard Applies an excellent creative and technical knowledge and understanding of screenwriting Demonstrates an excellent ability to visualise a narrative through a screenplay and a storyboarded sequence

Just 33-34 marks Completely 31-32 marks Band 4

Very securely 29-30 marks

25-32 marks

Reasonably securely 27-28 marks Just 25-26 marks

© WJEC CBAC Ltd.

  

 

Applies a good knowledge and understanding of elements of film to the production of a screenplay for a narrative sequence and an illustrative storyboard Applies a good creative and technical knowledge and understanding of screenwriting Demonstrates a good ability to visualise a narrative through a screenplay and a storyboarded sequence

A LEVEL FILM STUDIES 35

Completely 23-24 marks Band 3

Very securely 21-22 marks

17-24 marks

Reasonably securely 19-20 marks

  

Applies a competent knowledge and understanding of elements of film to the production of a short film Applies a competent creative and technical knowledge and understanding of cinematography and editing Demonstrates a competent ability to visualise a narrative through a short film production



Applies a basic knowledge and understanding of elements of film to the production of a short film Applies a basic creative and technical knowledge and understanding of cinematography and editing Demonstrates a basic ability to visualise a narrative through a short film production



Applies a limited knowledge and understanding of elements of film to the production of a short film Applies a limited, creative and technical knowledge and understanding of cinematography and editing Demonstrates a limited ability to visualise a narrative through a short film



 

Applies a competent knowledge and understanding of elements of film to the production of a screenplay for a short film and an illustrative storyboard Applies a competent creative and technical knowledge and understanding of screenwriting Demonstrates a competent ability to visualise a narrative through a screenplay and a storyboarded sequence

Just 17-18 marks Completely 15-16 marks Band 2

Very securely 13-14 marks

9-16 marks

Reasonably securely 11-12 marks

  

 

Applies a basic knowledge and understanding of elements of film to the production of a screenplay for a short film and an illustrative storyboard Applies a basic creative and technical knowledge and understanding of screenwriting Demonstrates a basic ability to visualise a narrative through a screenplay and a storyboarded sequence

Just 9-10 marks Completely 7-8 marks Band 1

Very securely 5-6 marks

1-8 marks

Reasonably securely 3-4 marks

  

 

Applies a limited knowledge and understanding of elements of film to the production of a screenplay for a narrative sequence and an illustrative storyboard Applies a limited creative and technical knowledge and understanding of screenwriting Demonstrates a limited ability to visualise a narrative through a screenplay and a storyboarded sequence

Just 1-2 marks 0 mark

© WJEC CBAC Ltd.

No production work submitted or not worthy of credit

A LEVEL FILM STUDIES 36

Indicators of performance: bands 5, 3 and 1 The following is used in conjunction with the above marking grid and provides indicators of likely achievement at bands 5, 3 and 1 Band

Filmmaking: short film 



5 

There is an excellent variety of effective shot types, camera angles, and careful framing including close-ups and establishing shots.

Camera movement will be smooth and purposeful.

Editing will establish clear meaning and demonstrate a range of continuity features, such as eyeline matches and match on action.

The chosen brief has been interpreted in an excellent way.

Screenwriting: short film screenplay plus illustrative storyboard   

  

3 





1



© WJEC CBAC Ltd.

There are some different shot types. Different camera angles and camera movement will be used with some success.

Editing will establish meaning and there will be a sense of continuity features such as eyeline matches and match on action. There will be some editing of sound which will make some contribution to the effect of the visuals.

The chosen brief has been interpreted in a competent way.



Limited range of shot types with limited use of camera angles. Camera movement is not always controlled and used with only limited success.

Editing will not be judged effectively to establish more than a basic meaning and continuity features will be limited. There will be limited editing of sound which will make a limited contribution to the effect of the visuals.

The chosen brief has been interpreted in a limited way.



 



 



Excellent and consistent use of the 'master scene script' layout. Dialogue is used purposefully and convincingly.

Scene descriptions create excellent mise-enscène, providing very appropriate location and other relevant detail.

The illustrative storyboard demonstrates an excellent variety of effective shot types, camera angles, and careful framing including close-ups and establishing shots. Appropriate indications of camera movement and editing.

The chosen brief has been interpreted in an excellent way.

A competent use of the 'master scene script' layout with some inconsistencies. Dialogue is used competently but not always convincingly.

Scene descriptions create competent mise-enscène, providing a sense of location and some additional detail.

The illustrative storyboard demonstrates some different shot types and some different camera angles. Some possible indications of camera movement and editing.

The chosen brief has been interpreted in a competent way.

A limited use of the 'master scene script' layout with some inconsistencies. Dialogue is used in an uneven way with little that is convincing.

Scene descriptions create only a limited sense of mise-en-scène.

The illustrated storyboard demonstrates a limited range of shot types with limited use of camera angles. Little indication that camera movement or editing has been considered.

The chosen brief has been interpreted in a limited way.

A LEVEL FILM STUDIES 37

Production (evaluative analysis)

Evaluative Analysis of the Production: film or screenplay and illustrative storyboard Marking grid AO2: Apply knowledge and understanding of elements of film to analyse and evaluate own work in relation to other professionally produced work (10%) Evaluative Analysis: filmmaking – short film

Band/mark

Band 5 17-20 marks

Completely 20 marks

 

Very securely 19 marks



Reasonably securely 18 marks

Evaluative Analysis: screenwriting – short film plus illustrative storyboard

An excellent account of the creative aims and intentions An excellent consideration of the cinematic influences on the production An excellent and perceptive evaluative analysis of how visual/audio elements are used to create meaning for spectators in comparison with similar professionallyproduced films

 

A good account of the creative aims and intentions A good consideration of the cinematic influences on the production A good evaluative analysis of how visual/audio elements are used to create meaning for spectators in comparison with similar professionally-produced films

 



An excellent account of the creative aims and intentions An excellent consideration of the cinematic influences on the production An excellent and perceptive evaluative analysis of how screenplay and visual/audio elements are used to create meaning for spectators in comparison with similar professionally-produced screenplays

Just 17 marks Completely 16 marks

 

Band 4

Very securely 15 marks



13-16 marks

Reasonably securely 14 marks Just 13 marks

© WJEC CBAC Ltd.



A good account of the creative aims and intentions A good consideration of the cinematic influences on the production A good evaluative analysis of how screenplay and visual/audio elements are used to create meaning for spectators in comparison with similar professionallyproduced screenplays

A LEVEL FILM STUDIES 38

Completely 12 marks

 

Band 3

Very securely 11 marks



9-12 marks

Reasonably securely 10 marks

A competent account of the creative aims and intentions A competent consideration of the cinematic influences on the production A competent evaluative analysis of how visual/audio elements are used to create meaning for spectators in comparison with similar professionally-produced films

 

A basic account of the creative aims and intentions A basic consideration of the cinematic influences on the production A basic evaluative analysis of how visual/audio elements are used to create meaning for spectators in comparison with similar professionally-produced films

 

A limited account of the creative aims and intentions A limited consideration of the cinematic influences on the production A limited evaluative analysis of how visual/audio elements are used to create meaning for spectators in comparison with similar professionally-produced films

 



A competent account of the creative aims and intentions A competent consideration of the cinematic influences on the production A competent evaluative analysis of how screenplay and visual/audio elements are used to create meaning for spectators in comparison with similar professionallyproduced screenplays

Just 9 marks Completely 8 marks

 

Band 2

Very securely 7 marks



5-8 marks

Reasonably securely 6 marks



A basic account of the creative aims and intentions A basic consideration of the cinematic influences on the production A basic evaluative analysis of how screenplay and visual/audio elements are used to create meaning for spectators in comparison with similar professionallyproduced screenplays

Just 5 marks Completely 4 marks

 

Band 1

Very securely 3 marks



1-4 marks

Reasonably securely 2 marks



A limited account of the creative aims and intentions A limited consideration of the cinematic influences on the production A limited evaluative analysis of how screenplay and visual/audio elements are used to create meaning for spectators in comparison with similar professionallyproduced screenplays

Just 1 mark 0 mark No work submitted or not worthy of credit

© WJEC CBAC Ltd.

A LEVEL FILM STUDIES 39 Indicators of performance: bands 5, 3 and 1 The following is used in conjunction with the above marking grid and provides indicators of likely achievement at bands 5, 3 and 1 Short film The evaluative analysis is characterised by the following at band 5:

Screenplay and illustrative storyboard The evaluative analysis is characterised by the following at band 5:







5









The evaluative analysis is characterised by the following at band 3:









Competent consideration of the film extract in relation to its aims. Reference to genre, visual style and main audience is generalised.

Competent reference to cinematic influences on production, with generalised indication of how narrative is constructed. References to shot selection and editing are generalised.

Analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own film production compared with extracts from similar films will tend to be generalised rather than focused.

General understanding of how key and structural elements of film used in own production create meanings for spectators without precise reference to clear examples.







Competent consideration of the film extract in relation to its aims. Reference to genre, visual style and main audience is generalised.

Competent reference to cinematic (screenplay) influences on production, with generalised indication of how narrative construction is conveyed through a screenplay (scene description and dialogue).

Analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own screenplay and illustrative storyboard production compared with extracts from similar screenplays will tend to be generalised rather than focused.

General understanding of how key and structural elements of film used in own production create meanings for spectators without precise reference to clear examples.

The evaluative analysis is characterised by the following at band 1:

The evaluative analysis is characterised by the following at band 1:







1



Excellent and perceptive consideration of the film extract in relation to its aims, genre, visual style and main audience.

Excellent and detailed reference to cinematic (screenplay) influences on production, with precise indication of how narrative construction is conveyed through a screenplay (scene description and dialogue).

Excellent and focused analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own screenplay and illustrative storyboard production compared with extracts from similar films.

Clear understanding of how key and structural elements of film used in own production create meanings for spectators.

The evaluative analysis is characterised by the following at band 3:



3

Excellent and perceptive consideration of the film extract in relation to its aims, genre, visual style and main audience.

Excellent and detailed reference to cinematic influences on production, with precise indication of how narrative is constructed through shot selection and editing in particular.

Excellent and focused analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own film production compared with extracts from similar films.

Clear understanding of how key and structural elements of film used in own production create meanings for spectators.





Limited consideration of the film extract in relation to its aims. Reference to genre, visual style and main audience will be limited and vague.

Limited reference to cinematic influences on production. Limited sense of how narrative is constructed. Limited reference to examples of shot selection and editing.

Limited statements rather than analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own film production. Comparison with extracts from similar films limited and uneven, not always relevant.

Limited understanding of how key and structural elements of film used in own production create meanings for spectators.

Limited reference to specific examples.

WJEC Eduqas A level Film Studies specification from 2017/ED/28.07.16

© WJEC CBAC Ltd.







Limited consideration of the film extract in relation to its aims. Reference to genre, visual style and main audience will be limited and vague.

Limited reference to cinematic (screenplay) influences on production. Limited sense of how narrative construction is conveyed through a screenplay (scene description and dialogue).

Limited statements rather than analysis of how key aspects of visual/audio elements (e.g. shot selection, camera movement, editing and sound) are used to construct narrative in own screenplay and illustrative storyboard production. Comparison with extracts from similar screenplays limited and uneven, not always relevant.

Limited understanding of how key and structural elements of film used in own production create meanings for spectators. Limited reference to specific examples.