This document provides an overview of the A2 Film Studies course for 2015-2016 at Coulsdon College. It outlines the course assessments, schedule, resources, expectations, and policies. Students will complete a research project and creative project for coursework, as well as an exam assessing their knowledge of world cinema, spectatorship topics, and a single film critical study. The course involves analyzing films in class, independent research, practical filmmaking experience, and using online resources to develop skills in film analysis and production.
This document outlines the course schedule and requirements for an A2 Film Studies class. It includes details about assignments, projects, exams that will be assigned throughout the year. Students will complete a research project, creative project, and exam assessing their knowledge of film theory, world cinema, spectatorship and a single film study. The course schedule provides the topics, readings and film screenings planned for each week of the term.
This document provides an overview of the AS Film Studies course at Coulsdon College for the 2015-2016 academic year. It outlines the two assessed components: FM1 which involves coursework including film analysis and a creative project, and FM2 which is an exam. It provides the schedule of topics to be covered each week along with associated tasks and deadlines. Expectations of students are outlined regarding independent film viewing and research, note taking, practical filmmaking work, use of facilities and equipment, and health and safety procedures. Key films to be studied as part of the course are also identified.
A2 Media Studies Course Handbook 2014-15ALEVELFILM
This document outlines the course schedule and requirements for an A2 Media Studies course taking place from 2014-2015 at Coulsdon College. It details the key assessments, including a media investigation coursework project and final exam. Students will analyze various TV shows, films, and music artists over the course of the year both in and out of class, posting reflections to individual blogs. Practical work will involve producing a music video.
Fraser Hardwick is applying to university film and media production programs. He has a history of studying media and drama through GCSEs, BTECs, and a UAL diploma. Currently in his third year, he is specializing in film production and creating short films for his portfolio. Outside of school, he has 12 years of drama experience and did a work placement at Nestle creating social media content. He aims to further develop his filmmaking skills at university and eventually work in voice acting or content creation. University will help him gain knowledge and skills to succeed in the creative industries.
This document provides information about a two-year BTEC course in creative media production focusing on television and film. Over the two years, students will study 19 units covering topics like pre-production, communication skills, research techniques, and production of music videos, advertisements, documentaries and more. Assignments include theory work, pre-production materials, and practical projects. The course aims to develop both theoretical knowledge and practical skills through hands-on projects. A weekly timetable is provided along with contact information for course staff and assignment deadlines for each term.
The document provides instructions for creating a film programme for one of three audiences: families recently arrived in the UK, seniors in nursing homes, or primary school children. Participants must choose 10 films under 15 minutes from the BFI Player appropriate for their audience, including some made before 1970. For each film, they must provide the length, director, year, URL, a synopsis, and discussion questions. A Word document and PowerPoint presenting the program must be created for judging.
This document provides guidance for a film screening and analysis of the British film "Hunger" as part of a British and American Film course. It aims to build on prior learning about "The Troubles" in Ireland and analyze the film as the second case study. Students will watch over 40 minutes of the film and take notes using a provided sheet to complete their analysis of how the opening sequence establishes the idea of conflict through its micro features. They are then assigned a homework question requiring a one page review applying their knowledge.
This document provides information about the Level 3 TV & Film course, including what students will learn, the types of projects they will work on, how they will be assessed, and course requirements. Over the two-year course, students will learn skills like video production, editing, camera operation, and audio recording. They will complete projects such as filming and editing a music video, planning and filming a short film, and producing a radio show. Students will be assessed based on their work on 10 units in the first year and 9 units in the second year, with each unit made up of 3-5 graded assignments. Their final grade will be the lowest grade received across all assignments. The document also outlines attendance, behavior, and disciplinary
This document outlines the course schedule and requirements for an A2 Film Studies class. It includes details about assignments, projects, exams that will be assigned throughout the year. Students will complete a research project, creative project, and exam assessing their knowledge of film theory, world cinema, spectatorship and a single film study. The course schedule provides the topics, readings and film screenings planned for each week of the term.
This document provides an overview of the AS Film Studies course at Coulsdon College for the 2015-2016 academic year. It outlines the two assessed components: FM1 which involves coursework including film analysis and a creative project, and FM2 which is an exam. It provides the schedule of topics to be covered each week along with associated tasks and deadlines. Expectations of students are outlined regarding independent film viewing and research, note taking, practical filmmaking work, use of facilities and equipment, and health and safety procedures. Key films to be studied as part of the course are also identified.
A2 Media Studies Course Handbook 2014-15ALEVELFILM
This document outlines the course schedule and requirements for an A2 Media Studies course taking place from 2014-2015 at Coulsdon College. It details the key assessments, including a media investigation coursework project and final exam. Students will analyze various TV shows, films, and music artists over the course of the year both in and out of class, posting reflections to individual blogs. Practical work will involve producing a music video.
Fraser Hardwick is applying to university film and media production programs. He has a history of studying media and drama through GCSEs, BTECs, and a UAL diploma. Currently in his third year, he is specializing in film production and creating short films for his portfolio. Outside of school, he has 12 years of drama experience and did a work placement at Nestle creating social media content. He aims to further develop his filmmaking skills at university and eventually work in voice acting or content creation. University will help him gain knowledge and skills to succeed in the creative industries.
This document provides information about a two-year BTEC course in creative media production focusing on television and film. Over the two years, students will study 19 units covering topics like pre-production, communication skills, research techniques, and production of music videos, advertisements, documentaries and more. Assignments include theory work, pre-production materials, and practical projects. The course aims to develop both theoretical knowledge and practical skills through hands-on projects. A weekly timetable is provided along with contact information for course staff and assignment deadlines for each term.
The document provides instructions for creating a film programme for one of three audiences: families recently arrived in the UK, seniors in nursing homes, or primary school children. Participants must choose 10 films under 15 minutes from the BFI Player appropriate for their audience, including some made before 1970. For each film, they must provide the length, director, year, URL, a synopsis, and discussion questions. A Word document and PowerPoint presenting the program must be created for judging.
This document provides guidance for a film screening and analysis of the British film "Hunger" as part of a British and American Film course. It aims to build on prior learning about "The Troubles" in Ireland and analyze the film as the second case study. Students will watch over 40 minutes of the film and take notes using a provided sheet to complete their analysis of how the opening sequence establishes the idea of conflict through its micro features. They are then assigned a homework question requiring a one page review applying their knowledge.
This document provides information about the Level 3 TV & Film course, including what students will learn, the types of projects they will work on, how they will be assessed, and course requirements. Over the two-year course, students will learn skills like video production, editing, camera operation, and audio recording. They will complete projects such as filming and editing a music video, planning and filming a short film, and producing a radio show. Students will be assessed based on their work on 10 units in the first year and 9 units in the second year, with each unit made up of 3-5 graded assignments. Their final grade will be the lowest grade received across all assignments. The document also outlines attendance, behavior, and disciplinary
This document introduces some key terminology used for analyzing films, including concepts from Roman Jakobson's model of communication. It defines mise-en-scene as all the visual elements placed in front of the camera, and identifies specific elements of mise-en-scene like setting, costumes, lighting, staging, decor, space, and acting. It also covers terminology related to cinematography, editing, sound, and provides examples from classic Russian films to illustrate various techniques.
Some key considerations for film distributors include:
- Targeting the intended audience and appealing to their preferences in genre and narrative.
- Evaluating the marketability and playability of the film - how well it can be promoted and perform financially.
- Accounting for competition from other films releasing around the same time or appealing to similar audiences.
- Assessing the scale of the film and popularity of any actors to help attract the desired size of audience.
- Carefully examining the significant expenses of distribution to promote and release the film successfully.
The document discusses characterisation in films. It defines characterisation as how a film reveals the personality of characters, which can be done directly by telling the audience or indirectly by showing things that reveal personality through speech, thoughts, effects on others, actions, and looks. Examples are provided from films like Se7en and Mean Girls to illustrate indirect and direct characterisation. The document also discusses how protagonists and antagonists are characterized at the beginning of films to establish them as the "good guy" or "bad guy."
This document outlines the assessments for a film studies course, including two main units. Unit 3 involves a research project on three related films using a theoretical framework, resulting in an annotated catalogue and presentation script. The creative project can be a short film, screenplay, or documentary outline. Unit 4 is an exam covering world cinema, spectatorship, and a single film study. Students are advised to choose a focus film and do background reading over the summer in preparation for the research project.
this is for an evaluation questtion in media for AS level. "In what ways does your media product use, develop or challenge forms and conventions of real media products?" this goes over theorys in narrative for the question such as Todorovs equilibrium and Propps theory. Hope this come in handy :)
This document provides an introduction and overview of the WJEC AS GCE in Film Studies course. It includes the following key points:
- The two-year course is made up of four units assessing a range of film analysis, research, and production skills.
- Unit 1 explores film form and requires analysis of a key scene from a favorite film. Unit 2 examines the British and American film industries and topics like genre.
- Unit 3 involves a research project and creative work. Unit 4 addresses issues and debates in film.
- Assessments include internal and external evaluations of film knowledge and practical projects. The document outlines the course content and expectations.
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
Remember the Titans is a 2000 film directed by Boaz Yakin about the integration of a high school in Virginia in 1971. It focuses on the relationship between the new black head coach Herman Boone (Denzel Washington) and the white defensive coordinator Bill Yoast (Will Patton) as they try to unite a racially divided football team and community. The film explores themes of overcoming racism through friendship and teamwork. A key moment occurs when the black and white players come together by yelling "Left side, strong side" during a game.
This document provides an overview of basic film grammar concepts including sequence, scene, shot, frame, shot scale, depth of field, camera angles, camera movements, and editing techniques. It defines key terms like long take, cut, fade, dissolve, match on action, and eye-line match. It also explains how editing can change the interpretation of a scene through establishing relationships between shots based on time, space, and theme.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
This document discusses three theories of media narrative:
1. Propp's theory argues that all stories share the same internal structure of 8 character roles and 31 functions.
2. Levi-Strauss studied how primitive societies functioned and argued they shared elements with advanced societies. He looked at binary oppositions between groups.
3. Equilibrium theory says all stories are about returning to normality after an event disrupts the equilibrium. It examines what event caused the disruption and how the narrative works to restore balance.
i am not sure where i have acquired this so if you are the audience i apologise for not citing your creative and intellectual rights. I suspect I found it somewhere on here or on an OCR training day - i have changed it somewhat so thanks for the original
Roland Barthes was a French literary theorist and philosopher born in 1915 who developed the theory of codes in analyzing texts. He described a text as having no single structure or meaning, but rather being made up of a "galaxy of signifiers" that can be interpreted through different codes. Barthes identified five main codes that are woven into any narrative: the hermeneutic code, proairetic code, semantic code, symbolic code, and cultural code. These codes relate to mystery, tension, connotation, symbols, and cultural context.
Barthes identified 5 narrative codes that describe the meaning of a text: the hermeneutic/enigma code referring to mysteries, the proairetic/action code containing sequential elements of action, the semantic code referring to additional meanings suggested in the text, the symbolic code involving symbolism to create greater meaning, and the referential code referring to external knowledge. Texts can be either "open" with multiple interpretations or "closed" with a single obvious interpretation according to these codes.
Narrative refers to storytelling and how elements are organized to create meaning. Narratives across media share characteristics like structure and how they are informed by characters, action, and location. Narrative structures can be closed with a conclusion or open-ended. Theorists like Todorov, Propp, Barthes, and Levi-Strauss analyzed narratives and identified common patterns. Todorov saw narratives as progressing through equilibrium, disruption, and new equilibrium states. Propp identified character types like villains and heroes. Levi-Strauss explored binary oppositions. Barthes identified codes like hermeneutic and symbolic that shape narratives.
The document discusses several influential narrative theorists and their contributions:
1) Vladimir Propp analyzed Russian fairytales and identified character archetypes like the hero, villain, donor.
2) Tzvetan Todorov proposed most narratives have an initial state of equilibrium, a disruption, then resolution to a new equilibrium.
3) Roland Barthes identified five codes that structure narratives: action, enigma, symbolic, semic, cultural.
4) Claude Levi-Strauss studied how myths unconsciously reflect a culture's beliefs through binary oppositions like civilized/savage.
The document defines and discusses various film genres and subgenres. It provides examples of primary genres like action, adventure, comedy, crime, drama, epics, horror, musicals, science fiction, war films, and westerns. For each genre, it lists representative subgenres and provides brief descriptive definitions.
AS Media studies course handbook 2015-16ALEVELFILM
This document provides an overview of the AS Media Studies course for 2015-2016, including assessment details, schedules, resources and policies. The course consists of two units - MS1 on media representations and responses, assessed via exam; and MS2 on media production processes, assessed via coursework. Key deadlines and topics are outlined week-by-week across the academic year. Resources for independent study and the completion of assessed work are also highlighted.
This document outlines the course structure and requirements for an AS Film Studies course taking place from 2014-2015 at Coulsdon College. It details the units of study, assessments, screening schedule, resources available to students, and expectations for homework, independent viewing, note taking and blog contributions. Students will complete coursework analyzing film techniques as well as a creative project, and sit a final exam assessing their knowledge of British/American film industries and analyses of specific films.
Louis Biddles has applied to study film production at university and has included details of his academic qualifications and experience in filmmaking through his current creative media course, where he has developed skills in camerawork, editing, and Photoshop. He is passionate about working in the film industry after university and has researched several film production degree courses that would allow him to further improve his practical filmmaking abilities.
This document introduces some key terminology used for analyzing films, including concepts from Roman Jakobson's model of communication. It defines mise-en-scene as all the visual elements placed in front of the camera, and identifies specific elements of mise-en-scene like setting, costumes, lighting, staging, decor, space, and acting. It also covers terminology related to cinematography, editing, sound, and provides examples from classic Russian films to illustrate various techniques.
Some key considerations for film distributors include:
- Targeting the intended audience and appealing to their preferences in genre and narrative.
- Evaluating the marketability and playability of the film - how well it can be promoted and perform financially.
- Accounting for competition from other films releasing around the same time or appealing to similar audiences.
- Assessing the scale of the film and popularity of any actors to help attract the desired size of audience.
- Carefully examining the significant expenses of distribution to promote and release the film successfully.
The document discusses characterisation in films. It defines characterisation as how a film reveals the personality of characters, which can be done directly by telling the audience or indirectly by showing things that reveal personality through speech, thoughts, effects on others, actions, and looks. Examples are provided from films like Se7en and Mean Girls to illustrate indirect and direct characterisation. The document also discusses how protagonists and antagonists are characterized at the beginning of films to establish them as the "good guy" or "bad guy."
This document outlines the assessments for a film studies course, including two main units. Unit 3 involves a research project on three related films using a theoretical framework, resulting in an annotated catalogue and presentation script. The creative project can be a short film, screenplay, or documentary outline. Unit 4 is an exam covering world cinema, spectatorship, and a single film study. Students are advised to choose a focus film and do background reading over the summer in preparation for the research project.
this is for an evaluation questtion in media for AS level. "In what ways does your media product use, develop or challenge forms and conventions of real media products?" this goes over theorys in narrative for the question such as Todorovs equilibrium and Propps theory. Hope this come in handy :)
This document provides an introduction and overview of the WJEC AS GCE in Film Studies course. It includes the following key points:
- The two-year course is made up of four units assessing a range of film analysis, research, and production skills.
- Unit 1 explores film form and requires analysis of a key scene from a favorite film. Unit 2 examines the British and American film industries and topics like genre.
- Unit 3 involves a research project and creative work. Unit 4 addresses issues and debates in film.
- Assessments include internal and external evaluations of film knowledge and practical projects. The document outlines the course content and expectations.
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
Remember the Titans is a 2000 film directed by Boaz Yakin about the integration of a high school in Virginia in 1971. It focuses on the relationship between the new black head coach Herman Boone (Denzel Washington) and the white defensive coordinator Bill Yoast (Will Patton) as they try to unite a racially divided football team and community. The film explores themes of overcoming racism through friendship and teamwork. A key moment occurs when the black and white players come together by yelling "Left side, strong side" during a game.
This document provides an overview of basic film grammar concepts including sequence, scene, shot, frame, shot scale, depth of field, camera angles, camera movements, and editing techniques. It defines key terms like long take, cut, fade, dissolve, match on action, and eye-line match. It also explains how editing can change the interpretation of a scene through establishing relationships between shots based on time, space, and theme.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
This document discusses three theories of media narrative:
1. Propp's theory argues that all stories share the same internal structure of 8 character roles and 31 functions.
2. Levi-Strauss studied how primitive societies functioned and argued they shared elements with advanced societies. He looked at binary oppositions between groups.
3. Equilibrium theory says all stories are about returning to normality after an event disrupts the equilibrium. It examines what event caused the disruption and how the narrative works to restore balance.
i am not sure where i have acquired this so if you are the audience i apologise for not citing your creative and intellectual rights. I suspect I found it somewhere on here or on an OCR training day - i have changed it somewhat so thanks for the original
Roland Barthes was a French literary theorist and philosopher born in 1915 who developed the theory of codes in analyzing texts. He described a text as having no single structure or meaning, but rather being made up of a "galaxy of signifiers" that can be interpreted through different codes. Barthes identified five main codes that are woven into any narrative: the hermeneutic code, proairetic code, semantic code, symbolic code, and cultural code. These codes relate to mystery, tension, connotation, symbols, and cultural context.
Barthes identified 5 narrative codes that describe the meaning of a text: the hermeneutic/enigma code referring to mysteries, the proairetic/action code containing sequential elements of action, the semantic code referring to additional meanings suggested in the text, the symbolic code involving symbolism to create greater meaning, and the referential code referring to external knowledge. Texts can be either "open" with multiple interpretations or "closed" with a single obvious interpretation according to these codes.
Narrative refers to storytelling and how elements are organized to create meaning. Narratives across media share characteristics like structure and how they are informed by characters, action, and location. Narrative structures can be closed with a conclusion or open-ended. Theorists like Todorov, Propp, Barthes, and Levi-Strauss analyzed narratives and identified common patterns. Todorov saw narratives as progressing through equilibrium, disruption, and new equilibrium states. Propp identified character types like villains and heroes. Levi-Strauss explored binary oppositions. Barthes identified codes like hermeneutic and symbolic that shape narratives.
The document discusses several influential narrative theorists and their contributions:
1) Vladimir Propp analyzed Russian fairytales and identified character archetypes like the hero, villain, donor.
2) Tzvetan Todorov proposed most narratives have an initial state of equilibrium, a disruption, then resolution to a new equilibrium.
3) Roland Barthes identified five codes that structure narratives: action, enigma, symbolic, semic, cultural.
4) Claude Levi-Strauss studied how myths unconsciously reflect a culture's beliefs through binary oppositions like civilized/savage.
The document defines and discusses various film genres and subgenres. It provides examples of primary genres like action, adventure, comedy, crime, drama, epics, horror, musicals, science fiction, war films, and westerns. For each genre, it lists representative subgenres and provides brief descriptive definitions.
AS Media studies course handbook 2015-16ALEVELFILM
This document provides an overview of the AS Media Studies course for 2015-2016, including assessment details, schedules, resources and policies. The course consists of two units - MS1 on media representations and responses, assessed via exam; and MS2 on media production processes, assessed via coursework. Key deadlines and topics are outlined week-by-week across the academic year. Resources for independent study and the completion of assessed work are also highlighted.
This document outlines the course structure and requirements for an AS Film Studies course taking place from 2014-2015 at Coulsdon College. It details the units of study, assessments, screening schedule, resources available to students, and expectations for homework, independent viewing, note taking and blog contributions. Students will complete coursework analyzing film techniques as well as a creative project, and sit a final exam assessing their knowledge of British/American film industries and analyses of specific films.
Louis Biddles has applied to study film production at university and has included details of his academic qualifications and experience in filmmaking through his current creative media course, where he has developed skills in camerawork, editing, and Photoshop. He is passionate about working in the film industry after university and has researched several film production degree courses that would allow him to further improve his practical filmmaking abilities.
Connor Wiffen is applying to film production degree programs. He has a lifelong passion for film inspired by works like Jurassic Park and shows like Doctor Who. He hopes to one day produce films that stand alongside his inspirations. Connor specializes in editing and sees the post-production process as his favorite part of filmmaking. He has edited personal projects and school videos to hone his skills. Connor believes a film degree will allow him to work on more challenging projects using professional equipment and help him develop the experiences needed to pursue a career in the film industry.
This applicant is passionate about film and television, having been influenced from a young age by works like Jurassic Park and Doctor Who. Their specialty is editing, which they enjoy as a hobby and have experience with through personal projects and contributions to others' work. They see university study as an opportunity to further develop their filmmaking skills through access to professional equipment and environments, and working collaboratively on more challenging projects as preparation for a career in the industry.
Nathan is applying to study filmmaking at university. He has studied media for 6 years in secondary school and college, developing skills in editing software. Currently in college, he is studying level 3 media and has created several projects for his final major project, such as an advert and magazine, to prepare for a career in advertising. Nathan plays sports outside of college to improve his teamwork and resilience. He is determined to develop his skills further at university in order to work in media and achieve his goal of a career in advertising through roles like camera operator.
Here are a few key points you could make about projects you've enjoyed this year and why:
- The FMP project allowed me the most creative freedom to explore my interests and try new skills. I enjoyed having ownership over an entire production from start to finish.
- Working on longer, more complex projects like the FMP helped me learn valuable lessons. Through the experience, I've identified areas I can improve for the future, like maintaining consistent camera settings and focus points across shots.
- Practical skills-based projects gave me hands-on experience behind the camera and in editing that I couldn't get from theory-based work. I especially enjoyed developing new techniques in Premier Pro.
- Collaborating with classmates
Here are a few key points about your current study:
- You are currently studying an Extended Diploma in Creative Media Production at Level 3.
- The course is providing you with a wide range of knowledge and skills relevant to film and media production, including pixel animation, sound design, photography, photo editing with Photoshop, and video editing.
- Subjects like photography, Photoshop, and video editing are giving you hands-on experience with tools and techniques used in the film industry.
- The broad range of media production topics covered in the course are well-suited to preparing you for further study and a career in film.
Connor has a lifelong passion for film and television inspired by influential works like Jurassic Park and Doctor Who. He hopes to produce films that stand alongside his inspirations and convey meaningful themes. Connor specializes in editing and has edited personal projects for his YouTube channel. He contributes to film projects for his college course and friends. At university, Connor seeks to further develop his filmmaking skills through challenging projects and access to professional equipment and environments.
This applicant is applying to study film production at university. They have a passion for filmmaking that began in childhood. They have focused their college studies on creative media production and technology, specializing in film and television. This has helped them develop technical skills in Adobe software and professional film equipment as well as literary skills like scriptwriting. Outside of college, they take photos, make videos, and work for clients to further improve their skills. They are dedicated to pursuing a career in filmmaking and are willing to put in the work needed to succeed. They have signed up for open days at several top film schools.
A compilation of the presentations from the zoom presentation and meeting on June 24th covering a range of aspects about planning a GCSE Film Studies course.
This document contains Bailey Furman's UCAS application. It includes details of their academic qualifications including GCSE and UAL grades. It lists three university course options that Bailey is interested in - Film, Photography and Media BA at Leeds University, Creative Technologies and Performance at Liverpool LIPA University, and Film and Media at Newcastle University. Bailey's personal statement discusses their academic history, current study of Creative Media, goals of working in film or photography, experience doing photography and video editing outside of college, and desire to further their education and career prospects through university study focused on film production and photography.
- Elisabeth Banks is applying to study BSc (Hons) Film and Television Production at York University. She has achieved good GCSE grades including English Language, English Literature, Maths, Combined Science, Computer Science, and Religious Studies.
- Currently, she is studying an Extended Diploma in Creative Media Production and Technology at York College where she has gained experience producing music videos, album covers, video games, film trailers, shorts films, and advertisements.
- She is interested in working in film production at a multimedia company in the future and feels a university course will provide her with additional skills and experience needed for a career in the industry.
Ellie Jones is applying to study film and television or film practice at the London College of Communication, which is part of the University of Arts London. She has a passion for film and wants to become a director. Her UCAS application details her academic history in media-related subjects and her current study in a creative media production course. She believes a university course will help her gain skills and experience to pursue her dream career in film directing. Her personal statement outlines her leadership experience and time management skills that will help her succeed at university.
This document summarizes Ewan Wild's academic history and application to university film programs. It outlines his GCSE and college grades, including merits in creative media production. It discusses his passion for film developing through courses in film studies. His current creative media diploma focused on skills like animation, editing, and filmmaking. He hopes to pursue directing at university to further develop practical skills and find his style. Outside of school, he plays basketball to learn teamwork and watches films for enjoyment, relating activities to skills needed in film careers.
This document provides information about the film studies course offered at Reigate College. The course examines films from three perspectives: as an art form, as a commercial product, and as an indicator of social values. Students will analyze films in terms of their form and meaning, study the British and American film industries and genres, conduct their own research project and create a short film. The course consists of four units assessed through coursework, exams, and a portfolio. No prior film experience is required but a C grade in GCSE English is essential due to the essay-based nature of the course.
This document summarizes the Film Studies course offered at Langley Park School for Girls. The course involves an in-depth study of films from historical, economic, and social perspectives. Students closely analyze selected films and do not just watch blockbuster entertainment. They study concepts like film stars and how films are marketed. The course also includes practical filmmaking skills and producing a short film. It is assessed through coursework, essays, and exams covering areas like film forms, industries, and critical analysis. Past results have shown high rates of students receiving A-C grades. Film Studies provides academic and analytical skills compared to similar but more practical media courses.
The document provides an overview of Lily Ajaib's academic qualifications and grades from GCSEs and college courses, as well as details of her proposed university filmmaking degree options and personal statement. It discusses her interests in filmmaking, photography, and videography developed through art and media college courses, and her goal of specializing in cinematography or concert photography at university to pursue a career in the creative industries.
Lily has enjoyed her creative media course where she has explored filmmaking, photography, and audio production. She created a music video, audio horror story, game animation, and magazine spreads. For her final project, she took concert and architecture photos and shot a showreel. Lily wants to study film or media production in university to learn from industry professionals and build a career as a cinematographer, videographer, or photographer. Completing a degree would provide experience, connections, and opportunities to freelance after graduation.
This document provides an outline of an A Level Film Studies course, focusing on the content and assessments for the AS year. The course encourages students to broaden and deepen their understanding of cinema. The AS year focuses on how to analyze films on a micro and macro level, as well as British and Hollywood cinema. It includes two units - one coursework-based unit involving film analysis essays and a creative project, and one exam-based unit covering the film industry, British cinema, and Hollywood cinema.
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A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
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2. 2
WELCOME TO A2 FILM STUDIES
Teacher: Barrington Robinson
Barrington.Robinson@coulsdon.ac.uk
A2 Film Studies Office: Room 203
Classroom: 200
Course Blog: http://coulsdonalevelfilm.blogspot.co.uk/
SUMMARY OF ASSESMENT
FM3 - FILM RESEARCH AND CREATIVE PROJECTS (Coursework 50%)
Completing a small-scale research project designed to develop research skills within the
framework of one or more critical approaches used in Film Studies
Developing creative skills and a deepened understanding of the medium chosen for the
creative project: Screenplay, Documentary step outline or Short film.
FM4 VARIETIES OF FILM EXPERIENCE – ISSUES AND DEBATES (Exam 50%)
Section A: World Cinema - Specialist Study 1:Urban Stories – Power, Poverty and Conflict
LA HAINE, CITY OF GOD, RUST AND BONE, INTOUCHABLES
Section B: Spectatorship Topics – Spectatorship and Documentary
BOWLING FOR COLUMBINE, UNDEFEATED, COMPLETE HISTORY OF MY SEXUAL FAILURES
Section C: Single Film - Critical Study
FIGHT CLUB
3. 3
YEAR 2015/16 SCHEDULE
Week Date Topic Assessed Work Deadline
1 14/9/15 Intro to A2 Film/Small scale
research project
Outline of unit
Revisit La Haine
detailed analysis.
2 21/9/15 Structuring research
proposal
Preproduction – analysis of
short films and sequences
Screening: City of God
Creative Project
Coursework
proposal
LA HAINE
Detailed analysis
Monday 21st
Tuesday 22nd
September
3 28/9/15 Specialist Study 1: Urban
Stories – Power Poverty and
Conflict
City of God discussion.
Creative Project: Aims and
Context
Annotated draft
City Of God detailed
analysis.
Aims and Context
28th September
Thursday 1st
October
Mon 28th
September
4 5/10/15 Creative Project
Preproduction – analysis of
short films
storyboards/scripts
Short film research Tues 6th
October
7/10/15 BFI London Film Festival
2015 STARTS
Screening: BFI Film Festival
Suffragette 9/10/15
5 12/10/15 Specialist Study 1:
Urban Stories – Power
Poverty and Conflict
Mediterranea 16/10/15
Small scale research
proposals to WJEC
Detailed analysis on
BFI screened films
Genre/Narrative
and Production
Research proposal
due
Tuesday 20th
October
Mon 12th Oct
18/10/15 BFI London Film Festival
2014 ENDS
6 19/10/15
Re Visit Film Theory:
Propps/ Todorov/Male
Gaze/ Feminist theory.
Annotated
catalogue Hand in
Detailed analysis on
BFI screened films
Genre/Narrative
and Production
19th October
Tuesday 20th
October
4. 4
23/10/15 HALF TERM
7 2/11/15 Coursework: Presentation
script Draft
Mon 9th
November
8 9/11/15 Creative Project: Planning
Preproduction – Writing
screenplays and action plans
Screenplays
Storyboards
Mon 9th Dec
Mon 3rd Nov
9 16/11/15 Creative Project: Shooting
Camera craft:
Test shoots
Storyboard draft
I minute films Fri 27th Nov
Fri 20th Nov
10 23/11/15 Spectatorship and
Documentary
Screening: Standard
Operating Procedure
/ Undefeated
Objectivity and bias
11 30/11/15 Procedure analysis
Screening: Bowling for
Columbine
Michael Moore
research
12 7/12/15 Performative documentaries
Screening: The History of My
Sexual Failures
Presentation script
Performative
documentaries
research
Presentation script
final hand in. Mon 7th Dec
13 14/12/15 Analysis of contrasting
documentary styles and
audiences
Essay: Documentary
and Spectatorship
CHRISTMAS HOLIDAY
14 4/1/16 Creative Project:
Storyboard plan final Friday 8th Jan
15 11/1/16 Creative Project:
Preproduction – creating
and developing ideas
Presentation Script
Screenplays
Storyboards
Risk assessment
Production schedule
Presentation Script
final
Wed 7th Jan
Wed 21st Jan
16 18/1/16 Creative Project: Production
– Shooting at College and on
location
Shooting
17 25/1/16 Creative Project: Overview
of editing work
Editing
Editing
18 1/2/16
Revision Topics
Editing
5. 5
Creative Project: Overview
of editing work
Creative Project: Hand in.
Reflective Analysis
Completed Project Fri 5th Feb
19 8/2/16 Revision Topics Reflective Analysis
draft
Fri 12th Feb
9/2/16-
13/2/16
MOCK EXAMS
15/2/16 HALF TERM
20 22/2/16 Single Film Critical Study
Screening: Fight Club
Production history and
cultural context
Revision Topics
Research: Fight Club
21 29/2/16 Textual analysis: Fight Club
Reflective Analysis
Non-traditional
Narrative research
Final Mon 2nd Mar
22 7/3/16 Star image: Fight Club
Screening: Se7en
Essay: Fight Club
production/star
23 14/3/16 Auteur: Motifs and Function
David Fincher as auteur:
stylistic features
Reflective Analysis final
Fincher research
Mon 14th Mar
24 21/3/16 Representation of modern
urban and corporate life
Managing spectator’s
identification and
sympathies
Essay: Flight Club
Fincher/auteur
24/3/16 SPRING HOLIDAY
25 11/4/16 Representation of women:
Maria and misogyny
Masculinity and its threats
Research: Feminist
film theory
26 18/4/16 Critical and popular
responses
Ideology: Progressive or
reactionary?
Essay: Fight Club
representation
27 25/4/16 Revision: Urban Stories –
Power Poverty and Conflict
Essay: Urban Stories
28 2/5/16 Revision: Spectatorship and
Documentary
Full mock exam
29 9/5/16 Revision: Single Film Critical
Study
Teaching Ends
Essay: Spectatorship
and Documentary
HALF TERM
30 11/5/15 Revision
31 18/5/15 Revision
6. 6
32 1/6/15 Revision
33 8/6/15 A2 Film Exam – Friday 10th
June
34 15/6/15
35 22/6/15
36 29/6/15 ACTIVITIES WEEK
Use of Coulsdon College A2 Film Studies Blog
A core part of your learning, and assessment of your progress, will be done through the
Coulsdon Sixth Form College A2 Film Studies Blog. This blog will be a resource for you to use
in and out of class to develop your learning.
You will also create your own dedicated A2 Film Studies level blog that you will use to post
analysis and reflections on your learning. Your teacher will give you more detail on how this
will all work at the beginning of the course.
Watching Film Texts Outside of Class
You will be studying a variety of filmtexts in class this year. Although you will of course have
opportunity to watch these texts in class, you should be using your initiative and taking
guidance from your teacher, and be watching other films that may improve your
understanding of the core issues.
Homework
You will be set other homework regularly. This homework will be related to classroom
content. It is not optional, and is a core aspect of your successful learning. You should aim
to spend approximately four hours per week on homework for Film Studies.
Assessed Work
Throughout the course you will be submitting different types of assessed work. Assessed
work is work for which your teacher will give you written feedback and/or a grade. These
types of assessments will include mock exam unit questions taken in class, homework blog
posts, coursework drafts, coursework final versions, and weekly summary assessments by
your teacher posted on your blog. Deadlines for assessed work are non-negotiable, and
failure to meet ANY deadline can result in disciplinary measures. Persistent failure to submit
assessed work can also lead to your being withdrawn from the examination/coursework.
Independent Research and Reading
As well as specific research tasks you will be set throughout the year, you will also be
expected to read text books that will enhance your knowledge. Although we do not
recommend a specific set textbook for the course, there are many great books about Film
for you to use. Your teacher will give you further guidance on this.
7. 7
In addition, keep an eye on SIGHT & SOUND magazine in the library every month, as well as
Film-related articles in Friday editions of newspapers like THE GUARDIAN and THE
INDEPENDENT, as well as websites like BFI or ROTTEN TOMATOES.
Analysing texts in class and note taking
This year you will be watching a variety of different film texts in class. These will be a
combination of entire films, documentaries. and extracts. You will need to make detailed
notes in class on the texts as you watch them. Please make sure you keep a dedicated
notebook for Film Studies that you can keep all of your notes in. This is essential for
successful revision and meeting assessment criteria. Case study information and
Summary sheet templates are available.
Practical Work
One piece of your assessment coursework is a Creative Project. This project will allow you to
develop your creative skills in pre-production and filmmaking. This practical work will
involve you working in a group with other students, and is for many students the highlight
of the course. I encourage you also, if possible, to develop your practical skills by using
camcorders outside of class, not just related to your coursework. Practice and experience
can help your A2 grade.
Equipment
For your Creative, you will be provided with equipment by the college. This will include a
camcorder and tripod and other specialist equipment. Some equipment will be provided to
you by your teacher, but you may need to borrow other equipment from the Media
Technician. All equipment borrowed must be returned on time and in the condition in which
it was lent to you. If you wish to use your own equipment, please check with technician that
your footage is in a compatible format with college iMacs.
Trips
The trip this year is to the BFI London Film Festival to watch as yet unreleased films in the
UK, which will tie in with the themes of the course. You will get further details from your
media teacher.
Health and Safety
Your health and safety Is of paramount importance to Coulsdon Sixth Form College. As Film
Studies students, you will have the opportunity to film both inside and outside of college. As
part of this filming, you will have to carry out a risk assessment of the environments in
which you want to film. This is standard industry practice, and is essential for you to remain
safe when carrying out practical work.
Use of Terminology and Theory
You will be learning a significant amount of new terminology this year related to analysis of
the media. Revisiting outside of class the terms you have studied in class will enhance your
8. 8
knowledge and understanding throughout the course. You will also be learning new
theoretical concepts that you will need to apply in the examination.
Filming Week
In January 2015 you will have an allocated week of lessons in which you will be filming your
Creative Project. During the lessons that week you will film most of your footage for your
project on site, with the assistance of your teacher and/or the Media Technician. Students
who wish to filmany footage off site will have to do so outside of college hours. You will
need to pre-arrange this with your teacher, and borrow equipment if needed.
Editing Week
After your filming week you will have an allocated editing week for your projects. Editing
will take place on the Resource Area Apple Mac computers. You will have allocated lesson
time to edit, and will be able to access the Macs outside of lessons to work on your projects.
You will be using iMovie. Adobe Premiere or Final Cut Pro are also available to those
experienced with this software.
Library and Internet Resources
Shortly after your course starts, the A2 Film Studies blog will have links and lists of library
resources and internet resources to help you with your studies.
Plagiarism Policy
The College has a very clear PlagiarismPolicy, which is available to all students on Moodle
under Assessment Policy: Malpractice.
Plagiarismoccurs when a person uses other people’s thoughts or writing and presents them
as his/her own; that is, without clearly acknowledging the source of the information. It can
take several forms, including directly copying another person’s work from the Internet, a
book, or another learner’s assignment, paraphrasing another person’s work, cutting and
pasting together sections of work of others into a new whole, or receiving material help
from other people while producing an assignment.
Submitted coursework that has been deemed by the College or the Exam Board to be
copied may not be marked, or may lead to you being disqualified.
Resource Area
Please note that the rules for using the Media Studies resource area have changed from
last year. The Research Area is open for use only by media, film, music and art students. The
iMacs are strictly for doing work, and you will not be allowed to socialise in the Resource
Area at all.