The document outlines the structure and content of an upcoming film studies exam, which will consist of 3 sections focusing on different areas of film production, distribution, and audiences. Students will need to demonstrate their understanding of these areas through analyzing films and the film industry. The exam aims to test students' critical skills and knowledge of how films are made and consumed.
A2 Film A-Level Film Studies FM4 Spectatorship RevisionIan Moreno-Melgar
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
A guide on how to approach the Exam paper questions on Borders and Belonging (WJEC AS Film) using This is England (Meadows 2006) and East is East (O'Donnell 1999) as case studies.
Scope Creep - Damned if I Do, Damned if I Don'tJustin Grammens
While everyone likes to share successes, let’s discuss the reality of software development. Projects are messy with lots of competing interests and challenges. One of these challenges that comes up often is scope creep. As software developers, we can be pulled in many different directions to not only help make the best product that we can but stay focused on the scope of what’s expected. Sometimes your job feels like: “Damned If I Do, Damned If I Don’t”. Let’s discuss the reality of the situation and some techniques and tools to help.
Session Outline:
Introduction: Some projects & experiences with scope creep I’ve had as a developer
Scope Creep: who are the guilty parties, what are the signs, why it happens, and when is it's most likely
Solutions: Tips/tricks to help if you are in this situation -- Ideas on how to help avoid scope creep in the future -- Reach out and let me know if they work!
An activity booklet and guide to to film history, mise-en-scene, cinematography, and editing, designed for GCSE Film Studies.
Featuring over 170 pages of information, analysis, tasks, assessments, insights and examples, this guide is the definitive introduction to the basics of film studies, designed to introduce students at GCSE to key concepts that they need for their whole film education.
Lady From Shanghai booklet for A-Level Film StudiesIan Moreno-Melgar
A 55 page guide to the film The Lady From Shanghai for the A-Level Film Studies course for Eduqas. This highly detailed guide to the film is available to buy as an editable Word doc and PDF from here:
This workbook and guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Orson Wells, film noir, auteur cinema, Classical Hollywood, a thorough exploration of ideology, plus analytical work and tasks , work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download.
Thanks for taking a look at my resource. This resource is a 53 page, 18,000 word guide to the A-Level Film Studies section on Silent Cinema and Buster Keaton as part of the Component 2 aspect of the course. This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include a variety of contextual information and tasks, from work on American silent cinema, the life of Keaton, a look at Soviet montage theory, German expressionism, a detailed analysis of the 4 short films Cops, One Week, The High Sign and The Scarecrow, plus explorations of critical debates and an introduction to expressionism, work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
GCSE Film History booklet updated for new spec from 2022_watermark.pdfIan Moreno-Melgar
Fully updated to take advantage of the updated 2022 GCSE Film Studies specification, this booklet is designed to cover the Technology of Film aspect of the course. Featuring nearly 25 pages, this in depth guide expands the timeline provided by the exam board by offering more detail, facts, anecdotes, information and a wide range of tasks. There is also a suggested viewing task at the end to ties things together. This version contains the Word AND PDF versions of the booklet. The PDF version can be instantly printed and distributed to students to be used as a workbook. It's also great for revision, for digital distribution or hosting for students or just for your own reference. The Word version is perfect for editing and adapting to you and your students needs.
You can buy this from here:
https://ko-fi.com/s/e7f83fdf7d or here:
https://www.tes.com/teaching-resource/resource-12414478
Thanks for taking a look at my resource. This resource is a 69 page, 24,000+ word guide to the A-Level Film studies film BLADE RUNNER.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Ridley Scott, sci-fi, auteur cinema, American New Wave cinema, a thorough exploration of ideology, details on the aesthetics of the Cyber Punk movement, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high-quality PDF, ready for printing or sharing immediately.
MOON booklet - a guide, workbook and text book for A-Level film studies for E...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 48 page, 12,000+ word guide to the A-Level Film studies film MOON.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Pan's Labyrinth A-Level Film Studies student booklet e-book workbook study guideIan Moreno-Melgar
A detailed guide and workbook for Pan's Labyrinth as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Spanish Cinema, Civil War, as well as work on representation and aesthetics as well as the aesthetic influences of Director Guillermo Del Toro.
City of God A-Level Film Studies student booklet e-book workbook study guide Ian Moreno-Melgar
A detailed guide and workbook for City of God as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Third Cinema and Cinema Novo as well as work on representation and aesthetics.
The idea behind this booklet is essentially to cover a broad range of topics and ideas related to both GCSE Film Studies exams but in a way that is very much revision: this booklet works best when you already have studied the individual films and topics needed and just need to revise those key ideas in a practical manner.
If you'd like to buy a copy please find here: https://iandoublem.sellfy.store/p/armbcq/
or here: https://www.tes.com/teaching-resource/-12649950
Throughout you will see references to ’30 Days of Film Revision’: the original plan was to include 30 different tasks that could be completed one day at a time leading up to the day of the Component 1 exam. There are actually 31 activities in total now, in part because I added an extra day to relax, but also to include additional material that focuses on each exam in specific focus; these are the final “exam on a page’ resources you will find on pages 31 and 32.
When designing this booklet, I have done so with the methodology of recalling more generic, broad ideas at the beginning and then eventually becoming more focused and nuanced on specific films and possible exam questions. I also incorporated techniques related to spaced learning, interleaving and dual encoding and for this reason it may seem as though the tasks and ideas are being repeated or are revised once and then pop up again later on.
Finally, I find this booklet works best when printed and photocopied to A3 size allowing for more space to write, but it was designed and therefore works well, at A4 size, ideally as one complete booklet with a page completed each day.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This is a comprehensive guide to cinematography. With nearly 60 pages and over 17,000 words of content, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
The booklet is separated into the generally regarded aspects of cinematography including shot size, camera angle, camera movement, light and colour but also includes detailed explorations of other aspects.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT and assessments.
This is also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This booklet provide an in-depth insight into key aspects of Eduqas GCSE Film Studies with a detailed overview of the history of film technology. Providing key context about the nature of film as a technology from Nicéphore Niépce's first photo the rise of CGI, this booklet covers it all. With dozens of images, photos and links to various clips, videos and bespoke examinations, this booklet will provide students with a thorough examination of how film technology has changed and developed over the last 200 years.
A core focus of this booklet is on the technology timeline which is a key aspect of component 1 in the Film GCSE and this guide is a useful way of providing not only the core details but some extra context and history that helps to provide further insight and context to the technology and the development of it.
This textbook is perfect as a printable textbook for students to work straight onto, as a guide for teachers and staff as it's fully resourced and contains a huge range of tasks and links to YouTube videos, it also works brilliantly as cover work, work for remote learning such as those isolating at home, as a homework or for revision. You could even use this as an introduction, extension or home learning task for A-Level Film Studies.
To purchase, please go to selly.com/iandoublem
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.
A study/revision guide that introduces film students to (or reminds them of) mise-en-scene. 33 pages of activities, commentary, analysis and screenshots, all designed by an experienced film studies teacher and senior examiner.
This guide, which is perfect as a unit of work, homework booklet or as a revision guide, can be purchased for just £2.50 at: https://www.tes.com/teaching-resource/-12009989 and can then be easily printed and handed out to students.
A discussion on Facebook about the dwindling numbers of students electing to study Film at GCSE / AS/A Level. Hopefully with the beginnings of a plan to tackle the issues.
If you like the look of this document, you can purchase it from here:
https://sellfy.com/p/4ALc/
Please note: the District 9 study guides are slightly more expensive due to the sheer size and detail of them.
This is a comprehensive scheme of work with 100 pages of detailed information and activities, designed to support in teaching District 9i for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on District 9, directed by Neil Blomkamp in 2009, provides a huge range of activities. Designed to be a digital textbook as well as study and revision guide, this resource features dozens of activities and hundreds of questions as well as information to support students and teachers appreciation of District 9 in relation to Component 2 of Eduqas GCSE Film Studies.
Some of the work includes:
+the context of South Africa, including details on apartheid,
+key facts and information on the making of the film,
+systems for keeping notes during watching with templates using the Cornell notes system,
+dozens of activities on narrative in film studies,
+information and activities on narrative theorists such as Vladimir Propp, Tzetvan Todorov and Claude Levi-Strauss,
+work on narrative techniques such as Chekov's Gun, cause and effect and many more,
in-depth details on key scenes,
+dozens of screenshots from the film as well as images from other relevant areas that have influenced the film,
+dozens of activities for students including hundreds of questions,
+guidance on how to analyse scenes from the film using hexagaonal learning, summary sheets to help with revision key scene analysis which includes links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete!
+many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
Tsotsi Scheme of Work / Viewing Guide / e-book / Revision BookletIan Moreno-Melgar
If you would like to download a copy of this without the watermark, please visit here: https://sellfy.com/iandoublem
A comprehensive scheme of work with over 60+ pages of detailed information and activities, designed to support in teaching Tsotsi for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on Tsotsi, directed by Gavin Hood in 2005, provides a huge range of activities. Some of the work includes: the context of South Africa, including details on apartheid, key facts and information on the making of the film, systems for keeping notes during watching with templates using the Cornell notes system. There are also in-depth details on key scenes, dozens of screenshots from the film as well as images from other relevant areas that have influenced the film. There are also dozens of activities for students including mock exam questions, comprehension questions on location, characters and more. PLUS: guidance on how to analyse scenes from the film using hexagaonal learning and summary sheets to help with revision. Key scene analysis include links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete! Many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
This guide / ebook is designed to help in the delivery of GCSE Film Studies, focusing on Component 2 Global Film. This guide focuses on the key aspects of Representation and film language, as per the Eduqas Specification.
GCSE Film Studies Captain America First Avenger: A Scheme of Work and Case StudyIan Moreno-Melgar
A mini-scheme of work for WJEC GCSE Film Studies Paper 1 on Hollywood genre study of superhero films. This case study is designed to support the Marvel film Captain America The First Avenger (2011). There are 3 YouTube videos embedded to aid certain tasks.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Delivering Micro-Credentials in Technical and Vocational Education and TrainingAG2 Design
Explore how micro-credentials are transforming Technical and Vocational Education and Training (TVET) with this comprehensive slide deck. Discover what micro-credentials are, their importance in TVET, the advantages they offer, and the insights from industry experts. Additionally, learn about the top software applications available for creating and managing micro-credentials. This presentation also includes valuable resources and a discussion on the future of these specialised certifications.
For more detailed information on delivering micro-credentials in TVET, visit this https://tvettrainer.com/delivering-micro-credentials-in-tvet/
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
1. AS FILM STUDIES R V I
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• C m e iaad uu l nic c w b imot t
o mr ln clr s ifa e il e p r n
c t a ig n l a.
• Bhv u o t ad ne ky
eaior fh uiec is e.
e
• C s s d s n r er a vain xl in t s bhv u .
a t ie ad e a h r it ep in gh e eaior
eu s c e l a e s
• T e p r neo nt ft s va
h imot c, r o, o s ris it.
a a l
10. Those key areas in single words:
•F ac
inne
•Mr tg
ae
k in
Your 2 questions •Or na n
g is io
a t
•A d ne
uiec will focus on these
areas:
•P dc n
r ut
o io
•Eh itn
xibio
•D t u n
isibt
r io
•C n mtn
os p
u io
11. How do you do well in the exam?
• U e h s u s a rl o’t cs so t t rorn e t uh ishr f a
s t t l mt ia D n f u jt n h f yu as rh g- t eo
e im u e . o u ao w o it e r
‘j p f o tt sa ida t focus yu ida ad nw de( o ne t ko
u o p in o pr es o
m f ’, k , or es n ko l g. Y u ed o nw
e
aoths a a o t ltlebt o d yu nw h h n/yu hu w e
b u t e r s n h a s , u hw o o ko wic oe o sol r
o e e s id s d it
aot yu as e U e h s u s a rl
b u in ornwr s t t l mt ia.
? e im u e )
• Egg t mt ia Qus n . Age it it g e it it
nae h a rl et it r wh . A r wh . Mention
e e . io u e it.
• U e f w c e t ie
s oo n a s d s
s u .
• Absoe n e nt n f m e oy
ep k as r o oer mm r
w, o .
• W e ne t d g f e dsye eia in ’s o p xy n it u o mr tg
id udra in o t inut , s cl it cml itad ’s s f a e .
sn h r p l y e e k in
• Pr nln e d wl oog sup r d y v ec.
e oaas r o e, s l a spot b eidne
s ws l n e
12. W ro yu o n r pir
ok n or w o in as
.
Y u ae m u sow e o n s
o hv 5 int t r d w a
e it
M N ida a p s l
A Y es s os e
ib .
wy ow
hd e
wt f s
a hil ?
c m
Y u hu d t o a iee f
o sol o h n p c o
d is
le pprn t wle e
ind ae ad h il ky
is b W wl e sa ida ad
e ilhn hr es n
t e
f yu r is n oe.
o ore io nt
r v s s aida f m t r
t l esr oh s
e o e.
15. Key findings from research
• W y O po lwt f s
h D ep a hil ?
e c m
• I hr a ifr c bten gs edr l a nin r t
s e df e e e e ae, gne , o t , t e s
t e en w s c io e s?
• I h l lt b df eto t r le b t l a ad a nl mye vn
s isik yo e ifr t oh p cs oho l n nt a , ab ee
t e en e a , cly io l
y
in ra nl
t nt a ?
e io l
y
• H w a t s r sn cagd W y
o hv h e e oshne? h?
e e a
• W aeidne o e a t s p rt ?B x f eD D/ lr se cags
ht v ec d w hv o u oth ( o oic, V B - a a s hne
e p is f u y l,
in h wy ep byetils
t a po l u/ n f ?
e e r m)
• Make sure you note down the answers provided by others.
16. If we know why people watch films, how can this
be exploited to make money?
• Sc n is jtb u ad ne
et A n u aotuiecs
io ’t s .
• I l f u s n o t y r u d o a m nyo t f inu r
t s o s o hwh a s t mk oe f h il dsy
ao c e e e e e rem t.
• T is we t a et frdcrcms .
h is hr h s co Po ue o e in
e e p s
• W ais P dcr
ht a r ue
o ?
17. •
Po ue
iv s m erdcr
Af po ue oe es n dl rail po ct a reat otwilpee in t in g yvic ad is n fh
il rdcr vr e ad e e f rj to le vn hs he r r gh t r , o e n vio o t
m s ll s sv e e it
f . T e wll o e t e n o einniark y sghir w m nyepcl drgh pe rdc n e d
il hy il s fn a o sm facl b uin t o n oe, seia uin t r po ut pr ,
m ao t k is e ly e - io io
e
bf e f isuyinne. Mn f po ue a aotetdetr s en re , atr btht ntlash
e r ail flfacd ayil rdcr r l a n ( ir os c ew r c s u t is o a yt
o m l m ses l c , r it s o ) a w e
cs.
ae
• T e rdcr o e ate ino e t ogotl a r hss fh f mk g rcs f m cp n n
h po ue is fn c l vl d h uhu a mj pa o t il ain poesr inet ad
t iv y v r l o e em , o io
dvl mn t cmlio ad e e o ail po c H wvr n e o cneto ail cn rint wh n
ee p eto o p tn n dl r f f rj t o ee a ida rocp f f a oig a it ay
o e iv y m e. , r m e
iniv ul c d g s en re a ir tr r po ue
d ida inl in a c ew r de o o a rdcr
, u r it , c .
• Apo ue bg s y b in gh rh t c a o c- r t aet eeg s enl. T e rdcr
rdcr ein b o t in t igt o r t roc a f u - nt c ep y h po ue
a e s ee e e a rl h r a
oe esh poes h h c ds o rintgspr in ad ot l g a rseto t po c
vr e t rcs wic inl e cod a , ue isg n cn oin mj a c fh rj t
s e , u in v rl o p s e e.
T is c dsudain ad irg e rl sc a t cs g ir tr ril detr hyll inune
h inl e f r g n hin kyo suh sh a in de o o f ir o. T e'l s fec
u n is e e t c m c ao l
t hin o ohr e onluh sh U M r e rdcrn acut t
h irg f t pr nesc a t P o l po ue ad con n
e e s e in a.
• “F m h f t rtc t hog a s gs frdc nt t fadbsces ra r r tlglin h hns fh
r t ir da s ip t uh lt e o po ut , o h inlu, ucso fue e s r y t ad o t
o e s f r, r la io e il s ae e e
po ue Eprne t fld e nto e vrigt a e it b r ot f n ya o c a e n t hiclnw
rdcr xe c in h ie os o cm oe h Rt r is on u o l g er fr t ad e n ako -
. ie is d n . h o s e iv c
hwad b v a aoeo t j ad lhtos it it oe e wh h ail t co s t rh tet it wic
o , n aoe l l f h o n a t ge wh , tgt r it t bit o hoe h igta n wh h h
l v re b la h e y e l
t sr ud ime.”
o ur n h sl
o f
19. Economics and the film industry
• T e a t go a o b a isht cm e iaf ish p dco a inu r
h min h t t e n or t a o mr l m t r ut fn dsy
in k d a c il e o t
t t sseho g adaor T is otm ny T is oe nesob
h ue t nl y n l u. h cs oe. h m ny ed t e
a c o b s
r opd
e ue.
c
• Bc s o t yu
ea e fh o must
u is hv a a a nso hw p r n fac is t f
ae n wr es fo imot t ne in h il
e a in em
inut .
dsy
r
• W e d e t m ny o W y os f cs$0mln
hr osh oe g? h d e ail ot 10 il +?
e e m io
• Te a 4
hr r
e e min t e in h f - ain poes
a s gs t il mk g rcs
a em .
20. The film making process
• Pre-production: initial idea is thought of, developed and worked on. This
includes scripts, storyboards and casting.
• Production: The film is ‘recorded’ and put on physical film or digitally recorded.
This includes sound such as voice overs and soundtracks.
• Post-production: Images and sounds are edited together into a cohesive film.
Elements may be changed or developed further.
• Marketing: The act of telling people about the film. Spreading word about the
film and the people in it. This is now usually done throughout the filmmaking
process, not just at the end. Distribution costs are usually factored in at this stage.
• Where does the producer come into things here?
21. The film making process
• Pre-production: initial idea is thought of, developed and worked on. This
th e
includes scripts, storyboards and casting.
s
• Production:
d o e is
The film is ‘recorded’ and put on physical film or digitally recorded.
h e r e f th
This includes sound such as voice overs and soundtracks.
o
W r a ll
fo
• Post-production: Images and sounds are edited together into a cohesive film.
e y ?
Elements may be changed or developed further.
m o n f ro m
e
• Marketing: The act of telling people about the film. Spreading word about the
c o m
film and the people in it. This is now usually done throughout the filmmaking
process, not just at the end. Distribution costs are usually factored in at this stage.
22. W ro yu o n r pir
ok n or w o in as
.
Y u ae m u sow e o n s
o hv 5 int t r d w a
e it
M N ida a p s l
A Y es s os e
ib .
hw of
o d il
m
cmaie mk m ny
o pn s ae oe?
Y u hu d t o a iee f
o sol o h n p c o
d is
le pprn t wle e
ind ae ad h il ky
is b W wl e sa ida ad
e ilhn hr es n
t e
f yu r is n oe.
o ore io nt
r v s s aida f m t r
t l esr oh s
e o e.
23. Questions for reflection:
• T waet tr H l o dilsiml‘p dc ’ md t mk a rf
o ht x n a oy o f s p r ut ae o ae po ?
e e l w m y o s it
• H w p r n is a e g inunin po lt wt H l o dils o at
o imot t mr t in fec g ep o a h oy o f b t th
a k in l e c lw m h e
c e a n o D D/ lRy R n le ic?
inm ad n V B - a / et sr e
u a v
• H w r avr in hir ifrgom u d o r t ad ne f f sAe hy s
o a de s t df in f s s t c a uiecso il ? r t a
e t e e r e ee rm e
imot tshy sd ob ad h?
p r n a t ue t e n wy
a e
• Choose one of these to answer in a paragraph of key ideas.
25. Key terms:
• Release pattern: The order in which the film is released to the public. Includes location
as well as time. Includes the number of screens that will be showing the film at any given
time, including (less so these days) physical prints.
• Poster campaign: A marketing strategy involving the careful creation of posters to
inform audiences at the film. Each stage of production will usually yield a specific poster in
the case of large films that have the marketing budget to do so. Essentially done to excite
and interest the audience.
• The talent: A term for the main creative people involved in the film. Usually refers to
the director, producer, screenwriter and actors. May include others such as
cinematographer, soundtrack artist or more.
• USP: Unique selling point. The ‘hook’ by which the film is sold to the audience. Why it is
unique, different, interesting or simply worth watching.
26. W ro yu o n r pir
ok n or w o in as
.
Y u ae m u sow e o n s
o hv 5 int t r d w a
e it
M N ida a p s l
A Y es s os e
ib .
hw r f s
o a il
em
mr t ?
ae d
ke
Y u hu d t o a iee f
o sol o h n p c o
d is
le pprn t wle e
ind ae ad h il ky
is b W wl e sa ida ad
e ilhn hr es n
t e
f yu r is n oe.
o ore io nt
r v s s aida f m t r
t l esr oh s
e o e.
28. Old vs New Hollywood
• 13s n 14s H l o d o e ko n sh G l n
90 ad 90 in oy o is fn nw a t o e
lw t e d
A e f oy o dAs ko n s lsaH l o d r
g o H l o . l nw a Ca icl oy o o
lw o s lw
s p , OlH l o d
iml d oy o .
y lw
• H w uh o e nw b u itH w it ifr to h
o mc d w ko aot ? o is df e t t
en e
H l o d fo a? o d e t r r et sl t
oy o o tdyH w osh e e n it f h
lw is p s e in e
f shtr po ue in oy o d o cma d owa
il t a rdcd H l o nw o pr t ht
m a e lw e
ue t b? h?
sd o eW y
29. Why the changes?
• On p c o ppr r t aimlerm 92 o 02
a iee fae c a t e f 11 t 21.
, ee in o
• W aht ic eetad eho gacags a
ht is ra vn n t nl iclhne hv
o l s c o e
ocr d t t e htolhv hd n fco t F
cur in h im t cu ae a a eet n h il
e is a d f e m
I ut ?
n sy
d r
• Lblorimle n b p pr t ad x a es n
aeyu t e ad e r a d o d et ida ad
in e e r
nt f t eett ho g s
oe o h vn / cnl ie.
sre se o
30. What do you need to know?
• T hv a a a nso t ht ic dvl mn o t
o ae n wr es fh is ra ee p et fh
e e o l o e
H l o dil inut .
oy o f dsy
lw m r
• T b alt cma OlH l o d it nw oy o d
o e b o o pr d oy o wh e H l o .
e e lw lw
• T b alt ep in ad el )t t oy o d a a a
o e b o xl ( n r is h H l o hs l y
e a ae a l w ws
se f mk g s cm e iaee is.
enil ain a a o mr lxr e
m c c
31. British Cinema
• What is a British Film?
• Sa ida ad is s D vl a n s t c as e
hr es n d c s ee p oe e e e nwr
e u. o nn .
32. British Cinema
• Are the Harry Potter films
British? Think carefully before
you answer:
• What about Four Weddings and a
Funeral? C nidrh
os e te
• Is Shaun of the Dead British? df in s gs fee p et
ifrg t e o dvl mn
e a o .
• Is Hot Fuzz? C nidrh tet
os e t a n
e l .
• What about The Dark Knight?
C nidruuaad oia
os e clr n scl
t l
• Are the James Bond films British? idn y
et .
it
33. British Cinema - Key facts:
• F ue f 20 ( p l ie)
igr o 02 ao g s
sr o :
At the closure of the UK Film
• F inut wr $3il n
il dsy ot 6bl .
m r h io Council on 31 March 2011,
The Guardian reported that "The
• A e a f t e 8%sa o t mr t
mr nil a s 0 hr fh a e
ic m k e e k. UKFC's entire annual budget was a
reported £3m, while the cost of
• Bit t e 5 ( r 5 o t nn mra sa )
ra a s % o 2% fh o- e n hr .
in k e A ic e closing it down and restructuring is
estimated to have been almost four
• B Csed 1 o it anaino e nil.
B pns % f’s nul cm o f m times that amount."[4] One of the
UKFC's last films, The King's Spee
• Lr sa on set nil po utn y U cm e iaboda e is hne4
a etm utpn o f rdc b a K o mr lracs r C anl.
g m io c t
ch, is estimated to have cost $15m
to make and grossed $235m,
besides winning several Academy
• 9%o Po utn o pn s t U e p yeshn 0 ep .
5 frdc C maie in h K ml l t 1 po l
io e o s a e
Awards. UKFC invested $1
.6m for a 34% share of net profits, a
• I20 4 f s r po ue b U cmaie. I20 it a 2. I18 it a T O!
n 03 3il a rdcd y K o pn sn 04 ws 7 n 92 ws W
m e
valuable stake which will pass to
the British Film Institute.[17]
• I21 t U G vrmn s apd h U F C uc a oe mn Fne
n 00 h K oe etc pe t K il onil G vr etudd
e n r e m , n
‘cmayt t e e f dil.
o pn’ h hl du f
a p n m
34. Questions for reflection - British Film:
• Iwawy Bit C e a r ta df eto mra F ?
n ht a is ris inm a is l ifr t A e n il
h t icl e n
y ic m
• W adfe a r h il?
ht e s Bit F
in is m
• H w a Bit C e a o e hn g sA e a F ?
o cn ris inm cp we aa t mr n il
h in ic m
• W y a Bit f s en o cm e ia ad r a s csu
h hv ris il be b t o mr l n c icl u es l
e hm h cl y it l c f
y
oe es t lt 0 er
vr a in h a 2 ya ?
s es s
• W y Bit teth in in h Go amr t
h is ris a n t iv g t l l a e
h l r e b k?
36. Exhibition in the cinema Key Points
• W aa t df ec bt en dpnetn ca c e a in h U ?
htr h ifrne e e ineedn ad hin inms te K
e e e w
• D yu ae n ineedn c e a na yu
o o hv ay dpnetinms er o ? Ensure you can answer
• H v yu vr ise o e H w it ifrn
ae o ee vit n? o is df et
d e ?
these questions. Make
notes!
• W aish p in o a ineedn c e a t m dr c a ?
ht te o t fn dpnetinm in h o en l t
e im e
• W aish p in o a u ip x H w os mk m ny
ht te o t f ml l ? o d e it ae o e?
te
• W o eids htils e so n t inmsW y r sm f s h w f l gr
h dc e waf gth w ac e a h ae o eil so no o e?
m ? m r n
• W y r sm f s o so n th c e a
h ae o eil n th w ate inm?
m
• W at e o f s h w acr in eio s t c e a
hty s f m so n tet pr d in h inm?
p il a e
37. Exhibition - discussion points
• Ba s r ad hr ida f t s 2 us n:
rin t m n sae eso h e qet s
o r e io
• What effects the success of a film at the cinema?
• Why do the attendance figures (and as a result Box Office figures)
change across years?
38. Exhibition - discussion points
• Why are cinema attendances down?
• How are cinemas trying to attract customers?
• What is ‘The Experience’?
40. W ro yu o n r pir
ok n or w o in as
.
Y u ae m u sow e o n s
o hv 5 int t r d w a
e it
M N ida a p s l
A Y es s os e
ib .
T is a r t
h is g a
e
o p r nyoue
pot itt s
u
t r er d n
h e a h oe
e s c hw ow
o d e
wt f s
a hil ?
c m
in ls
cs
a.
Y u hu d t o a iee f
o sol o h n p c o
d is W wl e sa ida ad
e ilhn hr es n
t e
le pprn t wle e
ind ae ad h il ky
is b s aida f m t r
t l esr oh s
e o e.
f yu r is n oe ad h
o ore io nt n t
r v s e
nx s e
etl id
43. What is a distribution company?
Po utn o pn
rdc cmay
io
D t u n o pn
isibt cmay
r io
D t u n o pn
isibt cmay
r io
D t u n o pn
isibt cmay
r io
What are the differences between the two?
44. A distribution company:
• A qirsh rh t ail
cu e te igt o f
s m
• D c e t nme o pin t b md ad e a d o xib os
eidsh u br fr t o e ae n rl s t eh itr
e s ee
• N gtt a e a dt f t pin
eoia s rl s a o h r t
e ee e r e s
• A r gs e ey fr tt c e a
r ne dl r o pinso inms
a iv
• Poidsr es n pb it f mt iaf eh itr
rv e t il ad ul yo a rl r xib os
ar ic r e o
• Pttgt r pca o avr in t pb lavr e f
usoe e a akg fdet go ul y det ail
h e is ic is m
• N gtt rle po oio s n / mr ad in da.
eoia s e t rm t n ad o ec nis g el
e ad r h s
45. Distribution - points for reflection
• W y o ’tmlr rdc n o pn s ad d t u n
h d n s ae po ut cmaie hnl is ibt ?
l io e r io
• W y a a o d o lg ( r oh d t u r ae r ra ail in em o
h cn go ( ra e o b t) is ibt mk o bek f
r r o m t sfr
sces
ucs?
• W y o ay rdc n o pn s ok it m r t n n d t u r( h k
h d mn po ut cmaie wr wh oe h o e is ibt ?T in
io a r o
g bl
l a.
o )
• W o is ibt W rin T l f sH w ae hy a a eet n h sces
h d t ue ok g it’sil ? o hv te hd n fco te ucs
r s e m f
oW ?
f T
46. Revisit this task from 2 weeks ago:
• T is f ro n o a t ptoe e a o yu ko l g ad nes nin
h aen o yu r o u tgt r l fo r n w de n udr ad g
t e h l e t
f m il S d sh hl em
r Fm t ie tis a t .
o u fr
• W rin iniv ul, c a a ia a t so t rlio sip e en uiecs
ok g d iday r t d g m o h w h e t nh bt e ad ne
l ee r e a w
ad h f inut . Icn ae n f yuik, bto msa t inl e s
n teil ds y ta t ayo o le u yu utim o c d a
m r k r u
mn f tr a p s ltacnr ue ote e t nh . Y u h u b f uin
aya os s os e hto t t t h rlio sip o so l eo s g
c ib ib a d c
o h w h po ues ok oa e p t inune h ad ne owt te
n o te rdcr wr t t mto fec te uiec t a h hir
t l c
f s
il .
m
47. Ea p
xmle
Mt d o
e os f
h
cnu p n
osmt io
A vr in
de isg
t
Ce ad
r n
w F aa
il s
m
atr
c s
o po ut
rdc
Tps f
ye o
Mr ad e
e hnis
c fil
m
48. Ie ie s
nr w
tv
Ps r
ot s
e
Ta r
re
ils
A vr in
de isg
t
Crew F a a rdc
il s po ut
m Mr ad e
e hnis
c
and
actors
Mt d o
e os f
h
cnu p n
osmt io
49. • 10
key points for
each question.
• We’llwork
through question
1 as class.
• Youwill work
through question
2 on your own.
• USE
YOUR
NOTES!