Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
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exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
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Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
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Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdf
Example of assessment materials (full)
1. GENERAL CERTIFICATE OF EDUCATION
TYSTYSGRIF ADDYSG GYFFREDINOL
2009 - 2010
FILM STUDIES
SPECIMEN QUESTION PAPERS
SPECIMEN MARKING GUIDELINES
2.
3. GCE FILM STUDIES Specimen Assessment Materials 3
Contents
Page
Question Papers
FM2 British and American Film 5
FM4 Varieties of Film: Issues and Debates 15
Marking Guidelines
FM2 British and American Film 19
FM4 Varieties of Film: Issues and Debates 26
4.
5. GCE AS/A FILM STUDIES 5
WELSH JOINT EDUCATION COMMITTEE CYD-BWYLLGOR ADDYSG CYMRU
General Certificate of Education Tystysgrif Addysg Gyffredinol
Advanced Subsidiary/Advanced Uwch Gyfrannol/Uwch
FILM STUDIES
FM2
British and American Film
SPECIMEN PAPER
(2½ hours)
ADDITIONAL MATERIALS
In addition to this examination paper, you will need:
• Resource material
• a 12 page answer book.
INSTRUCTIONS TO CANDIDATES
Answer three questions, one from each section.
Write your answers in the separate answer book provided.
INFORMATION FOR CANDIDATES
Each question carries 40 marks.
The number of marks is given in brackets at the end of each question.
You are reminded that assessment will take into account the quality of written communication
used in your answers.
No certificate will be awarded to a candidate detected in any unfair practice during the
examination.
6. GCE AS/A FILM STUDIES 6
FM2: British and American Film
Answer three questions – one from each section.
Section A: Producers and Audiences
Choose one question from this section.
Either
1. Study Item A of the resource material, which includes:
- the home page of a fan website for the American star Will Ferrell
- table showing UK and US box office takings for two films starring Will Ferrell released
in 2006
- poster for one of these films; front cover of a magazine for one of these films.
Using this material as a starting point, and drawing on your own case studies, answer the
following question:
What are some of the reasons for the popularity of US produced films for UK
audiences? [40]
or
2. Study Item B of the resource material, which includes:
- press release: purchase of the Warner Village cinema chain by Vue in 2003
- programme for a thirteen screen Vue multiplex in Manchester (week in March, 2007)
- blog extract: 'Is Cinema Dead?'
Using this material as a starting point, and drawing on your own case studies, answer the
following question:
Are the attractions of going to a cinema today sufficiently strong to compete against
other ways in which we can now watch films? [40]
7. GCE AS/A FILM STUDIES 7
Section B: British Film Topics
Choose one question from this section.
British Film and Genre
You should discuss a minimum of two films in your answer and base it on one of the following:
Horror or Comedy.
Either
3. What are some of the narrative features that are distinctive in the horror or comedy films you
have studied? [40]
or
4. How effective is genre in presenting ideas about society in the films you have studied? [40]
British Film and Stars
You should discuss a minimum of two films in your answer and base it on one of the following:
Julie Christie or Ewan McGregor.
Either
5. What is the connection between the image of the star that you have studied and the narrative
expectations he or she produces? [40]
or
6. How far does the star you have studied reinforce or challenge stereotypes in the roles they
take on? [40]
British Film and Production Companies
You should discuss a minimum of two films in your answer and base it on one of the following:
Ealing Studios or Working Title.
Either
7. What are some of the similarities in the messages and values of films made by the production
company you have studied for this topic? [40]
or
8. What are some of the characteristics of the films you have studied for this topic which make
them different from Hollywood-type films? [40]
8. GCE AS/A FILM STUDIES 8
British Film: Cultural Study
You should discuss a minimum of two films in your answer and base it on one of the following:
Swinging Britain 1963 - 1973 or Thatcher's Britain: the 1980s.
Either
9. How does narrative explore particular tensions of either gender or class or race? [40]
or
10. In what ways do the films you have studied adopt styles which are suited to their subject
matter? [40]
British Film: Social-Political Study – 'Living with Crime'
You should discuss a minimum of two films in your answer and base it on the following: 'Living with
Crime'.
Either
11. Discuss the importance of choices made by key characters to the overall shape and
development of the narratives you have studied. [40]
or
12. How important is location to the films you have studied for this topic? [40]
British Film: Identity Study – 'Borders and Belonging'
You should discuss a minimum of two films in your answer and base it on the following: 'Borders
and Belonging'.
Either
13. How far do the narratives of the films you have studied for this topic explore questions of
belonging and exclusion? [40]
or
14. Is 'being British' presented as a very different experience for different social groups in the
films you have studied? [40]
Section C: American Film – Comparative Study
Choose one question from this section.
You should discuss a minimum of two films in your answer.
Either
15. Discuss some of the similarities and differences between the two films you have studied for
this topic with particular reference to narrative and genre features. [40]
or
16. How far do the two films you have studied for this topic present similar messages and values?
[40]
9. GCE AS/A FILM STUDIES 9
WELSH JOINT EDUCATION COMMITTEE CYD-BWYLLGOR ADDYSG CYMRU
General Certificate of Education Tystysgrif Addysg Gyffredinol
Advanced Subsidiary/Advanced Uwch Gyfrannol/Uwch
FILM STUDIES
FM2
British and American Film
SPECIMEN PAPER
2½ hours
Resource Material for use with Section A
10. GCE AS/A FILM STUDIES 10
Study Item A, the resource material for use with Section A, Question 1.
Home page of fan website for Will Ferrell (www.willferrell.org/index.html)
Table: UK and US Opening Weekend Box Office Takings for Two Films starring Will
Ferrell (released in 2006 and 2007)
UK Release: Box Office US Release: Box Office
Opening Weekend Opening Weekend
Box Office Screens Box Office Screens
Takings (£m) Takings ($m)
Talladega £1.03 m 403 $47.04 m 3803
Nights: The (approx £23.9 m)
Ballad of Ricky
Bobby (2006)
Blades of £1.02m 362 $33m 3372
Glory (2007)
11. GCE AS/A FILM STUDIES 11
Poster for Talladega Nights (2006)
Front Cover of Premiere, April 2007
12. GCE AS/A FILM STUDIES 12
Study Item B, the resource material for use with Section A, Question 2.
Press Release, May 2003: Vue buy Warner Village Cinema Chain
J.Timothy Richards, President & CEO of Vue said: "Warner Village did a great job in constructing a
very high quality portfolio of multiplex cinemas. We will continue to expand and enhance this platform
to ensure that we have the leading, most modern and best equipped cinema circuit in the UK. The
Vue brand will become synonymous with the best screens, the best sound and the best seating, to
create the best possible cinematic experience. We will make sure this appeals to everyone by offering
a greater variety and diverse range of films".
Vue Cinema: Programme for The Lowry, Manchester (March, 2007)
13 screen cinema showing the latest releases and offering a 'Gold Class' screen with 32 leather
seats, waiter service and bar. Less than 10 minutes from Manchester city centre in The Lowry Outlet
Mall at Salford Quays.
See below for our programme, week beginning 23 March, 2007
300 (GC) Premonition
Based on the epic graphic novel by Frank A supernatural thriller about a woman who has
Miller. a premonition about the death of her husband.
Warner Brothers Picture Hyde Park / TriStar - US
Ghost Rider The Hills Have Eyes 2
Film version of the comic book about a
Sequel to the 2006 horror remake about a
motorcycle stuntman who sells his soul to the
group of mutant cannibals.
devil.
Twentieth Century Fox - US
Columbia Pictures Corporation
Hot Fuzz The Queen
The talent behind Shaun Of The Dead reunite Helen Mirren stars as Queen Elizabeth II as
for Hot Fuzzs following the career of PC she attempts to deal with the death of Diana,
Nicholas Angel (Pegg). Princess of Wales
Big Talk / Working Title - UK Granada / Pathe - UK
Norbit TMNT
A mild-mannered geek plots to leave his This state-of-the-art CG animation brings the
nightmare wife when he falls in love with crime-fighting turtles to life for a whole new
another generation.
Dreamworks - US. Imagi Entertainment – Hong Kong / US
Outlaw
Violent British thriller about a group of men
who take the law into their own hands.
Vertigo Films - UK
13. GCE AS/A FILM STUDIES 13
Is Cinema Dead?
Photograph: Getty
Is this the future of cinema-going?
Culture Vulture Blog: Guardian Unlimited
Is Cinema Dead, Paul Hamilos (June, 2005)
I literally mean, is cinema dead? Do we no longer enjoy the thrill of finding ourselves in a darkened
room with hundreds of strangers, waiting eagerly to discover what cinematic delights are in store for
us?
DVD sales are now a huge part of the Hollywood marketing machine – an estimated 60% of revenue
from the US came in home sales, compared to 23% for tickets. Any number of films now do as much,
if not more, business on the small screen. And, of course, there's that old problem for Hollywood of
piracy (oddly not something that Joe Public is losing too much sleep over), which meant that Star
Wars was available on DVD across the world just hours after it hit the cinema.
Warner, for example, has just released a film on DVD in China on the same day it came out in the
cinema in the US, in a bid to stay one step ahead of those pesky pirates. It’s the first time something
like this has happened, and they’re surely testing the water ahead of bigger releases.
The challenge is up to cinema owners to make the cinema-going experience a more enjoyable one.
Bigger seats, cheaper tickets, and so on, would go some way to improving the matter. But can they
compete with the comforts of home, where you can drink and smoke to your heart's content, shout at
the screen, and answer your mobile phone should you so desire?
14.
15. GCE AS/A FILM STUDIES 15
WELSH JOINT EDUCATION COMMITTEE CYD-BWYLLGOR ADDYSG CYMRU
General Certificate of Education Tystysgrif Addysg Gyffredinol
Advanced Subsidiary/Advanced Uwch Gyfrannol/Uwch
FILM STUDIES
FM4
Varieties of Film: Issues and Debates
SPECIMEN PAPER
(2¾ hours)
ADDITIONAL MATERIALS
In addition to this examination paper, you will need:
• a 12 page answer book.
INSTRUCTIONS TO CANDIDATES
Answer three questions, one from each section.
Write your answers in the separate answer book provided.
INFORMATION FOR CANDIDATES
Questions in Sections A and B carry 35 marks. Questions in Section C carry 30 marks.
The number of marks is given in brackets at the end of each question.
You are reminded that assessment will take into account the quality of written communication
used in your answers.
No certificate will be awarded to a candidate detected in any unfair practice during the
examination.
You are reminded that this paper is synoptic and so will test understanding of all aspects of AS
and A level Film Studies.
16. GCE AS/A FILM STUDIES 16
FM4 – Varieties of Film Experience: Issues and Debates
Answer three questions – one from each section
Section A: World Cinema Topics
Choose one question from this section.
Aspects of a National Cinema
Your answer should be based on a minimum of two films appropriate to one of the following topics:
• Japanese Cinema 1950 – 1970 • Iranian Cinema 1990 – present
• Mexican Cinema 1990 – present • Bollywood 1990 – present
Either
1. To what extent do the films you have studied explore tensions within society as opposed to
being simply stories about individuals? [35]
or
2. Compare some of the stylistic features in the films you have studied discussing how far they
make for a distinctive kind of cinema. [35]
International Film Styles
Your answer should be based on a minimum of two films appropriate to one of the following topics:
• German and/or Soviet Film of the 1920s • Neo-Realism
• Surrealism • New Waves
Either
3. Discuss characteristic features of casting and/or performance, exploring how far these features
contribute the overall effect of the films you have studied. [35]
or
4. What is the relationship between visual style and the subject matter of the films you have
studied? [35]
Specialist Study: Urban Stories − Power, Poverty and Conflict
Your answer should be based on a minimum of two films.
Either
5. To what extent do you think the films you have studied present either clear or ambiguous
messages about the worlds they represent? [35]
or
6. What is the importance of mise-en-scène and/or sound in creating meaning and generating
response in the films you have studied? [35]
17. GCE AS/A FILM STUDIES 17
Specialist Study: Empowering Women
Your answer should be based on a minimum of two films.
Either
7. How far do the films you have studied depend on dramatic moments of confrontation within
the narrative and how far on tracing a more subtle change over time? [35]
or
8. Compare and contrast the ways in which the audience is encouraged to identify with
particular characters in the films you have studied. [35]
Section B: Spectatorship Topics
Choose one question from this section.
Spectatorship and Early Film (1895 – 1917)
Your answer should refer to a range of examples, though you may concentrate on films from one part
of the period.
Either
9. Discuss the significance of two or three key aspects of film form in Early Cinema (such as
narrative and editing) in developing film spectatorship. [35]
or
10. How has your study of Early Cinema shaped your broader understanding of film
spectatorship? [35]
Spectatorship and Documentary
Your answer should be based on a minimum of two films.
Either
11. Compare different documentary techniques employed to present the 'real', discussing their
impact on the spectator. Refer to at least two documentaries you have studied. [35]
or
12. Do you agree that as spectators we are more likely to accept at face value what we see and
hear in documentary films? [35]
Spectatorship: Experimental and Expanded Film/Video
Your answer should be based on a minimum of two films.
Either
13. 'Experimental films are often designed to make us see and experience the world differently.'
Has this been your experience as a spectator of the films you have studied for this topic? [35]
or
14. 'Experimental Film requires a different kind of spectatorship.' Has this been your experience?
[35]
18. GCE AS/A FILM STUDIES 18
Spectatorship: Popular Film and Emotional Response
Your answer should be based on a minimum of two films.
Either
15. Explore possible reasons to explain why a second or third viewing of a film can actually
increase the emotional response rather than lessen it. [35]
or
16. How far is the emotional response to mainstream films triggered by specific techniques used
by the filmmakers? [35]
Section C: Single Film: Close Critical Study
Choose one question from this section.
Your answer should make detailed reference to your chosen film.
General Questions
17. What does your chosen film reveal about the usefulness of one or more critical approaches
you have applied? [30]
18. Consider debates that have arisen in the critical reception of your chosen film, either at the
time of its initial release or now or both.
[30]
Questions on single films
19. In Modern Times, discuss the view that Chaplin is too sentimental in his approach to be able
to offer any valuable insight into the world. [30]
20. How far is Les Enfants du Paradis limited as a film by its theatricality? [30]
21. Film scholars have argued that Vertigo is a film about cinema and about spectatorship. How
far do you think this is true? [30]
22. The Battle of Algiers offers multiple characters for the spectator to identify with. Critically
discuss the strengths and limitations of this approach in relation to the film's subject. [30]
23. What is the importance of movement and soundtrack in Sweet Sweetback's Baadasssss
Song? [30]
24. In Solaris, what themes do you believe Tarkovsky is exploring through Kelvin's relationship
with the 'second' Khari? [30]
25. What is significant about the visual style of Happy Together in relation to the themes it
explores? [30]
26. 'Despite the gesture of destroying symbols of corporate power at the end, Fight Club is a film
about power and control, not liberation.' How far do you agree? [30]
27. How successful is Talk to Her in undermining conventional gender stereotypes? [30]
28. 'After repeated viewings, Morvern Callar remains a strange, unknowable film, more dream-
like than a narrative realist film'. How useful and accurate do you find this comment? [30]
19. GCE AS/A FILM STUDIES 19
FM2: BRITISH AND AMERICAN FILM
MARKING GUIDELINES
AO1 AO2 Totals
Max raw mark Max raw mark Max raw marks
(Unit Weighting, (Unit Weighting, (Unit Weighting,
% AS) % AS) % AS)
Section A 20 20 40
Section B 20 20 40
Section C 20 20 40
60 (30%) 60 (30%) 120 (60%)
Note: Raw marks equate to Unified Mark Scale totals.
General Performance Descriptors: Section A – Producers and Audiences
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) is weighted equally with the ability
to apply that through exploration and analysis (AO2) at all levels.
Approach to Assessing Section A
• In this section, candidates are being required to respond quickly to a range of materials.
Examiners should be flexible in their approach, prepared to consider diverse approaches and
recognise that the candidate's ability may be demonstrated as much in the process of engaging
with the material as in what is said.
• The likely proportion of an answer based on the stimulus itself and the proportion based on
case study material introduced by candidates will vary enormously. Sometimes this will
depend on the question. However, the relative emphasis may vary considerably even in
different responses to the same question. However, the relative emphasis may vary
considerably even in different responses to the same question. Again, examiners should be
flexible, avoiding an over-prescriptive starting position
20. GCE AS/A FILM STUDIES 20
Level Performance Descriptor
1: 0-15 Level 1 candidates will be able to give few indications that they have gained knowledge and
understanding of the areas studied for the unit. References will tend to be imprecise and/or
inaccurate.
Quality of written communication will be inadequate so that communication is only successful in
simple statements. There will be frequent inaccuracies.
2: 16–23 At the lower end of this level, candidates will demonstrate some knowledge and understanding of
the areas studied for this unit. However knowledge will, by comparison with work at higher
grades, be insecure with significant inaccuracies. There will be some relevant detail but limited
ability to work from the particular to the general. Description will dominate, possibly reliant on
the stimulus material.
(16-19)
Quality of written communication will be inconsistent but will enable basic if limited
communication. There will be frequent inaccuracies although not sufficient to prevent
communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will demonstrate sufficient knowledge and
understanding of the areas studied for this unit to respond to the question. Description will
dominate, with limited ability to discriminate between more or less significant points either based
on the stimulus material or on candidates' own studies. Candidates will however implicitly
(20-23) demonstrate some appreciation of the relevant issues to support their response.
Quality of written communication will be adequate. Although sometimes awkward in expression,
communication will generally be clear. There will be occasional inaccuracies.
3: 24-31 At the lower end of this level, candidates will demonstrate a sound level of knowledge and
reasonable understanding of the areas studied for this unit. They will display a reasonable
understanding of, and engagement with, the issues raised by the question and some ability to
select material relevant to the question. This will involve as appropriate: a reasonable ability in
interpreting stimulus material, recognising some of the key points; an ability to provide material
from their own studies.
(24-27) References made to both stimulus material and candidates' own study material will generally be
accurate, although not always the most appropriate for the argument developed. There will be
descriptive material related to the relevant issues offering clear evidence of study.
Quality of written communication will be sound: reasonably fluent, reasonably structured and
mainly accurate, enabling clear communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will demonstrate a good level of knowledge and a
generally confident understanding of the areas studied for this unit. They will display a good
understanding of, and a good engagement with, the issues raised by the question and display an
ability to select relevant material. This will involve as appropriate: a good ability in interpreting
stimulus material, recognising many of the key points; a good ability to provide appropriate
material from their own studies.
References made to both stimulus material and candidates' own study material will be accurate
and relevant to the argument developed. The work will show clear signs of developing a well-
(28-31) structured response. There will be some evidence of a 'voice' developing in the candidate.
Quality of written communication will be good. It will be fluent, well-structured and accurate.
4: 32-40 Level 4 candidates will be distinguished by an excellent knowledge and confident understanding
of the subjects studied for this unit. They will display an excellent understanding of, and a lively
engagement with, the issues raised by the question set, and display a very good ability to select
relevant material. This will involve as appropriate: an excellent ability in interpreting stimulus
material, recognising key points; an excellent ability to provide appropriate material from their
own studies.
References made to both stimulus material and candidates' own study material will be both
accurate and relevant to the argument developed. The work will be well-structured. There will be
a clear and authoritative 'voice' developing in the candidate.
Quality of written communication will be excellent. It will be fluent, well-structured and
accurate, showing signs of sophistication.
21. GCE AS/A FILM STUDIES 21
Section A: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
Question 1:
• The relationship between the American and British film industries.
• Distribution, exhibition and the dominance of the American film industry.
• The importance of stars, both British and American.
• Audience behaviour in relation to fandom/marketing.
Question 2:
• Attractions of cinema viewing: visual impact of large cinema screen, power of (surround)
sound, social dimensions of experience, (possible) release ahead of official DVD availability
• Attractions of other forms: availability of DVDs, additional features, increase in quality of
'home cinema', film availability on internet, social dimensions of experience.
General Performance Descriptors: Sections B and C
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.
22. GCE AS/A FILM STUDIES 22
Level Performance Descriptor
1: 0-15 Level 1 candidates will be able to give few indications that they have gained
knowledge and understanding of the work covered in the unit. References will
generally be inaccurate. There is likely to be generalised and inconsistent
description.
Quality of written communication will be inadequate so that communication is only
successful in simple statements. There will be frequent inaccuracies.
2: 16-23 At the lower end of this level, candidates will have a basic ability to describe their
chosen films but, compared with work at higher grades, knowledge will be insecure
with significant inaccuracies. There will be some detail but this will not always be
relevant and there will be limited ability to work from the particular to the general.
(16-19) Description will dominate with little indication of understanding of narrative and
representation issues in particular.
Quality of written communication will be inconsistent but will enable basic if
limited communication. There will be frequent inaccuracies although not sufficient
to prevent communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have an ability to describe their chosen
films with general accuracy. Description will dominate but this will generally be
(20-23) relevant. There will be some appreciation of narrative and representation issues
although this will tend to be implicit rather than explicit.
Quality of written communication will be adequate. Although sometimes awkward
in expression, communication will generally be clear. There will be occasional
inaccuracies.
3: 24–31 At the lower end of this level, candidates will have a sound knowledge and
understanding of their chosen films and be able to make reasonably detailed and
accurate reference to them. The ability to make points supported with relevant
evidence will be emerging although there may still be a tendency to the descriptive.
The use of appropriate specialist language will be emerging. There will be a sound
(24-27) knowledge of narrative and representation issues if not always developed.
Quality of written communication will be sound. It will be reasonably fluent,
reasonably structured and mainly accurate.
………………………………………………………………………………………..
At the upper end of this level, candidates will have a good knowledge and
understanding of their chosen films and be able to make detailed and accurate
reference to them. Clear points of view will be developed and the use of appropriate
(28-31) specialist language will inform discussion. There will be a good knowledge of
narrative and representation issues in particular.
Quality of written communication will be good. It will be fluent, well-structured
and accurate.
4: 32-40 Level 4 candidates will be distinguished by excellent knowledge and confident
understanding of their chosen films and be able to make very detailed and accurate
reference to them. Points of view will be developed very effectively with
appropriate specialist language a feature of all film references. There will be an
excellent knowledge of narrative and representation issues.
Quality of written communication will be excellent. It will be fluent, well-
structured and accurate, showing signs of sophistication.
23. GCE AS/A FILM STUDIES 23
Section B: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
General characteristics of answers in this section:
• Knowledge and understanding of the selected films.
• An appreciation of the films' macro features in particular.
• An ability to compare the films.
British Film and Genre
Questions 3 and 4:
• An awareness of the importance of genre within the context of British cinema.
• An awareness of the narrative conventions of genre with some awareness of continuities and
changes in these conventions over time.
• An understanding of how genres can express issues.
British Film and Stars
Questions 5 and 6:
• An understanding of the way the chosen star communicates/makes meaning through their
roles, screen persona and media image.
• An appreciation of the contexts within which the chosen star can be placed.
• An awareness of the specific characteristics of stardom within British Cinema.
British Film and Production Companies
Questions 7 and 8:
• An understanding of specific characteristics of the chosen production company – including its
films and its underpinning ethos.
• Understanding of the social, political and economic contexts within which the chosen
production company has operated.
• An awareness of the specific characteristics of the production company within the British film
industry.
British Film: Cultural Study
Questions 9 and 10:
• An understanding of the cultural/historical contexts within which the chosen films were
produced.
• An appreciation of how messages and values contained within the chosen films articulate
these contexts.
• An awareness of the distinctive response of filmmakers in both the content and style of films
produced.
24. GCE AS/A FILM STUDIES 24
British Film: Social – Political Study: Living with Crime
Questions 11 & 12:
• An appreciation of the messages and values contained within the chosen films.
• An understanding of the relationship between form and content, possibly with a particular
reference to narrative and generic features.
• An understanding of contexts, especially time and place.
British Cinema: Identity – 'Borders and Belonging;
Questions 13 & 14:
• An understanding of the political, economic and cultural contexts which the films engage
with.
• An appreciation of how messages and values contained within the chosen films articulate
these contexts.
• An understanding of the relationship between form and content, possibly with a particular
focus on issues of representation.
25. GCE AS/A FILM STUDIES 25
Section C: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
General characteristics of answers in this section:
• Knowledge and understanding of the selected films.
• An appreciation of the films' macro features in particular.
• An ability to compare the films.
Questions 15 and 16:
• An understanding of the films' messages and values.
• An awareness of how these are articulated through film form, especially narrative and genre.
• A knowledge of production contexts (economic, technological, regulatory, etc.) in developing
comparisons between two films.
26. GCE AS/A FILM STUDIES 26
FM4: VARIETIES OF FILM EXPERIENCE: ISSUES AND DEBATES
MARKING GUIDELINES
AO1 AO2 Totals
Max raw mark Max raw mark Max raw marks
(Unit Weighting, (Unit Weighting, (Unit Weighting,
% A Level) % A Level) % A Level)
Section A 17.5 17.5 35
Section B 17.5 17.5 35
Section C 15 15 30
50 (12.5%) 50 (12.5%) 100 (25%)
Note: Raw marks equate to Unified Mark Scale totals.
General Performance Descriptors: Sections A and B
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.
27. GCE AS/A FILM STUDIES 27
Level Performance Descriptor
1: 0-13 Level 1 candidates will give few indications that they have gained knowledge and
understanding of the work covered in the unit. References will generalised and
frequently inaccurate. Description and detail will not always be relevant.
Quality of written communication will be inadequate so that communication is only
successful in simple statements. There will be frequent inaccuracies.
2: 14-20 At the lower end of this level, candidates will have a basic ability to describe their
chosen films and topic. However this knowledge will tend to be insecure with
significant inaccuracies. There will be some detail but this will not always be
relevant and there will be limited ability to work from the particular to the general.
(14-16) Description will dominate.
Quality of written communication will be inconsistent but will enable basic if
limited communication. There will be frequent inaccuracies although not sufficient
to prevent communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have some ability to describe their
chosen films and topic. Knowledge and understanding will be more secure but
(17-20) description will dominate. An appreciation of the issues raised by the question will
be evident although it may be implicit.
Quality of written communication will be adequate. Although sometimes awkward
in expression, communication will generally be clear. There will be occasional
inaccuracies.
3: 21-27 At the lower end of this level, candidates will have a sound knowledge and
understanding of their chosen films and topic. The ability to make points
supported with relevant evidence will be emerging although there may still be a
tendency to the descriptive. The use of appropriate specialist language will be
(21-23) emerging.
Quality of written communication will be sound. It will be reasonably fluent,
reasonably structured and mainly accurate.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and
understanding of their chosen films and topic. Clear points of view will be
(24-27) developed and the use of appropriate specialist language will inform discussion.
Quality of written communication will be good. It will be fluent, well-structured
and accurate.
4: 28-35 At Level 4, candidates will be distinguished by an excellent knowledge and
confident understanding of their chosen films and topic. Points of view will be
developed very effectively with appropriate specialist language a feature of all film
references.
Quality of written communication will be excellent. It will be fluent, well-
structured and accurate, showing signs of sophistication.
28. GCE AS/A FILM STUDIES 28
Section A: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
Aspects of a National Cinema
Questions 1 and 2:
• An understanding of the idea of a national cinema, including strategies for a successful
indigenous cinema within the global market.
• A specific understanding of the characteristics of the chosen national cinema within its
political, historical and social contexts.
• An understanding of how the form and style expresses a particular view and how this may in
some ways be distinctive to that national cinema.
International Film Styles
Questions 3 and 4
• A knowledge and appreciation of the importance of the relevant historical, political, social,
cultural and artistic contexts.
• A specific understanding of the chosen films and their stylistic features – and of the
relationship of these chosen features to thematic preoccupations.
• An understanding of what is distinctive – and innovative – in the films studied.
Specialist Study 1 – Urban Stories: Power, Poverty and Conflict
Questions 5 and 6
• An appreciation of the messages and values contained within the chosen films.
• An understanding of the relationship between form and content, possibly with a particular
reference to distinctive stylistic features.
• An understanding of contexts, especially time and place.
Specialist Study 2 – Empowering Women
Questions 7 and 8
• An appreciation of the messages and values contained within the chosen films, especially
gender issues.
• An understanding of the relationship between form and content, possibly with a particular
reference to distinctive stylistic features which relate to a ‘gendered’ cinema.
• An understanding of contexts, especially time and place.
29. GCE AS/A FILM STUDIES 29
Section B: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
Questions 9 and 10
• An understanding of the rapid development of micro features of film language during the
period, especially in relationship to spectator positioning and response.
• An understanding of the rapid development in the story-telling capacity of early cinema with
particular reference to narrative and spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition.
Questions 11 and 12
• An awareness of different kinds of documentary practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.
Questions 13 and 14
• An understanding that experimental film/video demands a different and more challenging
spectatorship experience.
• An awareness of different kinds of experimental practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.
Questions 15 and 16
• An understanding of how cinema produces a range of emotional responses in the spectator,
using both macro and micro features.
• An appreciation of how spectators seek a range of different experiences when watching films,
including experiences that may challenge and disturb.
• An appreciation of cinematic contexts – including the significance of audience viewing
situations, fandom and ‘cultism’ – in contributing to spectator response.
General Performance Descriptors: Section C
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and geographical locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.
30. GCE AS/A FILM STUDIES 30
Level Performance Descriptor
1: 0 -11 Level 1 candidates will give few indications that they have gained knowledge and understanding of the
work required to respond adequately to the questions on this paper. References will be highly
generalised and frequently inaccurate.
There will thus be no obvious evidence of understanding or an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be inadequate so that communication is only successful in
simple statements. There will be frequent inaccuracies.
2: 12 – 17 At the lower end of Level 2, candidates will have some ability to describe the critical issues they
choose to write about but, compared with work at higher grades, knowledge will be insecure with
significant inaccuracies. There will be some detail but this will not always be relevant and there will be
limited ability to work from the particular to the general. Description will dominate with very little
evidence of understanding in attempting to respond to specific issues raised by the questions.
There will thus be evidence of a basic understanding and basic ability to apply that understanding
(12-14) through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be inconsistent but will enable basic if limited communication.
There will be frequent inaccuracies although not sufficient to prevent communication.
…………………………………………………………………………………………
At the upper end of this level, candidates will have an ability to describe in broad terms the critical
issues they choose to write about. Description, generally accurate, will dominate. An appreciation of
the basic aspects of critical debates and issues will be apparent although this will often be implicit
rather than explicit.
There will thus be evidence of a developing understanding and an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.
(15-17) Quality of written communication will be satisfactory. Although sometimes awkward in expression,
communication will be generally clear. There will be some inaccuracies.
3: 18-23 At the lower end of Level 3, candidates will have a sound knowledge and reasonable understanding of
the critical issues they choose to engage with. They will be able to make detailed and accurate
references to specific films and cinemas. There will be a sense of being able to make and support
points rather than rely on description at this level, in comparison with work at higher levels, clear
points of view won't always be developed.
Candidates will thus demonstrate a sound understanding of film and film issues and a sound ability to
(18-20) apply that understanding through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be sound. It will be reasonably fluent, reasonably structured
and generally accurate, enabling clear communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and understanding of the critical
issues they choose to engage with. They will be able to make detailed, accurate and usually precise
reference to specific films and cinemas.
There will thus be clear evidence of a good understanding of film and film issues and a good ability to
apply that understanding through effective analysis of film and the relevant critical and contextual
issues.
(21-23)
Quality of written communication will be good. It will be fluent, well-structured and accurate.
4: 24-30 Level 4 candidates will be distinguished by an excellent knowledge and confident understanding of the
critical issues they choose to engage with. They will be able to make very detailed, accurate and
precise reference to specific films and cinemas. Work will be structured highly effectively. There will
be evidence of a clear and distinctive 'voice' developing.
There will clear evidence of a high level of understanding of film and film issues and an excellent
ability to apply that understanding through coherent analysis of film and the critical and contextual
issues relating to them.
Quality of written communication will be excellent. It will be very fluent, well-structured and
accurate, showing signs of sophistication.
31. GCE AS/A FILM STUDIES 31
Section C: Guidelines on specific questions
The following is a guideline to the understanding candidates may demonstrate in their answers.
It is not intended to be prescriptive.
Questions 17 to 28
• Knowledge of some of the different critical responses provoked by the chosen film, together
with an appreciation of the film’s status – arising, for example, from a consensus view that it
is a stylistically innovative film or a significant auteur work, or a major contribution to the
way we think theoretically about film.
• Understanding of the issues underlying its (possibly diverse) critical reception, including, for
example, those relating to theme, style and structure.
• An appreciation of how one or more critical approaches applied by the candidate has been
productive in enhancing understanding and appreciation of the chosen film.
GCE Film Studies SAM (2009-2010)/JD
25 September 2007