This document provides resource material for a GCE AS/A level Film Studies exam on British and American film. It includes three parts:
Part A includes posters and articles on the films Green Zone and The Hurt Locker, as well as an interview discussing why Iraq war films often fail at the box office. Part B includes box office figures for UK films in 2009, information on US investment in UK film production, and an article about Warner Bros plans to renovate Leavesden Studios. Part C provides similar resource material for use in comparing American films. The exam consists of answering three questions, one from each of the three sections.
This document is an examination paper for the British and American Film section of a GCE AS/A level Film Studies exam. It provides instructions for the exam, which will last 2.5 hours. Students must answer 3 questions, choosing 1 from each of 3 sections: Producers and Audiences, British Film Topics, and American Film Comparative Study. Resource materials are provided to assist with answering the first section on producers and audiences. These include information on the independent film In Bruges and on independent films in general, as well as details on new technologies for watching films such as iTunes, LoveFilm, and online releases.
This document provides resource material for a GCE AS/A level exam in film studies. It contains three parts: Part A includes materials on the relationship between film producers and audiences in the digital age; Part B includes information on the elements of successful Hollywood films and examples of popular UK films; Part C lists the top 10 highest grossing films in the UK in 2007. Students will choose one question from three sections to answer based on analyzing the provided resource materials and discussing their own case studies.
This document provides instructions and questions for an exam on British and American film studies. It is divided into three sections. Section A contains two questions about factors influencing film success and the importance of British talent in films financed outside the UK. Section B contains eight questions about British film topics, genres, stars, production companies, and cultural and social-political contexts. Section C contains two comparative questions about key themes and messages/values in chosen American films. Students must answer three questions total, selecting one from each section.
This document provides instructions and questions for an exam on British and American film studies. Students must choose one question from each of three sections to answer in an assigned 12-page book. Section A deals with producers and audiences, Section B focuses on specific aspects of British film, and Section C requires a comparative analysis of American films. Students are reminded that writing quality will be assessed.
This document provides resource materials for a GCE AS/A level Film Studies exam on British and American film. It includes instructions for the exam, which consists of answering 3 questions, one from each of 3 sections. Section A focuses on producers and audiences and provides resource materials on how technology is changing film consumption and the relevance of stars. Section B focuses on British film topics, and Section C focuses on comparative studies of American films.
This document provides specimen question papers and marking guidelines for the GCE Film Studies exam. The FM2 paper focuses on British and American film, asking students to answer three questions, one from each of three sections: Producers and Audiences, British Film Topics, and American Film - Comparative Study. Sample questions examine reasons for the popularity of US films in the UK, the strengths of cinema compared to other viewing options, narrative features of genres, and similarities/differences between paired films. The FM4 paper covers Varieties of Film: Issues and Debates, again with three sections and students answering one question per section focused on topics like world cinema, spectatorship, and experimental film.
This document outlines the requirements for studying documentary film as part of the Global Filmmaking Perspectives component of a film studies course. Students must analyze one documentary film in relation to its film form, representation and meaning, social/historical contexts, and two specialist studies on digital technology's impact on film and relevant filmmakers' theories. It provides examples of documentary films that could be studied, including Amy and Stories We Tell, and introduces tasks for defining documentaries, comparing them to fiction films, and identifying common documentary techniques.
This document provides resource material for a GCE AS/A level Film Studies exam. It includes three parts: Part A examines the relationship between producers and audiences in the digital age, featuring a film download website, movie website, and newspaper article on viral marketing. Part B looks at elements that make Hollywood films appealing to UK audiences, including a list of successful films' stars and directors, a poster for a popular UK film without stars, and the top 10 UK films of 2007 by box office earnings. The exam questions require students to analyze these resources and discuss related topics such as how the internet benefits producers and audiences, and whether Hollywood's use of stars makes films more appealing than UK films.
This document is an examination paper for the British and American Film section of a GCE AS/A level Film Studies exam. It provides instructions for the exam, which will last 2.5 hours. Students must answer 3 questions, choosing 1 from each of 3 sections: Producers and Audiences, British Film Topics, and American Film Comparative Study. Resource materials are provided to assist with answering the first section on producers and audiences. These include information on the independent film In Bruges and on independent films in general, as well as details on new technologies for watching films such as iTunes, LoveFilm, and online releases.
This document provides resource material for a GCE AS/A level exam in film studies. It contains three parts: Part A includes materials on the relationship between film producers and audiences in the digital age; Part B includes information on the elements of successful Hollywood films and examples of popular UK films; Part C lists the top 10 highest grossing films in the UK in 2007. Students will choose one question from three sections to answer based on analyzing the provided resource materials and discussing their own case studies.
This document provides instructions and questions for an exam on British and American film studies. It is divided into three sections. Section A contains two questions about factors influencing film success and the importance of British talent in films financed outside the UK. Section B contains eight questions about British film topics, genres, stars, production companies, and cultural and social-political contexts. Section C contains two comparative questions about key themes and messages/values in chosen American films. Students must answer three questions total, selecting one from each section.
This document provides instructions and questions for an exam on British and American film studies. Students must choose one question from each of three sections to answer in an assigned 12-page book. Section A deals with producers and audiences, Section B focuses on specific aspects of British film, and Section C requires a comparative analysis of American films. Students are reminded that writing quality will be assessed.
This document provides resource materials for a GCE AS/A level Film Studies exam on British and American film. It includes instructions for the exam, which consists of answering 3 questions, one from each of 3 sections. Section A focuses on producers and audiences and provides resource materials on how technology is changing film consumption and the relevance of stars. Section B focuses on British film topics, and Section C focuses on comparative studies of American films.
This document provides specimen question papers and marking guidelines for the GCE Film Studies exam. The FM2 paper focuses on British and American film, asking students to answer three questions, one from each of three sections: Producers and Audiences, British Film Topics, and American Film - Comparative Study. Sample questions examine reasons for the popularity of US films in the UK, the strengths of cinema compared to other viewing options, narrative features of genres, and similarities/differences between paired films. The FM4 paper covers Varieties of Film: Issues and Debates, again with three sections and students answering one question per section focused on topics like world cinema, spectatorship, and experimental film.
This document outlines the requirements for studying documentary film as part of the Global Filmmaking Perspectives component of a film studies course. Students must analyze one documentary film in relation to its film form, representation and meaning, social/historical contexts, and two specialist studies on digital technology's impact on film and relevant filmmakers' theories. It provides examples of documentary films that could be studied, including Amy and Stories We Tell, and introduces tasks for defining documentaries, comparing them to fiction films, and identifying common documentary techniques.
This document provides resource material for a GCE AS/A level Film Studies exam. It includes three parts: Part A examines the relationship between producers and audiences in the digital age, featuring a film download website, movie website, and newspaper article on viral marketing. Part B looks at elements that make Hollywood films appealing to UK audiences, including a list of successful films' stars and directors, a poster for a popular UK film without stars, and the top 10 UK films of 2007 by box office earnings. The exam questions require students to analyze these resources and discuss related topics such as how the internet benefits producers and audiences, and whether Hollywood's use of stars makes films more appealing than UK films.
Eng 225 Education Organization-snaptutorial.comrobertlesew9
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
ENG 225 Week 4 Assignment Final Film Critique Preparation
ENG 225 Week 4 DQ The Cinematic Auteur Theory
ENG 225 Week 5 DQ 1 The Impact of Evolving Technologies
ENG 225 Exceptional Education - snaptutorial.comDavisMurphyB
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
ENG 225 Week 4 Assignment Final Film Critique Preparation
Eng 225 Believe Possibilities / snaptutorial.comDavis15a
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre
This document provides guidance for a film studies coursework assignment. It is divided into four parts: 1) Exploring a film of the student's choice, 2) Pitch and preproduction, 3) Production, and 4) Evaluative analysis. For part one, students must analyze how film language like cinematography and sound create meaning in a scene from their chosen film. They are provided instructions on researching the film's production, distribution, and exhibition to learn about the film industry. Students are directed to record their research on a blog and fill out a form to summarize their findings.
The document discusses film production, defining the three stages as development, production, and distribution. It explains the concept of a film package and franchise, how a franchise allows a studio to profit across multiple films and ancillary markets. A super franchise expands this further through interconnected films and characters across a conglomerate's brands.
The document provides sample questions and guidance for a British film studies exam focusing on horror or comedy genres. Students must analyze at least two British films, discussing narrative techniques, thematic issues, representations, and contexts of production. The questions assess understanding of film as an audiovisual medium and ability to apply critical approaches to explore meanings and responses. Students are given guidance on key concepts to examine for each film like narrative, themes, representations of gender or class, and how contexts influence the film.
ENG 225 Education Specialist / snaptutorial.com McdonaldRyan83
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
This document outlines the requirements for studying documentary film as part of a global filmmaking perspectives course. Students must analyze one documentary film in relation to its film form techniques, how it represents meaning and audience response, and its social/historical contexts. They must also complete two specialist studies on critical debates around digital technology's impact on film and applying key filmmakers' documentary theories to their chosen film. The resource provides lesson plans to introduce students to documentary film through defining it, comparing its techniques to fiction film, and discussing philosophical debates around concepts like objectivity and truth in documentary.
The document provides an introduction to the AS Film Studies course, which is split into two modules: FM1 - Exploring Film Form and FM2 - British & American Film. [FM1] focuses on micro elements of film like cinematography, mise-en-scene, performance, sound, and editing. Students will analyze a film extract and create a short film or storyboards. [FM2] involves studying audience, industry, and genres in a final exam. The document discusses different views of cinema as a mirror, window, or escape and uses film examples to illustrate these concepts. It also explains how films can reflect the social issues and fears of their time.
The document provides instructions and questions for a film studies exam. It is divided into three sections on producers and audiences, British film topics, and American film comparative study. Students must answer three questions, choosing one from each section. The resource material at the end relates to section A and includes information on how audiences use social media networks differently and the importance of visual effects in films.
This document provides information on the WJEC AS and A Level GCE in Film Studies, including:
- The structure and assessment of the qualification, which consists of 2 AS units and 2 additional A2 units. AS units are internally and externally assessed. A2 units include internal and external assessment.
- The aims and objectives of the specification, which focus on developing understanding of film as an art form through exploring meanings, responses, and contexts of production and consumption.
- An overview of the content covered in each unit, including film forms and styles, national cinemas, producers and audiences, and key debates in film culture.
- Details on assessment, grading, and progression opportunities upon completion
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides instructions for a film studies exam consisting of three sections:
- Section A asks students to answer one question about world cinema topics or international film styles based on at least two films.
- Section B asks students to answer one question about spectatorship topics based on at least two films.
- Section C asks students to answer one question doing a close critical analysis of a single film of their choice.
The document provides the exam structure and questions, outlines the expected format for answers, and notes the number of marks allocated to each question.
This document provides instructions for a film studies exam consisting of three sections. Candidates must choose one question from each of the three sections and write their responses in a separate answer book. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C involves a close analysis of a single film. Candidates are reminded to refer to a minimum of two films in Sections A and B and that the film chosen for Section C cannot be reused in the other sections. The document lists various film movements, national cinemas, and individual films that candidates can base their answers on.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document contains resource material for a film studies exam, including two parts with multiple items. Part A discusses how audiences use social media differently for films, such as using YouTube for trailers, Twitter for gossip, and Facebook for more social engagement. It also notes that social media users attend the cinema more frequently. Part B covers visual effects winning awards at the 2013 Oscars for Life of Pi, and how The Blair Witch Project created a psychological horror film on a $20,000 budget that convinced audiences it was real documentary-style footage.
This document contains resource material for a film studies exam, including:
1) A news release showing UK cinema attendance reached a high of 169 million in 2010, partly due to the popularity of 3D films.
2) Quotes from fans and a manager praising their local independent cinema for showing a variety of films, not just big blockbusters.
3) An internet TV executive's view that Hollywood needs to update its distribution system to be more consumer-focused.
This document contains resource material for a film studies exam, including three items about streaming movies using gaming consoles, 3D TV, and TV shows being viewed as films. It also contains three additional items about the declining influence of star power at the box office, the top 12 UK films of 2009 having few A-list stars, and profiles of two new stars discovered for roles in independent films.
This document provides instructions and questions for a film studies exam. It begins by stating that candidates will need a 12-page answer booklet. It provides instructions on how to complete the exam, noting that candidates must answer 3 questions, one from each of three sections (World Cinema Topics, Spectatorship Topics, and Single Film Close Critical Study). The number of marks allocated to each question is provided. Candidates are reminded that written communication skills will be assessed. The exam then lists 27 questions across the three sections for candidates to choose from.
This document contains an examination paper for a Film Studies A Level course. It outlines instructions for candidates taking the exam and provides three sections for candidates to choose questions from. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C involves a close critical study of a single film chosen by the candidate. Candidates must answer one question from each section, using at least two relevant films in their responses for Sections A and B.
Eng 225 Education Organization-snaptutorial.comrobertlesew9
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
ENG 225 Week 4 Assignment Final Film Critique Preparation
ENG 225 Week 4 DQ The Cinematic Auteur Theory
ENG 225 Week 5 DQ 1 The Impact of Evolving Technologies
ENG 225 Exceptional Education - snaptutorial.comDavisMurphyB
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
ENG 225 Week 4 Assignment Final Film Critique Preparation
Eng 225 Believe Possibilities / snaptutorial.comDavis15a
For more classes visit
www.snaptutorial.com
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre
This document provides guidance for a film studies coursework assignment. It is divided into four parts: 1) Exploring a film of the student's choice, 2) Pitch and preproduction, 3) Production, and 4) Evaluative analysis. For part one, students must analyze how film language like cinematography and sound create meaning in a scene from their chosen film. They are provided instructions on researching the film's production, distribution, and exhibition to learn about the film industry. Students are directed to record their research on a blog and fill out a form to summarize their findings.
The document discusses film production, defining the three stages as development, production, and distribution. It explains the concept of a film package and franchise, how a franchise allows a studio to profit across multiple films and ancillary markets. A super franchise expands this further through interconnected films and characters across a conglomerate's brands.
The document provides sample questions and guidance for a British film studies exam focusing on horror or comedy genres. Students must analyze at least two British films, discussing narrative techniques, thematic issues, representations, and contexts of production. The questions assess understanding of film as an audiovisual medium and ability to apply critical approaches to explore meanings and responses. Students are given guidance on key concepts to examine for each film like narrative, themes, representations of gender or class, and how contexts influence the film.
ENG 225 Education Specialist / snaptutorial.com McdonaldRyan83
ENG 225 Week 1 DQ Effective Use of Aesthetic Choices
ENG 225 Week 2 Assignment Genres and Genre Film
ENG 225 Week 2 DQ Genre Theory
ENG 225 Week 3 Assignment Establishing Theme
ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx
This document outlines the requirements for studying documentary film as part of a global filmmaking perspectives course. Students must analyze one documentary film in relation to its film form techniques, how it represents meaning and audience response, and its social/historical contexts. They must also complete two specialist studies on critical debates around digital technology's impact on film and applying key filmmakers' documentary theories to their chosen film. The resource provides lesson plans to introduce students to documentary film through defining it, comparing its techniques to fiction film, and discussing philosophical debates around concepts like objectivity and truth in documentary.
The document provides an introduction to the AS Film Studies course, which is split into two modules: FM1 - Exploring Film Form and FM2 - British & American Film. [FM1] focuses on micro elements of film like cinematography, mise-en-scene, performance, sound, and editing. Students will analyze a film extract and create a short film or storyboards. [FM2] involves studying audience, industry, and genres in a final exam. The document discusses different views of cinema as a mirror, window, or escape and uses film examples to illustrate these concepts. It also explains how films can reflect the social issues and fears of their time.
The document provides instructions and questions for a film studies exam. It is divided into three sections on producers and audiences, British film topics, and American film comparative study. Students must answer three questions, choosing one from each section. The resource material at the end relates to section A and includes information on how audiences use social media networks differently and the importance of visual effects in films.
This document provides information on the WJEC AS and A Level GCE in Film Studies, including:
- The structure and assessment of the qualification, which consists of 2 AS units and 2 additional A2 units. AS units are internally and externally assessed. A2 units include internal and external assessment.
- The aims and objectives of the specification, which focus on developing understanding of film as an art form through exploring meanings, responses, and contexts of production and consumption.
- An overview of the content covered in each unit, including film forms and styles, national cinemas, producers and audiences, and key debates in film culture.
- Details on assessment, grading, and progression opportunities upon completion
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides instructions for a film studies exam consisting of three sections:
- Section A asks students to answer one question about world cinema topics or international film styles based on at least two films.
- Section B asks students to answer one question about spectatorship topics based on at least two films.
- Section C asks students to answer one question doing a close critical analysis of a single film of their choice.
The document provides the exam structure and questions, outlines the expected format for answers, and notes the number of marks allocated to each question.
This document provides instructions for a film studies exam consisting of three sections. Candidates must choose one question from each of the three sections and write their responses in a separate answer book. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C involves a close analysis of a single film. Candidates are reminded to refer to a minimum of two films in Sections A and B and that the film chosen for Section C cannot be reused in the other sections. The document lists various film movements, national cinemas, and individual films that candidates can base their answers on.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document contains resource material for a film studies exam, including two parts with multiple items. Part A discusses how audiences use social media differently for films, such as using YouTube for trailers, Twitter for gossip, and Facebook for more social engagement. It also notes that social media users attend the cinema more frequently. Part B covers visual effects winning awards at the 2013 Oscars for Life of Pi, and how The Blair Witch Project created a psychological horror film on a $20,000 budget that convinced audiences it was real documentary-style footage.
This document contains resource material for a film studies exam, including:
1) A news release showing UK cinema attendance reached a high of 169 million in 2010, partly due to the popularity of 3D films.
2) Quotes from fans and a manager praising their local independent cinema for showing a variety of films, not just big blockbusters.
3) An internet TV executive's view that Hollywood needs to update its distribution system to be more consumer-focused.
This document contains resource material for a film studies exam, including three items about streaming movies using gaming consoles, 3D TV, and TV shows being viewed as films. It also contains three additional items about the declining influence of star power at the box office, the top 12 UK films of 2009 having few A-list stars, and profiles of two new stars discovered for roles in independent films.
This document provides instructions and questions for a film studies exam. It begins by stating that candidates will need a 12-page answer booklet. It provides instructions on how to complete the exam, noting that candidates must answer 3 questions, one from each of three sections (World Cinema Topics, Spectatorship Topics, and Single Film Close Critical Study). The number of marks allocated to each question is provided. Candidates are reminded that written communication skills will be assessed. The exam then lists 27 questions across the three sections for candidates to choose from.
This document contains an examination paper for a Film Studies A Level course. It outlines instructions for candidates taking the exam and provides three sections for candidates to choose questions from. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C involves a close critical study of a single film chosen by the candidate. Candidates must answer one question from each section, using at least two relevant films in their responses for Sections A and B.
This document provides instructions and questions for a film studies exam. It consists of 3 sections - World Cinema Topics, Spectatorship Topics, and Single Film Close Critical Study. Students must choose 1 question from each section, for a total of 3 questions. The questions require analysis and close examination of at least 2 films based on topics like national cinemas, film styles, social issues, spectatorship, and individual films. Students must write their answers in a separate answer booklet provided over the course of 3 hours and 30 minutes.
This document provides instructions and questions for an exam on film studies. It is divided into three sections. Section A contains two questions about factors influencing a film's box office success and the importance of UK talent in films financed outside Britain. Section B contains eight questions about British film genres, stars, production companies, cultural periods, and social/political and identity themes. Section C contains two comparative questions about key themes and messages/values in chosen American films. Students are instructed to answer three questions total, choosing one from each section, discussing a minimum of two relevant films in their responses.
This document provides instructions and materials for a film studies exam. It includes:
- An answer book and resource materials are required to complete the exam.
- Candidates should answer 3 questions, choosing 1 from each of 3 sections - on film production, British film topics, and American film.
- Questions address topics like how production influences films today, how audiences watch films, representations of themes in British and American cinema, and comparisons between films.
In Bruges (2008) was an independent British film that achieved excellent box office takings in both the US and UK. Though made on a budget of only $8.9 million, it grossed $4.6 million in the UK and $4.7 million in the US within four months of its release in February 2008. With additional revenue from DVD sales expected, In Bruges was set to turn a big profit despite being an independent film.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like depression and anxiety.
This document provides information about Section A of the AS Film Studies exam, which focuses on producers and audiences. It discusses key areas like:
1) Film finance, production, distribution and exhibition in Britain and America.
2) Understanding audience behavior and film consumption is important for this exam section.
3) Questions will focus on film as a product and audiences as consumers, examining the profit motive of the industry and pleasure motive for viewing.
This document is an examination paper for the British and American Film section of a GCE AS/A level Film Studies exam. It provides instructions for students taking the exam, which will last 2.5 hours. It outlines the three sections students must choose one question from to answer, which are Producers and Audiences, British Film Topics, and American Film - Comparative Study. Resource materials are also provided for the first section relating to independent films and new technologies changing audiences.
This document is an examination paper for the British and American Film section of a GCE AS/A level Film Studies exam. It provides instructions for the exam, which will last 2.5 hours. Students must answer 3 questions, choosing 1 from each of 3 sections: Producers and Audiences, British Film Topics, and American Film Comparative Study. Resource materials are provided to assist with answering the first section on producers and audiences. These include information on the independent film In Bruges and on independent films in general, as well as details on new technologies for watching films such as iTunes, LoveFilm, and online releases.
This document provides instructions and questions for an exam on British and American film studies. It is divided into three sections. Section A contains two questions about producers, audiences and box office factors. Section B contains eight questions about British film topics such as genre, stars, production companies and cultural/social/identity studies. Students must choose one question from each section. Questions require discussion of at least two related films and refer to provided resource materials. The exam is 2.5 hours long and all questions are worth 40 marks.
This document provides instructions and questions for an exam on British and American film studies. It is divided into three sections. Section A contains two questions about factors influencing film success and the importance of British talent in films financed outside the UK. Section B contains eight questions about British film topics, genres, stars, production companies, and cultural and social-political contexts. Section C contains two comparative questions about key themes and messages/values in chosen American films. Students must answer three questions total, one from each section.
This document provides instructions and questions for an exam on British and American film studies. Students must choose one question from each of three sections to answer in an assigned 12-page book. Section A deals with producers and audiences, Section B focuses on specific aspects of British film, and Section C requires a comparative analysis of American films. Students are reminded that writing quality will be assessed.
This document provides resource materials for a GCE AS/A level Film Studies exam on British and American film. It includes instructions for the exam, which consists of answering 3 questions from different sections, and resource materials for Section A on producers and audiences. The resource materials include articles on streaming films using gaming consoles, the rise of 3D TV, and viewers' perceptions of TV shows on DVD as films. It also includes articles on the declining influence of stars, the 2009 UK box office which featured few "A-list" stars, and profiles of emerging stars Katie Jarvis and Gabby Sidibe.
This document provides resource materials for a GCE AS/A level Film Studies exam on British and American film. It includes instructions for the exam, which consists of answering 3 questions from different sections, and resource materials for Section A on producers and audiences. The resource materials include articles on streaming films using gaming consoles, the rise of 3D TV, and viewers' perceptions of TV shows on DVD as films. It also includes articles on the declining influence of stars, the 2009 UK box office which featured few "A-list" stars, and profiles of emerging stars Katie Jarvis and Gabby Sidibe.
This document provides an exam paper for a British and American Film studies course, outlining 3 sections with multiple choice questions about film franchises, British cinema, and comparative American films. Students are instructed to answer 3 questions, one from each section, in an accompanying answer booklet. The resource material includes information on popular film franchises, a radio discussion on franchises, and an example of viral marketing for The Dark Knight Rises.
This document provides specimen question papers and marking guidelines for the GCE Film Studies exam. The question paper includes 16 questions across 3 sections on the topics of British and American film. The resource material section includes exhibits on the popularity of American star Will Ferrell and the changing cinema experience. The marking guidelines provide guidance to examiners on marking sample student responses.
This document provides instructions and questions for an exam on film studies. It is divided into three sections. Section A contains two questions about factors influencing a film's box office success and the importance of UK talent in films financed outside Britain. Section B contains eight questions about British film genres, stars, production companies, cultural periods, and social/political and identity themes. Section C contains two comparative questions about key themes and messages/values in chosen American films. Students are instructed to answer three questions total, choosing one from each section, discussing a minimum of two relevant films in their responses.
This document provides resource material for a GCE AS/A level exam on British and American film. The exam consists of three sections and students must answer one question from each section. Section A focuses on producers and audiences and provides three items for analysis: a film download website, a film promotional website, and a newspaper article about viral marketing of a film. Section B focuses on appealing to UK audiences and provides information on elements that make Hollywood films successful, a poster for a popular UK film without stars, and a box office list of top films in the UK for 2007. The exam then provides 14 additional questions, with topics including genre, stars, production companies, cultural and social-political contexts, and a comparative American film section.
This document provides instructions and questions for a GCE A level Film Studies exam. Students must answer 3 questions, choosing 1 from each of 3 sections. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C requires an analysis of a single film chosen by the student. Students are instructed to refer to a minimum of 2 films in their answers for Sections A and B.
This document provides instructions and questions for a GCE A level Film Studies exam. Students must answer 3 questions, choosing 1 from each of 3 sections. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C requires an analysis of a single film. Students are instructed to refer to a minimum of 2 films in their answers for Sections A and B.
This document provides instructions and questions for a GCE A level Film Studies exam. Students must answer 3 questions, choosing 1 from each of 3 sections. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C requires a close analysis of a single film. Students are reminded to refer to a minimum of 2 films in their answers for Sections A and B. Their chosen film for Section C cannot be reused in the other sections. The exam is worth a total of 100 marks and will last 2 hours and 3/4 hours.
This document provides instructions and questions for an A-level film studies exam. It is divided into three sections. Section A contains questions on world cinema topics and requires analysis of a minimum of two films. Section B focuses on spectatorship topics, also requiring two film analysis. Section C features a single close analysis question about one chosen film. Students must pick one question from each section, for a total of three questions answered using black ink in a separate answer book.
This document provides instructions and questions for an A-level film studies exam. It is divided into three sections. Section A contains questions on world cinema topics and requires analysis of a minimum of two films. Section B contains questions on spectatorship topics, also requiring two film analysis. Section C asks students to choose one film for a close critical study and answer one question about that single film. Students must answer one question from each section for a total of three responses.
This document provides instructions and questions for a GCE A level Film Studies exam. Students must answer 3 questions, choosing 1 from each of 3 sections. Section A focuses on world cinema topics, Section B on spectatorship topics, and Section C involves a close analysis of a single film. Students have 2 hours and 45 minutes to complete the exam in a 12-page answer booklet.
This document provides exam questions for the GCE A level Film Studies exam on British and American film. It includes 3 sections: World Cinema Topics, Spectatorship Topics, and Single Film: Close Critical Study. Students must answer 1 question from each section. The questions assess students' understanding and analysis of specific films and film topics through close examination of techniques, themes, contexts and critical approaches.
This document provides exam questions for the GCE A level Film Studies exam on British and American film. It includes 3 sections: World Cinema Topics, Spectatorship Topics, and Single Film: Close Critical Study. Students must answer 1 question from each section. The questions assess students' understanding and analysis of specific films and film topics through close analysis and references to contextual studies and critical debates.
This document provides exam questions for the GCE A level Film Studies exam on British and American film. It includes 3 sections: World Cinema Topics, Spectatorship Topics, and Single Film: Close Critical Study. Students must answer 1 question from each section. The questions assess students' understanding and analysis of specific films and film topics through close analysis, comparisons, and discussions of themes, techniques, contexts and spectatorship.
The document analyzes the cinematography techniques used in the film "The Fellowship of the Rings". It examines how the cinematographer captured the scope and scale of Middle Earth through wide shots that showed vast landscapes and established the epic nature of the story. Close-ups were used during intimate conversations between characters to build emotional connections and tension.
The document is a film analysis assignment for the movie Blue is the Warmest Color submitted by a student. It discusses how the film uses various cinematography techniques like close-up shots, changes in lighting, and long take shots to intensify the sense of reality and allow the audience to experience the emotions of the main character Adèle. It analyzes specific scenes to demonstrate how these techniques reveal Adèle's psychological and emotional development throughout the film. The student argues that this helps bring out the theme that Adèle's story represents a universal story of seeking love that audiences can relate to.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document provides a critique of the film 50 Shades of Grey, arguing that while it portrays some positive aspects of female sexuality, it ultimately idealizes and excuses an abusive relationship. Specifically:
1) The relationship between Christian Grey and Anastasia Steele is emotionally and physically abusive, with Grey stalking, controlling, and violating Steele's boundaries repeatedly without her consent.
2) While the BDSM sex scenes are respectfully portrayed, this does not excuse the overall storyline that allows Grey to completely abuse and manipulate Steele outside of their sexual activities.
3) By portraying Grey's abusive behavior as acceptable because he is dominant, the film sends the dangerous message that it is okay for men to control
Projecting h itler representations of adolf hitler in english language gilms South Sefton College
This thesis examines representations of Adolf Hitler in English-language films released between 1968 and 1990. It categorizes 35 films into prominent, satirical, and contextualizing representations, and analyzes whether each portrayal demonizes or humanizes Hitler. The thesis argues that films from 1968-1979 established Hitler as a sign of demonic evil, which was accepted in films from 1980-1990. However, two 1980s films humanized Hitler, hinting at changes in this portrayal. The thesis also discusses how film and historiography have both shaped popular conceptions of Hitler over the decades.
This article provides a summary and analysis of Oliver Hirschbiegel's 2004 film "Der Untergang" (Downfall) about Hitler's final days in the Führerbunker. It examines how the film portrays Hitler in the context of earlier German films that depicted Hitler. While the film was praised for its historical accuracy, some critics argue it promotes a self-pitying view of Germany as the last victim of Nazism. The article also discusses the debate around how and whether Hitler should be portrayed in film.
Bruno Ganz, a Swiss actor, discusses playing Adolf Hitler in the 2004 film Downfall. He took over a month to decide to accept the role, as portraying such an iconic figure was daunting. Ganz prepared extensively through research, including listening to rare recordings of Hitler speaking privately. On set, Ganz was able to get fully into character as Hitler during filming but leave him behind at other times. The physical resemblance between Ganz and Hitler surprised even Ganz himself. The film garnered praise, including from historians who knew Hitler, for the depth and accuracy of Ganz's unsettling portrayal of the Nazi leader.
1) Swiss actor Bruno Ganz played Adolf Hitler in the controversial 2004 film Downfall, which depicted the final days of Hitler's rule from his bunker in 1945.
2) The film sparked debate in Germany about whether it was acceptable to portray Hitler as a human being. Ganz said he focused on mimicking Hitler's physical mannerisms to avoid brooding on his deadly ideology.
3) The film was praised for its realistic portrayal of Hitler, though some critics felt it was too sympathetic to secondary Nazi characters. The director said that evil people are often charming and smiling, not easily recognized as monsters.
This dissertation examines how established theories of film spectatorship apply to understanding audience perceptions of animation. The author argues that while psychoanalytic, cognitive, and cultural studies approaches developed largely for live-action film can illuminate aspects of viewer responses to animation, some modifications are needed.
The dissertation consists of four chapters. Chapter 1 provides an overview of major theories of spectatorship and their potential relevance to animation. Chapters 2 and 3 apply select theories to case studies, demonstrating where established approaches apply to animation and where revisions are needed. Chapter 2 analyzes perceptions of realism and character engagement using cognitive theories. Chapter 3 examines how psychoanalytic and cultural studies theories must be modified to account for animation's distinctive depictions of gender
This article presents a general theory of film spectatorship from a cognitive perspective. It uses Thagard's concept of coherence as the driving force behind how spectators make sense of films. It applies Fauconnier and Turner's mental spaces theory to analyze scenes from Notorious and The Manchurian Candidate. It argues that spectators construct meaning by filling in gaps based on their knowledge to integrate disparate elements into a coherent understanding. Film spectatorship operates in three modes: being aware of the story, being aware of the medium, and being aware of how the film relates to the real world.
Sloth is a character in the 1985 film The Goonies who has physical and mental disabilities. He is kept chained in the basement by his cruel family and is frightening to viewers with his disfigured appearance. However, he forms an unlikely friendship with the character Chunk. Through their bond, the film demonstrates how people can connect despite differences. Sloth ultimately helps the main characters escape from his family, showing that those seen as outsiders can achieve great things. His story highlights issues of exploiting and marginalizing those with disabilities.
This literature review discusses several key areas relevant to analyzing Disney's portrayals of disability. It explores how mass media reflect dominant societal values and ideologies in a hegemonic way. A Marxist perspective is discussed for understanding how power and dominant readings influence media images. Current research on disability studies and the evolution of stereotypes in films are also reviewed to provide context for defining and examining disability portrayals.
People painted over_whitewashing_of_minority_actors_in_recent_film-_and _tele...South Sefton College
This document discusses the practice of whitewashing in films, where minority roles are given to white actors instead. It provides examples from early films like Kung Fu and The Good Earth that cast white actors in Asian roles. More recently, The Last Airbender cast white actors in roles based on an Asian fantasy world, despite controversy. Arguments for colorblind casting or star power are criticized for perpetuating the marginalization of minority actors and erasing representation. Whitewashing has negative effects by influencing perceptions and limiting opportunities for minority actors.
Perception of mental illness based upon its portrayal in filmSouth Sefton College
This document summarizes an honors thesis from the University of Central Florida titled "Perception of Mental Illness Based Upon its Portrayal in Film" written by Erika Hanley in 2015. The thesis examines how portrayals of mental illness in films influence viewers' perceptions of mental illness through an online survey of 195 participants. Previous research found both negative and positive depictions of mental illness in films. The current study hypothesized that viewing more films depicting mental illness would correlate with greater knowledge and sympathy, and that perceptions would reflect stereotypes more than facts. It also hypothesized that women would express more sympathy than men. Statistical analysis was used to analyze the data and test the hypotheses.
This document discusses the concept of the "male gaze" in the film A Clockwork Orange, as analyzed by film theorist Laura Mulvey. It explains that Mulvey believes films typically depict women from the perspective of a heterosexual male gaze, as erotic objects for male characters and the audience. The document analyzes several scenes from the film through this lens, such as the opening shots introducing women and the "home invasion" scene. It argues that through techniques like camerawork and editing, the audience is encouraged to view the story and female characters from the perspective of the main character Alex, implicating us in his actions and allowing the male gaze.
French assimilation policy aimed to spread French culture and define citizens as either French or foreign. This led to divisions in society and a sense of displacement for youth. As assimilation failed to integrate migrants, it distorted cultures and elevated far-right politics. Youth felt rejected by French society and created their own identities by adopting surrogate cultures from the UK and US. Assimilation policies have deeply divided French society along ethnic and religious lines.
We will watch a sequence from Saving Private Ryan and analyze the cinematography techniques used by the director, including shot types, camera movements, and how they position the audience. Students must demonstrate their understanding of how the camera choices create and manipulate the audience's responses, and show an awareness of how individuals react to the text through their analysis, not just description. Their work will be assessed based on their use of technical language and depth of analysis.
This document provides an analysis of the film Rambo and how it advances Reagan-era conservative ideology. It argues that Rambo promotes militarism, imperialism, and hypermasculinity while depicting Americans as good and communists as evil. It also notes how Rambo appropriates some countercultural symbols but uses them to celebrate individualism and anti-statism, in line with Reaganism. The analysis emphasizes the need to consider how ideology operates through images and narratives in addition to explicit messages. Examining representations of gender and race is also important to fully understand a film's ideological workings.
This document provides guidance for students on writing a first draft of a presentation script for an A-level Film Studies course. It outlines the learning objectives, reviews the marking criteria which emphasizes demonstrating knowledge of the topic through research, and providing a new understanding. Students are instructed to mind map their key points, arguments and film clips, and put these in order in the template provided. The final task is to begin writing the first draft of the presentation script using the specified word document format, with the goal of meeting the marking criteria.
1. GCE AS/A level
1182/01
FILM STUDIES
FM2
British and American Film
A.M. WEDNESDAY, 19 January 2011
21⁄2 hours
ADDITIONAL MATERIALS
In addition to this examination paper, you will need:
• Resource material
• a 12 page answer book.
INSTRUCTIONS TO CANDIDATES
Use black ink or black ball-point pen.
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.
VP*(W11-1182-01)
2. 2
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 the items in Part A of the resource material, which include:
– Poster and extract from an article on Green Zone
– Poster and extract from an article on The Hurt Locker
– Interview: Why Do Iraq War Films Fail at the Box Office?
Use this material, together with your own studies, to answer the following question:
How important is film marketing in attracting an audience? [40]
Or
2. Study the items in Part B of the resource material, which include:
– Box Office Figures for UK-made films in 2009
– Information on US Investment in UK Film Production
– News Article on a UK Studio.
Use this material, together with your own studies, to answer the following question:
What are some of the issues for UK producers and audiences in Hollywood’s domination of the
UK film industry? [40]
(1182-01)
3. 3
Section B: British Film Topics
Choose one question from this section.
British Film and Genre
You should discuss a minimum of two British films in your answer and base it on one of the following:
Horror or Comedy.
Either
3. How far are the characters in the films you have studied for this topic typical of their genre?
[40]
Or
4. What have you found to be distinctively ‘British’ about the genre films you have studied for
this topic? [40]
British Film and Stars
You should discuss a minimum of two British films in your answer and base it on one of the following:
Julie Christie or Ewan McGregor.
Either
5. How far are the narratives of the films you have studied for this topic affected by the casting
of your chosen star? [40]
Or
6. How far does your chosen star represent issues of social class in the films you have studied for
this topic? [40]
British Film and Production Companies
You should discuss a minimum of two British films in your answer and base it on one of the following:
Ealing Studios or Working Title.
Either
7. How far can it be said that there are particular kinds of storyline that are typical of your
chosen production company? Refer to the films you have studied for this topic. [40]
Or
8. How far can it be said that the films of your particular production company use stereotypes
to communicate ideas and values? [40]
(1182-01) Turn over.
4. 4
British Film: Cultural Study
You should discuss a minimum of two British 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 far do the narratives of your chosen films deal with issues of conflict? [40]
Or
10. What are some of the ways in which your chosen films offer insights into the culture of the
period you have studied? [40]
British Film: Social-Political Study – ‘Living with Crime’
You should discuss a minimum of two British films in your answer.
Either
11. “Some of the most interesting ‘Living with Crime’ films are not simply genre films.” How far
do you agree with this statement? [40]
Or
12. How far is conflict between individuals and groups an important element in the films you
have studied for this topic? [40]
British Film: Identity Study – ‘Borders and Belonging’
You should discuss a minimum of two British films in your answer.
Either
13. How far do the narratives of the films you have studied for this topic deal with the difficulties
characters have about their identity? [40]
Or
14. How is ‘belonging’ represented in the films you have studied for this topic? [40]
Section C: American Film – Comparative Study
Choose one question from this section.
You should compare a minimum of two American films in your answer.
Either
15. Compare the ways in which narrative is used to create dramatic conflict in the American films
you have studied for this topic. [40]
Or
16. How far do your chosen American films portray themes and ideas in similar ways? [40]
(1182-01)
5. GCE AS/A level
1182/01-A
FILM STUDIES
FM2
British and American Film
A.M. WEDNESDAY, 19 January 2011
21⁄2 hours
RESOURCE MATERIAL FOR USE WITH SECTION A
01A001
1182
VP*(W11-1182-01A)
6. 2
Resource Material: Part A
Study the items in Part A of the resource material for use with Section A, Question 1.
Item 1: Poster and extract from an article on Green Zone.
Was Green Zone mis-sold?
Green Zone is a war film set in Iraq. The
Universal Pictures marketing department set
out to convince us that Green Zone was
essentially another Bourne film – a sort of
“Bourne 4”. With Matt Damon as star and Paul
Greengrass (The Bourne Supremacy and The
Bourne Ultimatum) as director, there seemed
to be plenty of encouragement for this
approach.
The problem was that Universal lost as much
as they gained by misleading the audience at
the crucial opening weekend. Audiences did
not understand what they had been sold and
gave very negative word-of-mouth. The film
bombed.
- adapted from a posting by Barry Steele,
21 March 2010
(1182-01A)
7. 3
Item 2: Poster and extract from an article on The Hurt Locker.
The Hurt Locker, a film about members of
a bomb-disposal team in Iraq, won the
2010 Oscar as best Film. It also won best
Director (Kathryn Bigelow).
However, prior to the award, its worldwide
gross was only around £11 million, which
is frankly pathetic.
The Hurt Locker opened in Summer 2009
at just 103 UK screens. Compare Avatar,
which opened at well over 500.
- adapted from an article by Mark Monahan in
The Daily Telegraph, 23 February 2010
01A003
1182
Item 3: Interview – Why Do Iraq Films fail at the Box Office?
Why Do Iraq War Films Fail at the Box Office?
The following is part of an interview between a journalist and a Hollywood radio Talk Show
Host, Betty Jo Tucker.
Journalist: Betty Jo, why do movies about the Iraq War or the Global War on Terror do
so badly at the box office?
Betty Jo: Firstly, most people go to the movies for escapist entertainment, and the Iraq
War & Global War on Terror are too serious.
Secondly, because information and visuals about the Iraq War and the War
on Terror run almost 24/7 on television news, the Internet and radio, we are
less likely to pay money for a film about them.
Thirdly, many of these movies lack dramatic presentation.
Guess that explains why my husband and I chose to see a silly comedy this
weekend!
www.themoderatevoice.com
(1182-01A) Turn over.
8. 4
Resource Material: Part B
Study the items in Part B, the resource material for use with Section A, Question 2.
Item 1: Box Office Figures for UK-made films in 2009
British films: why don't we go to see them?
2009/10 has seen a series of UK films that the critics have loved – yet they
have bombed at the box-office
There is a massive disconnect between the British film industry and the audiences
it is meant to serve. Consider the box office takings in the UK of the five BAFTA*
nominees for Outstanding British Film of 2009, including the winner, Fish Tank:
Film UK Box Office
In the Loop £2.2m
An Education £2.2m
Nowhere Boy £1.3m
Moon £1.3m
Fish Tank £0.6m
This may look alright until you consider that a fairly ordinary Hollywood rom-com,
Valentine’s Day, grossed £3.7m in a single weekend.
*British Academy of Film Television Arts
- adapted article by David Gritten, The Daily Telegraph,19 February 2010
Item 2: Information on US Investment in UK Film production
Investment from US dominates UK Film production
US spending on films produced in the UK is approximately 70% of all money spent on UK
film production. This inward investment from the US finances the production of big
international hit films such as the James Bond and Harry Potter series.
In 2009, US studios spent £753 million making films that qualify as “British” because of
their cultural content. This is the largest investment from overseas for UK-based film
production ever recorded.
Big Hollywood productions that shot in the UK in 2009 included:
Robin Hood (Universal)
Gulliver’s Travels (Twentieth Century Fox)
Clash of the Titans (Warner Bros)
Harry Potter and the Deathly Hallows Part 1 (Warner Bros)
(1182-01A)
9. 5
Item 3: News article on a UK Studio
Warner Bros set to give Harry Potter studios a £100m facelift
The Hertfordshire studios used for the Harry Potter films are set to get a £100 million
Hollywood-style revamp. Warner Bros has announced plans to buy and transform
Leavesden Studios, just north of Watford. The move, a significant investment in British
cinema, would make Warner Bros the only major Hollywood production company to
have a base in Europe.
Leavesden Studios has been used to film all six of the Harry Potter movies so far, as
well as other box-office hits such as The Dark Knight, GoldenEye, Star Wars Episode I:
The Phantom Menace and Guy Ritchie’s Sherlock Holmes.
It would be the first time a big Hollywood movie company has made a permanent
production base in Europe since MGM bought Elstree Studios, in Borehamwood,
Hertfordshire, in the 1940s, before leaving in the 1970s.
- adapted from an article by Alistair Forster, The Evening Standard, 15 February 2010
(1182-01A)