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 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 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 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 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 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.
The document provides information about the AS Media Studies exam, which has two sections. Section A focuses on analyzing representations in a TV drama extract, while Section B examines issues related to the film industry, including institutions, audiences, ownership, marketing, and technology. Key concepts discussed include concentration of media ownership, cross-media convergence, synergy, viral marketing, changing models of distribution, and the impacts of new technologies. Disney is used as a case study to illustrate synergy and how a major media conglomerate leverages its various subsidiaries and platforms.
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 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 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 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 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 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.
The document provides information about the AS Media Studies exam, which has two sections. Section A focuses on analyzing representations in a TV drama extract, while Section B examines issues related to the film industry, including institutions, audiences, ownership, marketing, and technology. Key concepts discussed include concentration of media ownership, cross-media convergence, synergy, viral marketing, changing models of distribution, and the impacts of new technologies. Disney is used as a case study to illustrate synergy and how a major media conglomerate leverages its various subsidiaries and platforms.
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 discusses key concepts related to genre and media language in media studies. It begins by defining genre as a type or class of media texts that share similarities. Genre is useful for both media industries and audiences to categorize and plan around media products. The document then discusses how media language uses signs, denotation, and connotation to communicate meaning. Denotation is the literal meaning while connotation involves cultural and personal meanings. Signs can be symbolic, iconic, or indexical. The document provides examples analyzing images using these concepts. It also discusses conventions of magazine genres like lifestyle magazines and their typical features.
This document outlines 5 styles of documentary filmmaking: expository, observational, interactive, essayistic, and experimental. Expository uses direct narration to present facts, observational minimally uses narration and presents events in real time, interactive features the filmmaker on screen making the action happen, essayistic uses a first person viewpoint to tell personal stories, and experimental has no set conventions.
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.
The viral marketing campaign for The Dark Knight was highly effective and engaged fans through various online activities and real world events. It started with websites promoting Harvey Dent that eventually revealed the Joker, and expanded to events at Comic-Con involving puzzles and clues. The campaign utilized existing online networks and communities to spread its messages and images, taking advantage of people's desire to share and spread exciting new information about the film. It provided an immersive experience for fans while generating huge buzz and interest leading up to the film's release.
A brief look at the CaribbeanGilz vision for a project in Haiti. At this time the land has been secured we are simply looking for funding for the buildings and general project expenses. One way to support is purchase of cariibbeangirlz.com clothing.
Kurumsal Firmalar için Google Glass UygulamalarıTechnoface
Firmalar Google Glass’ı nerelerde kullanabilir
Google Glass Ana Fonksiyonları
Fotoğraf Çekme
Video Çekme Navigasyon
Mesaj Gönderme Telefon araması yapma Google search
Google Hangout Konuşma
Google Glass Kullanımları
Takvim
Hava Durumu
Uçak Saatleri
Maç Sonuçları
Lokasyonlar
Oryantasyon Uygulaması
Marketler için Alışveriş Listesi
Havayolu Şirketleri için
Firma görevlileri müşterilerinin isimleri, uçuş detaylarını, ve tercih ettikleri yemekler gibi bilgileri Glass sayesinde bilebilirler.
Fuar Standında Gösteri
1) Fourteen housemates, seven males and seven females, ranging in age from 18 to 30 will be entering the Big Brother house for the new season.
2) The housemates have a variety of backgrounds and occupations, including a wrestler, model, plumber, and student.
3) Many of the housemates are single and looking for romance in the house, promising drama and relationship dynamics for the new season.
The document discusses WikiLeaks, an international non-profit organization that publishes classified media leaks and news stories. It was founded in 2006 by journalists, activists and technologists from several countries. Julian Assange is described as the director. WikiLeaks states that it bases its work on Article 19 of the Universal Declaration of Human Rights, which protects freedom of expression. Some of WikiLeaks' major leaks include the Guantanamo Bay operating manual, the Afghan War Diary, and over 250,000 US diplomatic cables. These leaks have revealed hidden war crimes and government corruption but have also been controversial.
GWT allows developers to create responsive web applications using Java instead of JavaScript. It provides a compiler that translates Java code into optimized JavaScript that runs across browsers. This avoids the need for browser-specific code and improves development speed. Some key benefits of GWT include its support for AJAX, local event handling, client-side rendering, dynamic HTML, and Java features like static type checking and JUnit testing. However, it also requires adjusting to its Java-to-JavaScript translation and HTML/CSS abstractions.
The document argues that while Fight Club appears to be about destroying corporate symbols of power, it is actually a film about power and control rather than liberation. The author does not fully agree that the film is about liberation.
Storyboards are a visual planning tool used in film and video production. They consist of a series of illustrations or images displayed in sequence to demonstrate the key scenes, shots, and progression of a proposed motion picture or interactive media project. Storyboards are designed to provide an idea of how a full motion film or video will unfold, act as a guide for filming or taping, and help filmmakers, producers, and stakeholders visualize the project.
Visual Basic .NET is an object-oriented programming language used to create Windows applications with visual objects like buttons and text boxes. It is event-driven, meaning the program runs when the user interacts with objects like clicking buttons, which triggers events. The Visual Basic .NET development environment includes a design window to layout objects, a toolbox of common objects, and windows to set object properties and view code. Common objects include forms, labels, menus, and buttons, each with properties like text, font, and alignment to configure their appearance and behavior.
1) The Murdoch empire is fracturing as the News of the World phone hacking scandal intensifies, weakening key British institutions like the Conservative government and police.
2) Politicians had long courted Murdoch's media empire for favorable coverage, fearing its retaliation if crossed. But rising social media use has empowered consumers to pressure advertisers and shape the national conversation.
3) As the full scale of wrongdoing at News of the World comes to light, Murdoch was forced to close the paper to limit damage, showing his waning influence over the political system's "manufactured consent" in Britain.
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 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 discusses key concepts related to genre and media language in media studies. It begins by defining genre as a type or class of media texts that share similarities. Genre is useful for both media industries and audiences to categorize and plan around media products. The document then discusses how media language uses signs, denotation, and connotation to communicate meaning. Denotation is the literal meaning while connotation involves cultural and personal meanings. Signs can be symbolic, iconic, or indexical. The document provides examples analyzing images using these concepts. It also discusses conventions of magazine genres like lifestyle magazines and their typical features.
This document outlines 5 styles of documentary filmmaking: expository, observational, interactive, essayistic, and experimental. Expository uses direct narration to present facts, observational minimally uses narration and presents events in real time, interactive features the filmmaker on screen making the action happen, essayistic uses a first person viewpoint to tell personal stories, and experimental has no set conventions.
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.
The viral marketing campaign for The Dark Knight was highly effective and engaged fans through various online activities and real world events. It started with websites promoting Harvey Dent that eventually revealed the Joker, and expanded to events at Comic-Con involving puzzles and clues. The campaign utilized existing online networks and communities to spread its messages and images, taking advantage of people's desire to share and spread exciting new information about the film. It provided an immersive experience for fans while generating huge buzz and interest leading up to the film's release.
A brief look at the CaribbeanGilz vision for a project in Haiti. At this time the land has been secured we are simply looking for funding for the buildings and general project expenses. One way to support is purchase of cariibbeangirlz.com clothing.
Kurumsal Firmalar için Google Glass UygulamalarıTechnoface
Firmalar Google Glass’ı nerelerde kullanabilir
Google Glass Ana Fonksiyonları
Fotoğraf Çekme
Video Çekme Navigasyon
Mesaj Gönderme Telefon araması yapma Google search
Google Hangout Konuşma
Google Glass Kullanımları
Takvim
Hava Durumu
Uçak Saatleri
Maç Sonuçları
Lokasyonlar
Oryantasyon Uygulaması
Marketler için Alışveriş Listesi
Havayolu Şirketleri için
Firma görevlileri müşterilerinin isimleri, uçuş detaylarını, ve tercih ettikleri yemekler gibi bilgileri Glass sayesinde bilebilirler.
Fuar Standında Gösteri
1) Fourteen housemates, seven males and seven females, ranging in age from 18 to 30 will be entering the Big Brother house for the new season.
2) The housemates have a variety of backgrounds and occupations, including a wrestler, model, plumber, and student.
3) Many of the housemates are single and looking for romance in the house, promising drama and relationship dynamics for the new season.
The document discusses WikiLeaks, an international non-profit organization that publishes classified media leaks and news stories. It was founded in 2006 by journalists, activists and technologists from several countries. Julian Assange is described as the director. WikiLeaks states that it bases its work on Article 19 of the Universal Declaration of Human Rights, which protects freedom of expression. Some of WikiLeaks' major leaks include the Guantanamo Bay operating manual, the Afghan War Diary, and over 250,000 US diplomatic cables. These leaks have revealed hidden war crimes and government corruption but have also been controversial.
GWT allows developers to create responsive web applications using Java instead of JavaScript. It provides a compiler that translates Java code into optimized JavaScript that runs across browsers. This avoids the need for browser-specific code and improves development speed. Some key benefits of GWT include its support for AJAX, local event handling, client-side rendering, dynamic HTML, and Java features like static type checking and JUnit testing. However, it also requires adjusting to its Java-to-JavaScript translation and HTML/CSS abstractions.
The document argues that while Fight Club appears to be about destroying corporate symbols of power, it is actually a film about power and control rather than liberation. The author does not fully agree that the film is about liberation.
Storyboards are a visual planning tool used in film and video production. They consist of a series of illustrations or images displayed in sequence to demonstrate the key scenes, shots, and progression of a proposed motion picture or interactive media project. Storyboards are designed to provide an idea of how a full motion film or video will unfold, act as a guide for filming or taping, and help filmmakers, producers, and stakeholders visualize the project.
Visual Basic .NET is an object-oriented programming language used to create Windows applications with visual objects like buttons and text boxes. It is event-driven, meaning the program runs when the user interacts with objects like clicking buttons, which triggers events. The Visual Basic .NET development environment includes a design window to layout objects, a toolbox of common objects, and windows to set object properties and view code. Common objects include forms, labels, menus, and buttons, each with properties like text, font, and alignment to configure their appearance and behavior.
1) The Murdoch empire is fracturing as the News of the World phone hacking scandal intensifies, weakening key British institutions like the Conservative government and police.
2) Politicians had long courted Murdoch's media empire for favorable coverage, fearing its retaliation if crossed. But rising social media use has empowered consumers to pressure advertisers and shape the national conversation.
3) As the full scale of wrongdoing at News of the World comes to light, Murdoch was forced to close the paper to limit damage, showing his waning influence over the political system's "manufactured consent" in Britain.
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 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 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 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 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 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 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 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.
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 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 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.
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 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 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 provides revision materials for the GCSE Media exam, focusing on Section A about lifestyle magazines. It includes:
- An explanation of how to calculate grades based on coursework and exam points.
- An overview of Section A, which involves analyzing an unseen lifestyle magazine extract. It describes the 30 minute reading period and outlines the two question types - conventions and features.
- Details on common lifestyle magazine conventions like a cover model and mix of content. It provides an example response analyzing conventions.
- An explanation of layout techniques like balance, and how typography can create effects through font choices. It includes an example response analyzing features.
This document contains exemplar scripts from 8 candidates who took the GCE Film Studies exam. It provides a brief overview of each candidate's responses including the topics/films discussed in each section and their raw marks. The topics covered a wide range of film genres, movements and issues. Overall marks ranged from 86 to 96 and section marks were out of 35 for sections A and B, and 30 for section C. Grade boundaries for the exam are also provided.
This document contains exam results for 12 candidates. It lists each candidate's number, their scores on three multiple choice questions, and the page number. The questions relate to topics like film genres, themes and specific movies. The candidates are grouped into two levels, with candidates 1-6 in lower level 3 and candidates 7-12 in level 4.
This document discusses the rise of citizen journalism through the use of camera phones and how "we media" has made the contemporary media landscape both more and less democratic. It provides examples of how camera phones have enabled ordinary people to bear witness to important events and distribute these images widely, democratizing information flow. However, it also notes their overuse in socially unacceptable situations that disrupt others' experiences and how they can spread images without consent. On balance, camera phones have empowered individuals as citizen journalists but also enable new forms of distraction and invasion of privacy.
This revision guide provides an overview of key concepts for answering questions about TV drama representations on the AS Media exam. It discusses semiotics, representation, textual analysis, and how characters can be represented in terms of class, age, gender, ethnicity, disability, and sexuality. It also covers technical codes like mise-en-scene, cinematography, editing, and sound that can be used to analyze how representations are constructed. Examples of TV dramas that may appear in the exam are provided for study.
The document discusses the concept of "We Media" and its implications for democracy. It argues that traditional media systems maintain a "spectator democracy" by controlling information, but that the rise of grassroots online journalism by bloggers (termed "We Media") has allowed news to be published and spread in real-time by ordinary people. This shifts power away from a small number of large corporations and towards the public. The document also discusses how the internet has empowered audiences and made them more creative through platforms like blogs and social media.
Channel 4 has requirements to provide distinctive programming that reflects UK culture through shows like Gavin and Stacey, while staying within watershed hours and content restrictions. It is commercially funded through advertising compared to the BBC which is funded by the license fee. E4 targets 16-34 year olds with trendy programming like Pretty Awesome Thursdays featuring American sitcoms. In contrast, BBC3 provides innovative content for younger audiences focusing on new UK talent. Scheduling shows in prime time helps attract the target audience, but on demand services reduce the importance of prime time slots.
The document discusses the digital divide and issues of digital inclusion. It notes that around 10 million people in the UK are estimated to be offline. Research has shown that those from lower socioeconomic backgrounds and certain social groups are more likely to be excluded from internet access and regular use. While access has increased, factors like skills, socioeconomic status, and home broadband availability still influence the quality and breadth of internet use among different groups.
The document discusses whether reality TV is democratic. It notes that reality TV allows more ordinary people on TV than ever before, making TV an arena for the masses. However, some argue that reality TV is counter-democratic as it disempowers citizens from political participation, focusing voting on entertainment shows rather than governments. Additionally, reality TV may perpetuate the myth that fame should be everyone's ultimate aspiration. The document explores these issues but reaches no definite conclusion on whether reality TV can truly be considered democratic.
The Arab Spring began in December 2010 in Tunisia and spread to other Arab countries. Citizens protested against issues like dictatorship, corruption, unemployment, and poverty. The use of social media helped organize and spread information about the protests. Several governments were overthrown due to the large-scale demonstrations. The Arab Spring demonstrations highlight desires for greater political freedom, human rights, and economic opportunity across the Arab world.
This article examines the role of new media in the Arab Spring uprisings. It argues that while new media like Facebook and Twitter played a critical role in mobilizing protests by spreading information, other factors were also important. Conventional media like Al Jazeera also helped spread protest news more widely. Ultimately, revolutionary conditions within countries due to issues like poverty and repression were the most important underlying factors driving social uprisings, and new media provided an important but not sufficient tool for organization. The role of new media was contingent on real-world street movements and protests.
The document discusses representation in media studies. It defines representation as how media presents versions of reality through signs that stand in for people and things. It also discusses how media representations are intentionally composed and framed to portray artificial versions of reality. It then discusses common forms of representation like class, age, gender, and ethnicity. It defines stereotypes as simplistic media portrayals of groups that audiences find believable, even when they overgeneralize traits. The document asks how gender is represented and what issues arise from media representations.
The document discusses different design elements used in magazines and their effects on readers, including:
- Layout: symmetrical or asymmetrical balance directs understanding of the magazine's audience and content. The left third of the cover is important for branding.
- Color: different colors connote different feelings and emotions for the target audience, like red for passion and blue for calm.
- Typography: font styles like serif and sans serif create different moods, with serif feeling traditional and sans serif modern.
- Language: techniques like imperative language, exclamatives, rhyme and alliteration make content more memorable and attractive to the target audience.
This document summarizes an article from the journal Globalizations that examines the role of new media in the Arab Spring uprisings in the Middle East and North Africa region. It argues that while new media was one factor among others, it played a critical role given the lack of open media and civil society in the region. The global spread of new media through technologies like the internet and mobile phones presented an opportunity for horizontal social mobilization and intersection between new media and traditional media. However, governments often facilitated new media for economic reasons, unintentionally facing social and political consequences from its use in civic activism.
This document provides guidance for students on completing a film analysis coursework assignment focusing on micro features of film including mise-en-scene, performance, cinematography, editing, and sound. It instructs students to choose a short film sequence, analyze no more than three micro features, and write a 1500 word essay exploring how the chosen features construct meaning and response. The document offers advice on getting started, analyzing the sequence, potential essay structure, and questions to consider in the analysis.
The document discusses postmodernism as a critical approach to film. It defines postmodernism as a response to modernism that rejects realism and incorporates elements from the past in new forms. In film, postmodernism disrupts narrative structure and character conventions. Some key features of postmodern films include acknowledging they are fictional works, using nonlinear narratives, and featuring alienated characters. Genres like pastiche, depictions of flattened affect, and altered states are common. Fight Club is analyzed as an example of a postmodern film through its characterization of the protagonist and circular narrative structure. The Matrix is also discussed as a postmodern case study through its references to philosophical works and challenging of filmmaking conventions.
The document discusses several feminist film theorists and their perspectives on the portrayal of women in cinema. Mary Ann Doane argues for defining a feminine poetic syntax and positioning of looking/desire derived from reimagining depictions of the female body. Teresa de Lauretis calls for reconsidering women in cinema by addressing the spectator as a woman and depicting diversity among women. Laura Mulvey's theory of visual pleasure argues that the spectator and camera adopt the active male gaze, while women on screen are the passive objects of desire.
The document provides an in-depth analysis of the 1999 film Fight Club, focusing on its commentary about contemporary American culture and masculinity. It discusses how the main character Jack feels emasculated by consumerism and lack of purpose, leading him to create an alter ego, Tyler Durden, to rebel. Through their underground fighting club, Jack finds a sense of community and masculinity. However, Tyler's plans for destruction spiral out of control. The analysis examines Fight Club's themes around capitalism, gender roles, and the search for meaning in a postmodern world.
Fight Club is a 1999 crime film directed by David Fincher and based on the 1996 novel by Chuck Palahniuk. It stars Brad Pitt and Edward Norton and was not a box office success in its year, ranking 54th with domestic earnings of $37 million on a $63 million budget. The film follows an insomniac office worker who starts an underground fighting club with soap salesman Tyler Durden, portrayed by Brad Pitt.
Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
Tom Cruise Daughter: An Insight into the Life of Suri Cruisegreendigital
Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
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1. GCE AS/A level
1182/01
FILM STUDIES
FM2
British and American Film
A.M. MONDAY, 16 May 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*(S11-1182-01)
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:
– Article on streaming films using Playstation3
– Promotion for Consumer Electronics show, featuring 3D television
– Film fans’ perception of DVD box sets of TV series.
Use this material, together with your own studies, to answer the following question:
‘The current revolution in technology is changing the way both producers and audiences think of
film and the film experience.’ How far do you agree with this statement? [40]
Or
2. Study the items in Part B of the resource material, which include:
– Article: ‘The Rise and Fall of Star Power’
– UK Box Office List for 2009
– New Stars: Two Profiles.
Use this material, together with your own studies, to answer the following question:
‘Neither producers nor audiences need stars any more.’ How far do you agree with this
statement? [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 are narrative devices used to increase the impact of horror or comedy in the films you
have studied for this topic? [40]
Or
4. How is gender represented in the horror or comedy 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 do the narratives of your chosen films function as ‘star vehicles’? [40]
Or
6. How far does your chosen star represent ‘British’ values in the films you have chosen 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 does genre contribute to the distinct identity of your chosen production company?
[40]
Or
8. How far do the films you have studied for this topic share similar messages 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 place characters within a society that
determines many of their choices? [40]
Or
10. What are some of the ways in which your chosen films represent either rebellion or repression?
[40]
British Film: Social-Political Study – ‘Living with Crime’
You should discuss a minimum of two British films in your answer.
Either
11. How far do the narratives of your chosen films dramatise the problems facing key characters?
[40]
Or
12. How are authority figures represented 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 is the idea of a ‘border’ present in the narrative of the films you have studied for this
topic? [40]
Or
14. How far do characters in the films you have studied for this topic challenge stereotypes? [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. With particular reference to the endings of your chosen American films, compare their
messages and values. [40]
Or
16. How useful have your wider contextual studies been in understanding similarities and
differences in the American films you have studied for this topic? [40]
(1182-01)
5. GCE AS/A level
1182/01-A
FILM STUDIES
FM2
British and American Film
A.M. MONDAY, 16 May 2011
21⁄2 hours
Resource Material for use with Section A
01A001
1182
VP*(S11-1182-01A)
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: Article on streaming films using Playstation3
Sony and Netflix in deal to stream movies using PS3
Netflix, which lets members download films
over the Internet or mails DVDs to their
homes, has more than 11 million US
subscribers. In 2008 Netflix and Microsoft
reached a deal involving the US software
giant's Xbox 360 videogame consoles.
In 2009, Netflix and Sony announced that
PlayStation3 owners would be able to use the
game console to stream movies and TV
shows to their television sets or computers.
- Relax News, 27 October 2009
Item 2: Promotion for Consumer Electronic Show
At Consumer Electronics Show, 3D TV will take centre stage.
After the huge success of James Cameron’s 3D
blockbuster Avatar at the cinema box office, grab the
popcorn and 3D glasses and get ready for the Consumer
Electronics Show in Las Vegas, an important showcase
for new entertainment technology. 3D TV is on its way.
- adapted from an article by Dawn C. Chimelewski and Alex Pham, Los Angeles Times,
5 January 2010
(1182-01A)
7. 3
Item 3: Film fans’ perception of DVD box sets of TV series.
TV Show or Film? DVD consumers say it doesn’t matter.
Where did the big movies go? They have become mega-hit television series that in turn
became mega-hit DVD box sets. Increasingly, the home cinema audience sees these TV
series as being just like the best films.
‘24 is so much more satisfying than any Action movie like Bond
– it can do what no movie can do just because of its running
time. And the suspense is all the greater for the cliff-hanger
end to every episode’
01A003
1182
‘I love the comic Super-hero movies like Spiderman, but
Heroes is something else. Like other TV series it has a large
number of very different characters – and they all have
superhuman powers!’
- adapted from Canwest News Service, 26 December 2009
(1182-01A) Turn over.
8. 4
Resource Material: Part B
Study the items in Part B of the resource material for use with Section A, Question 2.
Item 1: Article - ‘The Rise and Fall of Star Power’
The Rise and Fall of Star Power
There has been a long list of recent star-driven films that have disappointed at the
box office. Meanwhile the starless Saw and the Final Destination franchises hit big
on high-concept gore alone. Avatar is the most high profile of recent blockbusters
which sells itself on special effects rather than superstar appeal.
At least three factors can be identified in explaining the falling appeal of stars:
- celebrity overexposure in the media
- exhibition: very brief cinema releases for many star-driven films
- internet buzz becoming a greater influence than big marketing budgets.
- adapted from an article by Hannah McGill, Sight & Sound, February 2010
Item 2: UK Box Office List for 2009
Few “A” List Stars in UK Box Office Top Twelve Films of 2009
1 Avatar Fox
2 Harry Potter and the Half Blood Prince Warner
3 Ice Age: Dawn of the Dinosaurs Fox
4 Up Disney
5 Slumdog Millionaire Pathe
6 Transformers: Revenge of the Fallen Paramount
7 The Twilight Saga: New Moon E1
8 Sherlock Holmes Warner
9 The Hangover Warner
10 Star Trek Paramount
11 Monsters vs Aliens Paramount
12 Alvin and the Chipmunks: The Squeakquel Fox
- Source: Box Office Mojo
(1182-01A)
9. 5
Item 3: New Stars – Two profiles
Katie Jarvis: Fish Tank
The Cannes Film Festival anointed a new star today.
A teenager with no acting experience was
discovered having a row with her boyfriend on a
railway station platform in Essex.
Katie Jarvis, 17, is a raw and compelling presence in
every scene of Fish Tank.
- adapted from an article by Ben Hoyle, The Times,
14 May 2009
Gabby Sidibe: Precious
Gabby Sidibe feels like she's living out a Hollywood dream.
The 24-year-old, who grew up in Harlem and had acted only
in college productions, won the coveted lead role in Precious.
Making her debut as the obese and abused teenage single
mom was a challenge Gabby wasn't afraid to take.
- adapted from an article by Jeanne Wolf in Parade, 23 October 2009
(1182-01A