GCSE Film Studies: Disaster Movies - Themes and Ideology

Education

GCSE Film Studies: Disaster Movies - Themes and Ideology

The document outlines six key categories of documentaries as described by film critic Bill Nichols: poetic, expository, observational, participatory, reflexive, and performative. It provides examples and brief descriptions of each type, including key points about expository documentaries speaking directly to viewers authoritatively, participatory documentaries emphasizing the relationship between filmmaker and subject, and observational documentaries attempting to minimize interference with the subject matter. Examples of documentaries like Super Size Me, Frozen Planet, and Don't Look Back are also mentioned.

WJEC GCSE Paper 1 Explanation 2012

Ian Moreno-Melgar

This document provides an overview and instructions for Paper 1: Exploring Film. The paper is 1 hour and 30 minutes long and worth 50 marks total. It consists of 4 questions: 1) technical analysis of a film clip, 2) identifying disaster film elements in a clip, 3) analyzing a provided product, and 4) creating a new product related to disaster films. Question 4 is worth the most marks at 20 and students should spend the most time on it. The document reviews the structure and scoring of each question to help students plan their exam approach and answers.

Cameras v2

Kieran Ryan

IB presentation "Middle years programme"

maratshamsulin

The International Baccalaureate (IB) Middle Years Programme (MYP) provides a framework for students aged 11-16 that allows for flexibility based on national or local requirements while keeping the learner at the center. The MYP focuses on developing approaches to learning skills, intercultural awareness, communication skills, and subject knowledge through five interactive areas: arts, human ingenuity, environments, health and social studies. Assessment in the MYP uses criterion-related rubrics and a variety of strategies to support student learning and provide valid, reliable information on student progress.

Unit2 l1

kimmcminn

Film Exploration Sheet

The document summarizes a student's internal assessment for a GCSE Film Studies course. It includes a checklist that the teacher completes to confirm the student discussed their film choice, undertook research, was given class time and interim deadlines to work on the project. The teacher also confirms no plagiarized material was used. The student provides production, distribution, and exhibition details about the film they researched for the assessment.

Ib film pres 1

Ayankamaria Nelson

This document introduces Ayan, a Black American woman of Jamaican descent who was born in Seattle, raised in Philadelphia, and later moved back to Washington state. She shares personal facts about herself, including that she started her own t-shirt business and experiences culture shock upon returning to Washington. Ayan discusses how she has changed since the move, finding herself smiling more and enjoying life with new friends.

Manipulation and Persuasion: What's The Difference?

George Hutton

This document outlines key film terminology and concepts for a G.C.S.E. Film Studies class. It defines diegetic and non-diegetic sound, and provides examples of how each can be used and analyzed in films. It also explains different narrative structures like linear, non-linear, and circular narratives. Additionally, it introduces Todorov's narrative theory of equilibrium, disequilibrium, and new equilibrium. Students are assigned to analyze sound usage and narrative format in film scenes and clips using these concepts.

Key terminology 1

This document provides an overview of key film terminology for a GCSE Film Studies course. It discusses mise-en-scene, genres, camera shots, camera movement, editing techniques including pace and transitions, and special effects including CGI and practical effects. Students are instructed to analyze sample scenes focusing on elements of mise-en-scene, camera work, and how they convey meaning and elicit emotional responses from audiences.

Ibbtec pres

Kieran Ryan

The document discusses two senior pathway options for film and media: IB Film and BTEC Creative Media. IB Film enhances skills through creativity-focused assessments including an independent study script or research paper, 15-minute presentation on a film extract, and a 7-minute practical film production. Most students achieve high exam results of Level 6 or 7. BTEC Creative Media offers a more practical option through unit-based assessments covering topics like video installation, photography, editing, and marketing. It provides more control over curriculum and attention compared to the broader IB program. Both pathways are accepted by universities and prepare students for careers in growing creative sectors.

GCSE Film - SemioticsBelinda Raji

Media semiotics-pt-21

Jalil Malik

The document discusses how film can be analyzed similarly to a language, with shots, scenes, and sequences serving as basic units, and explores two types of "statements" in film - paradigmatic involving mise-en-scene and how shots are composed, and syntagmatic involving editing and montage techniques to convey meaning through juxtaposition of shots. Key film techniques are outlined that can be analyzed for their paradigmatic and syntagmatic impact, including camera work, lighting, color, focus, movement, angles, and editing.

Horror film pitch

connorslevin

The document proposes a supernatural horror film pitch about a family that moves into a new Irish home where a girl had killed her family decades prior. The film's target audience would be 18-25 year old students. The film idea is based on the Irish myth of the banshee, a female spirit omen whose screams signal death. The main character finds an ancient comb containing the banshee's spirit, unleashing it to kill the family since they share the same surname as the banshee's original family. The film would incorporate the banshee appearing suddenly to scream before killing victims.

Documentary construction

David Crighton

This document provides guidance on defining and planning a documentary film. It discusses the key elements that distinguish a documentary from other forms of filmed content that depict real life, such as security camera footage. Specifically, it notes that a documentary requires a filmmaker to purposefully select and present elements of reality in a way that teaches or impacts the audience. The document then offers prompts and questions to help a filmmaker develop the critical components for constructing an effective documentary, including establishing a hypothesis, defining the topic and characters, outlining action sequences and structural elements, and identifying the central conflict.

The Stages Of My Final Production

nessasary

The document outlines the three main stages of the author's final magazine production project. Stage 1 involved research and planning, including comparing existing magazines and conducting a questionnaire. Stage 2 was creating a preliminary flat plan of a school magazine to understand magazine conventions. Stage 3 was the main production of a music magazine, applying the lessons learned from the preliminary task by including elements like a lure, strap line, and masthead.

Gcse film narrative and character

This document provides an overview of narrative and character theory for a film studies class. It defines key concepts like plot, story, linear and non-linear narrative structures. It discusses Todorov's narrative theory which describes stories progressing through equilibrium, disruption, recognition, attempts to repair, and a new equilibrium. Propps' character theory identifies common character archetypes like the villain, donor, helper, princess, and hero. Examples are given applying these theories to films like Spiderman and Thor. Students are assigned to analyze film clips using these concepts and given a homework assignment to analyze a selected film.

AS Coursework Comments

kingedmedia

Narrative introduction - GCSE Film

Mike Gunn

The document discusses different theories of narrative structure, including: - Linear vs non-linear chronology, with non-linear using techniques like flashbacks. - Narrative positioning, how the audience is manipulated to see from a character's point of view. - Narrative voice, discussing first person narration from one character's restricted view and third person omniscient narration seeing multiple viewpoints.

Narrative lesson

The document discusses narrative, plot, and their differences in film. It provides examples of narrative as a beginning, middle, and end story, while plot is how that story is constructed including sub-plots of characters. Other film techniques like flashbacks and parallel narratives are introduced. The task at the end asks readers to invent a superhero origin story and write a synopsis with narrative and plots.

GCSE Film Studies: Pitch

The document provides guidance on creating an effective 150-word pitch for a film to attract potential investors. The pitch should include a one sentence log line summarizing the narrative, reference the genre and similar films, indicate intended audience and main stars, and provide a brief summary of the narrative to convey key details in a short time and appeal to backers. The pitch aims to attract funding to produce the finished film.

GCSE Film Studies: Production

This document provides the production options for a film-based coursework that must demonstrate an understanding of film codes and conventions. Students can either create a short film sequence of no more than 90 seconds that builds tension or atmosphere, or work individually to produce a film website, poster campaign, press pack, or magazine feature. If working in a group for the film sequence, students must have clearly defined roles and contributions.

La haine -_workbookGreat Baddow High School Media

Film analysis launch gcse

This document provides guidance for students completing a film analysis task for their GCSE coursework. Students must analyze a 2-5 minute sequence from a film using two micro features such as mise-en-scene, editing, camerawork or sound. The analysis should be between 350-750 words and demonstrate an understanding of how the micro features create meaning and elicit responses from viewers. Students are advised to watch their chosen sequence multiple times and take detailed notes before writing about how the micro features work individually and together to impact the audience. A clear introduction, body paragraphs analyzing the sequence chronologically, and conclusion are recommended for the essay structure.

6 modes of documentaries

callumjg

The document outlines Bill Nichols' 6 modes of documentary filmmaking: poetic, expository, observational, participatory, reflexive, and performative. It provides definitions and examples for each mode. The poetic mode uses selective information to create a biased viewpoint, while the expository mode features direct narration to make an argument. The observational mode takes an unobtrusive, passive approach. The participatory and reflexive modes intentionally construct scenarios to influence viewers, and the performative mode focuses on the filmmaker's personal experiences.

Michael Jackson's Black or White

The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.

Michael Jackson - Black or White analysis

Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.

Half term homework (Yr9)

Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.

Film FM2 December homework

This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.

1. Intro 2016 (FM2 (Section C)

This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.

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Michael Jackson's Black or White

Michael Jackson - Black or White analysis

Half term homework (Yr9)

Film FM2 December homework

1. Intro 2016 (FM2 (Section C)

Film pitch

The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.

Genre elements

The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.

Examples of binay opposites

Unit 8 – assignment 1 task 2

The document discusses key concepts related to media ownership and distribution, including: - Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry. - Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries. - Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more. - Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach

The Walt Disney Company

The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.

Unit 8 – assignment 1 task 2

The document discusses key concepts related to media ownership structures and distribution, including: - Monopoly and oligopoly market structures, with examples of companies dominating certain markets. - Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media. - Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry. - Franchises that expand original creative works across multiple forms of media through licensing agreements. - The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.

Pressure - Contextual

The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.

3. sapphire contextual research

Between 1948-1962: - Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages. - Racial tensions rose as attacks against black people occurred. - Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration. - Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.

Pressure notes and screening questions

Exam lessons 3 (audiences) Section A A2 Media Exam

The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.

Exam lessons 3 (representation) - Section A A2 Media Exam

The document provides guidance on analyzing representations in media productions using the concept of representation and related theories. It discusses how representations construct versions of reality and ideology. It encourages focusing an analysis of a soap opera trailer on how gender, social groups and places are represented through media language tools and what ideological messages are communicated. Key theories discussed include those relating to cultural hegemony, stereotypes, feminism and the male gaze. The document suggests deconstructing the various production stages and choosing elements to focus on how representations were constructed and their intended effects.

G325 representation (Collective Identities)

The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.

1. Collective I.D. lessons

This document provides information about Section B of the G325: Critical Perspectives in Media examination. Section B focuses on contemporary media issues and will require candidates to answer one question from a choice of six topic areas. For each topic area, candidates must demonstrate understanding of the historical, contemporary, and future aspects as they relate to at least two media forms and include references to relevant media theories and critics. The document provides examples of topic areas such as representations of Black Britain, prompts questions for each area, and suggests texts and theorists candidates could draw from to demonstrate their knowledge in the exam.

A2 G325: Critical Perspectives in the Media (Section A)

This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.

G325 Section A – past exam questions