Each of our Film Case studies are over 7,000 words...but as we say in our house that isn't 7,000 'ands' one after another but syllabus and exam focused analysis divided into the following sections.
Context of Production
Social and Political Context
Mise en Scene
Key Sequence Analysis
Ideology and Themes
There’s an idea that’s elegantly expressed by the novelist Italo Calvino) that’s worth engaging with and returning to quite often in relation to the films that we study at A Level and it’s this: that a classic text is a story that has not yet finished with what it has to say to an audience. The songs of Amy Winehouse might be considered classics of pop music in the way that they revisit an older ‘sound’ and in terms of the resonance of their lyrical content.
Significantly, Amy Winehouse has become a ‘text’ in herself (rather as Beyonce, Lady Gaga and Madonna have done) that continues to be meaning- generating and Asif Kapadia’s film Amy explores this resonance...
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Linked here are Knowledge Organisers for all of the films we have covered in detail through Case Studies, Workbooks and Comparison Studies plus the rest of the films on the specification.
"Teaching your students to know their Apocalypse Now from their East is East..."Edusites Film has a growing number of individual film analysis. Currently, there are more than 160 Case Studies from the pioneering 2001: A Space Odyssey to the coming of age road movie Y Tu Mama Tambien - Mexican Cinema Study OCR
The Babadook (a gothic style horror that nods to German Expressionism and is directed by an Australian female director Jennifer Kent) is now live and completes our offer for the Outsiders theme in Section C Ideology for OCR A Level Film.
Want to persuade 'the powers that be' to add Film Studies A level to your Sixth Form or College curriculum? our helpful and downloadable and editable guide shows how Film Studies opens up careers potential and benefits retention, progression, and progress of any post 16 provision. From Avant-Garde to Godard to blockbuster superheroes there is no doubt that we humans love a story.
When Wade Watts enters the Distracted Globe nightclub in Ready Player One, Steven Spielberg’s movie adaptation of Ernest Cline’s novel, he walks right past The Joker. Today it is almost enough to
A story of power and control over the Los Angeles transport system, the film can be watched as a film noir and as a buddy movie and as a postmodern movie in terms of its integration of, and reference to, various American animated film characters. Does that sound familiar in light of the Ernest Cline novel, and subsequent Steven Spielberg film adaptation, Ready Player One?
This summer, there was some film-fan excitement at the news that a new, Hollywood-backed adaptation of Roald Dahl’s The Witches was to be written and directed by fantasy-movie veteran, Robert Zemeckis.
We've been having fun printing these booklets for A Level Film Studies students. They can be printed and read anywhere; we are encouraging case study bus/tube reading instead of phone playing. We are using them, not just as case studies about our chosen films, but also as examples of accessible academic writing about film.
We had a think. Amy’s students needed more direction than just being let loose with cameras they had plenty of experience using.
Resonant is a word that we might accord to the OED. Therefore, maybe it follows that, in an exciting and telling revision to the great book, a set of newly-added film terms and references speak to the increasingly embedded resonance that film culture has in our daily lives.
We don’t assume that because we’ve been on an airplane we can make an airplane, so why do we assume that students watch films and then can make a film?