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In studying a film such as The Joker, we are considering a film that’s regarded as a contemporary ‘classic’. There are a wealth of ideas to engage with in the discourse about the film. Discourse refers to the conversations and debates around the film, or any particular subject, and the perspectives of such conversations can engage us in a range of valuable ideas.
Feature film adaptations of American superhero comic book characters and stories (which themselves tend to be better defined as crime stories and as thrillers) have been hugely commercially popular since the release of the film Batman (1989). Since 2008, there has been a sustained period of massively popular comic book film adaptations. Of this success, the film scholar Liam Burke in his book The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre, notes that comic book adaptations are amongst the most significant adaptations of source material in recent years. Part of this is the degree to which adaptations of comic books arguably offer the filmmaker more scope for invention than an adaptation of a novel might do. Burke explains that continuity rather than fidelity is the key issue for readers of comics who see their favourite character brought to the screen.
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In studying a film such as The Worst Person in the World (Verdens verste menneske), we are considering a film that’s regarded as a contemporary ‘classic’. There are a wealth of ideas to engage with in the discourse about the film. Discourse refers to the conversations and debates around the film, or any particular subject, and the perspectives of such conversations can engage us in a range of valuable ideas.
In studying a film such as Mulholland Drive we are considering a film that’s regarded as a contemporary ‘classic’. There are a wealth of ideas to engage with in the discourse about the film. Discourse refers to the conversations and debates around the film, or any particular subject, and the perspectives of such conversations can engage us in a range of valuable ideas.
Rationale Section A of Paper 1 focuses upon the micro-elements of film form and the construction of meaning and response by both filmmaker and spectator, with a particular focus on US films from the Silent Era to 1990. Knowledge and understanding of film form and its key terms will be developed through: * studying the micro-elements of film form * identifying how these elements construct meanings and contribute to the aesthetics of film * an appreciation of film poetics: film as a constructed artefact, resulting from processes of selection and combination
Eduqas A Level Film Studies British Film since 1995 New Case Study 2025 Films Section A of Paper 1 focuses upon the micro-elements of film form and the construction of meaning and response by both filmmaker and spectator, with a particular focus on US films from the Silent Era to 1990.
In this lacuna of teaching and learning, we can use this time to envelop young people in our love of film. Using your Edusites Film membership engages both potential and first year A Level and IB in your love of film as an academic discipline.
Section B: Documentary Film (single-film study) Resource: Analysing a Documentary Film Sisters in Law (Ayisi and Longinotto, Cameroon and UK, 2005) The Arbor (Barnard, UK, 2010) Stories We Tell (Polley, Canada, 2012) live! 20,000 Days on Earth (Forsyth and Pollard, UK, 2014) Amy (Kapadia, UK, 2005) Context: Amy Winehouse 'Popstar'
GCSE and A Level Results Surgery EduscribersWe hope that today and last week were causes for celebrations and pain-free. We have had so many thank you messages from our members and we would love to hear from you.Email us hereWant advice? See below
There’s an idea (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 is a story that has not yet finished with what it has to say to an audience. The film Sunrise: A Song of Two Humans is one such film ‘classic’. Indeed, it is a silent film that’s sometimes discussed in relation to two other films that were contemporaneous with it: The Wind and The Crowd.
