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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.
The Worst Person in the World offers up a rich experience for us as viewers of film and as students with an interest in thinking our way around a film and how it affects our thoughts and our feelings and how we bring certain kinds of interest to a film because of what ‘meanings’ it creates in our responses. As a film viewer, we can bring recognise various kinds of significance, relevance and resonance they may be present in a film and these qualities and points of interest can be very separate (and, indeed, different) to whatever it might be that its ‘author’ intends.
EDUQAS: Films are shaped by the contexts in which they are produced. They can therefore be understood in more depth by placing them within two important contextual frames. The first involves considering the broader contexts of a film at the time when it was produced – its social, cultural and political contexts, either current or historical. The second involves a consideration of a film’s institutional context, including the important contextual factors affecting production such as finance and available technology.
Every film reflects the concerns of its time, the particular way of looking at the world in that culture, that society, that time. To fully understand a film, you need to know something of the era that spawned it. As you will have already considered in your EDUSITES CORE UNITS Film is very much a cultural artefact, a reflection of the society that created and watched it. Each film is influenced by all of the films that have gone before it – the collective consciousness of how we ‘look’ at a film - and will have specific conventions that link it to others of its genre, its type. For your examination, an understanding of the film’s production and of events in the world at that time will offer perspectives on how to better view its narrative presentation and thematic concerns.
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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 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.
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
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'
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.
OCR H410 Film Studies | Edusites offers more than 150 lessons covering Film Language, Film Representation, Film Audience, Film Genre & Institutions and Film Values and Ideology.
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.
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
