Edusites Film offers a comprehensive collection of outstanding online Film Studies teaching resources to help teachers and students. From Avant Garde Godard to block buster super heroes there is no doubt that we humans love a film. The academic study of film offers students the vision to create their own stories in innovative and novel ways.
Written by The Edusites and Ofqual expert subject advisor, Senior Film Studies Examiner Wayne O’Brien this third Unit focused on the skills. As we come closer and closer to the specific honing of exam skills for success in the exams we are generating expertise to apply learning in exams.
We have looked at all of the new spec sample exams and asked if our students could successfully complete high quality responses?
Could your students answer this?
How far do your chosen films demonstrate a constant shift between passive and active spectatorship?
Would their response be described as...
or...
Could your students then combine their understanding of audience with music and mise en scene knowledge?
How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence from each film.
The twenty five fully resourced lessons in Unit 4 can be found for Eduqas here and OCR here
Once a week our Edusites Film teachers let loose and give us their 'real talk' on studying A Level and IB Film. They discuss trending issues, the industry, products, theory, revision and exams.
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?
Horror has always had currency in Film. Do we look…. or do we look away? #EdusitesCreepingItReal
The Context of a Documentary Film. Cinema is always evolving and it’s an exciting process to explore and to understand the different genres within it. Increasingly, many documentary films are transcending their original moment of release to become landmarks in contemporary cinema.
There’s a nice opportunity from the very beginning of this work to encourage and support your students in recognising the connection between their own creative work and particular examples from films that they have studied which can inform their creative choices.
I have always felt incredibly lucky to teach film studies and have quietly and politely defended the challenges of the subject and the level of academia to those that dare to consider it to be an easy subject.
