Introduction to the key elements of film form (Mise-en-scene + performance, cinematography + lighting, editing, sound). Exploration of explicit and implicit meanings, i.e. connotations and the polysemic nature of films. Study of still images and building to moving image sequences, some practical application via lighting and cinematography tasks. Analytical extended writing task after every new element to assess analytical competence.

Rationale for study, Introduction to film genre conventions + hybrids, exploring relevant genres, i.e. Hoody horror, Sci-Fi, urban realism). Exploration of film contexts – social, cultural, political, institutional, historical, technological. Study of character roles, the importance of location/setting in creating aesthetic, linking setting the genre convention. Analysis of lighting, character, genre comparison, exploring the creature/alien design, key scene analysis (key elements). Exam practice.

Rationale for study, exploring film contexts – social, cultural, political, institutional, historical, technological – context focus (south Africa and the lasting impact of Apartheid). Study of character roles, introducing representation, representation of location and place, stereotypes, first impressions of characters. Charting Tsotsi’s journey in the film (protagonist/antagonist). Key scene analysis (how do the key elements construct representations). Exam practice.

Rationale for study, exploring film contexts – social, cultural, political, institutional, historical, technological – applying context to location, focus on social unrest and segregation – building on previous learning in Tsosi. Introduction to narrative, linear, circular and episodic structures, story Vs. plot, how does plot impact emotional response, narrative and screenplay (improvisation vs. scripted), cause and effect, foreshadowing, ellipsis, withholding and releasing, applying narrative theory and structural devices (3 and 5 act structure), Todorov’s equilibrium, Propp’s narrative roles and functions and Binary oppositions. Study of the role of genre in constricting narrative and themes. Knowledge check – exam practice (context). Key scene analysis (how do the key elements communicate messages about narrative in the film).

Exploration of genre in relation to the exam board briefs (released in March each year via the Eduqas Portal); research and development of chosen genre (may explore more than one to narrow down choices), mood boards and visualisation, generating initial ideas using research, identifying influential films, opening sequence analyses, narrative overview and context of the opening sequence within it, developing characters, The five Ws, exploring screenplay conventions, screenplay opening analysis, introduction to writer duet, how to introduce setting and characters and writing a first draft.  

Introduction to shooting scripts and technical planning, practical demonstrations and storyboarding where appropriate for those choosing the film option. 

Study of Mise-en-scene and cinematography as a starting point for exploring the key elements of film form.  MES: Exploring Setting, props, positioning, Costume, hair + makeup, performance.

Summarising and application to sequence analysis (The Shape of Water – Del Toro, 2017).CINEMATOGRAPHY:  Shot size, camera angles, camera movements, lighting, colour.

Study of production history and institutional research and exploring historical context (spanish civil war). Exploration of aesthetic influences, key scene analysis key element construction – linked to aesthetics. Understanding representation (gender, age, ethnicity and nationality) and the aesthetic linked to location. Exam practice (scaffolded with structure guidance and model paragraphs).

Study of 1980s social and cultural context and introduction to Thatcherism. Exploration of  institutional context – Shane Meadows, genre focus (social realism), the aesthetic of This is England and its social and cultural context and ideology – skinheads. Viewing of the film through an ideological lens, exam question exploration – impact of context on the messages and values in a film. 

Narrative focus – story vs. plot, structure, structural devices and theoretical perspectives (formalism and structuralism) – analysing binary oppositions.  Ideology – What does the narrative criticise and celebrate? How does this affect the message and values being communicated in the film? 

Representations – Key element analysis of key groups in the film (Skinheads 1st + 2nd wave, women/men and ethnic minorities, working class, themes of family and love). Exam practice.

Targeted viewing questions addressing the construction of film form throughout the film, rationale for study, political context – Thatcherism. Exploration of the the north/south divide, Scottish devolution and Poll Tax (application to the opening Monologue), 1990s cultural context, institutional context (UK Film), representations (gender, national identity, age, issues – addiction + drugs, sexuality, Renton as a protagonist), aesthetics + themes, postmodernism – hyperreality, key scene analysis.
Narrative focus – story vs. plot, structure, structural devices and theoretical perspectives (formalism and structuralism) – analysing binary oppositions. Consolidation of knowledge across British Film units, application to exam questions.

Core Study Areas, Spectatorship  and Ideology , COMPONENT 1 – Section B

Study of institutional context – linked to genre development and cultural context of the franchise, social context (incels) and political context (anti-capitalism/occupy wallstreet + kill the rich comparison). Study of aesthetics, key scene analysis and viewing booklet, representations, key elements of film that form exam questions. Study of Spectatorship Blended Learning resource, personal responses, reception theory and identification (recognition alignment, allegiance). Exploration of shifting active and passive responses, responses to protagonist development – timeline  of perspectives, spectator response manipulation through key elements and exploring spectatorship questions. Exploration of key ideologies (anarchism/anti-capitalism, nihilism, social darwinism). Analysing key scenes in relation to ideologies and key sequence analysis in relation to a range  

Exploration of initial spectator responses, exploring reviews, production context and director intention in relation to spectator positioning. Study of  American independent cinema and its relationship to unit foci, political context, i.e. US election of Trump. Introduction to Chomsky – analysis of key scenes (Uncle Noam’s birthday). Study of aesthetic influences (Simen Johan), opening scene and analysis of the aesthetic focus.  Key scene analysis (Campfire/So they know we’re coming/Noam Chomsky Day, Bill of Rights/Cremation), representations. Development of varying spectator responses, art house audiences, personal responses, reception theory , identification (recognition alignment, allegiance), shifting active and passive responses, suturing the audience and exploring spectatorship questions (2024 paper). Understanding key ideologies (anti-establishment, anti-capitalism, counter culture, liberalism). Exploration of Marx, Trotsky, Chomsy and analysing key scenes in relation to ideologies.

NEA – Preparation. Short Film + Screenplay Analysis (80 minutes+).