FILM STUDIES Specimen materials

GENERAL CERTIFICATE OF EDUCATION
TYSTYSGRIF ADDYSG GYFFREDINOL

2009 - 2010

FILM STUDIES

SPECIMEN QUESTION PAPERS
SPECIMEN MARKING GUIDELINES

GCE FILM STUDIES Specimen Assessment Materials 3

Contents

Page

Question Papers

FM2 British and American Film 5

FM4 Varieties of Film: Issues and Debates 15

Marking Guidelines

FM2 British and American Film 19

FM4 Varieties of Film: Issues and Debates 26

GCE AS/A FILM STUDIES 5

WELSH JOINT EDUCATION COMMITTEE CYD-BWYLLGOR ADDYSG CYMRU
General Certificate of Education Tystysgrif Addysg Gyffredinol
Advanced Subsidiary/Advanced Uwch Gyfrannol/Uwch

FILM STUDIES

FM2
British and American Film

SPECIMEN PAPER

(2½ hours)

ADDITIONAL MATERIALS

In addition to this examination paper, you will need:

• Resource material
• a 12 page answer book.

INSTRUCTIONS TO CANDIDATES

Answer three questions, one from each section.
Write your answers in the separate answer book provided.

INFORMATION FOR CANDIDATES

Each question carries 40 marks.
The number of marks is given in brackets at the end of each question.

You are reminded that assessment will take into account the quality of written communication
used in your answers.

No certificate will be awarded to a candidate detected in any unfair practice during the
examination.


FM2: British and American Film

Answer three questions – one from each section.

Section A: Producers and Audiences

Choose one question from this section.

Either

1. Study Item A of the resource material, which includes:

- the home page of a fan website for the American star Will Ferrell
- table showing UK and US box office takings for two films starring Will Ferrell released
in 2006
- poster for one of these films; front cover of a magazine for one of these films.

Using this material as a starting point, and drawing on your own case studies, answer the
following question:

What are some of the reasons for the popularity of US produced films for UK
audiences? [40]

or

2. Study Item B of the resource material, which includes:

- press release: purchase of the Warner Village cinema chain by Vue in 2003
- programme for a thirteen screen Vue multiplex in Manchester (week in March, 2007)
- blog extract: 'Is Cinema Dead?'

Using this material as a starting point, and drawing on your own case studies, answer the
following question:

Are the attractions of going to a cinema today sufficiently strong to compete against
other ways in which we can now watch films? [40]


Section B: British Film Topics


British Film and Genre
You should discuss a minimum of two films in your answer and base it on one of the following:
Horror or Comedy.

Either

3. What are some of the narrative features that are distinctive in the horror or comedy films you
have studied? [40]

or

4. How effective is genre in presenting ideas about society in the films you have studied? [40]

British Film and Stars
Julie Christie or Ewan McGregor.

Either

5. What is the connection between the image of the star that you have studied and the narrative
expectations he or she produces? [40]

or

6. How far does the star you have studied reinforce or challenge stereotypes in the roles they
take on? [40]

British Film and Production Companies
Ealing Studios or Working Title.

Either

7. What are some of the similarities in the messages and values of films made by the production
company you have studied for this topic? [40]

or

8. What are some of the characteristics of the films you have studied for this topic which make
them different from Hollywood-type films? [40]


British Film: Cultural Study
Swinging Britain 1963 - 1973 or Thatcher's Britain: the 1980s.

Either

9. How does narrative explore particular tensions of either gender or class or race? [40]

or

10. In what ways do the films you have studied adopt styles which are suited to their subject
matter? [40]

British Film: Social-Political Study – 'Living with Crime'
You should discuss a minimum of two films in your answer and base it on the following: 'Living with
Crime'.

Either

11. Discuss the importance of choices made by key characters to the overall shape and
development of the narratives you have studied. [40]

or

12. How important is location to the films you have studied for this topic? [40]

British Film: Identity Study – 'Borders and Belonging'
You should discuss a minimum of two films in your answer and base it on the following: 'Borders
and Belonging'.

Either

13. How far do the narratives of the films you have studied for this topic explore questions of
belonging and exclusion? [40]

or

14. Is 'being British' presented as a very different experience for different social groups in the
films you have studied? [40]

Section C: American Film – Comparative Study


You should discuss a minimum of two films in your answer.

Either

15. Discuss some of the similarities and differences between the two films you have studied for
this topic with particular reference to narrative and genre features. [40]

or

16. How far do the two films you have studied for this topic present similar messages and values?
[40]



FILM STUDIES

FM2
British and American Film

SPECIMEN PAPER

2½ hours

Resource Material for use with Section A


Study Item A, the resource material for use with Section A, Question 1.

Home page of fan website for Will Ferrell (www.willferrell.org/index.html)

Table: UK and US Opening Weekend Box Office Takings for Two Films starring Will
Ferrell (released in 2006 and 2007)

UK Release: Box Office US Release: Box Office
Opening Weekend Opening Weekend
Box Office Screens Box Office Screens
Takings (£m) Takings ($m)
Talladega £1.03 m 403 $47.04 m 3803
Nights: The (approx £23.9 m)
Ballad of Ricky
Bobby (2006)
Blades of £1.02m 362 $33m 3372
Glory (2007)


Poster for Talladega Nights (2006)

Front Cover of Premiere, April 2007


Study Item B, the resource material for use with Section A, Question 2.

Press Release, May 2003: Vue buy Warner Village Cinema Chain

J.Timothy Richards, President & CEO of Vue said: "Warner Village did a great job in constructing a
very high quality portfolio of multiplex cinemas. We will continue to expand and enhance this platform
to ensure that we have the leading, most modern and best equipped cinema circuit in the UK. The
Vue brand will become synonymous with the best screens, the best sound and the best seating, to
create the best possible cinematic experience. We will make sure this appeals to everyone by offering
a greater variety and diverse range of films".

Vue Cinema: Programme for The Lowry, Manchester (March, 2007)

13 screen cinema showing the latest releases and offering a 'Gold Class' screen with 32 leather
seats, waiter service and bar. Less than 10 minutes from Manchester city centre in The Lowry Outlet
Mall at Salford Quays.

See below for our programme, week beginning 23 March, 2007

300 (GC) Premonition
Based on the epic graphic novel by Frank A supernatural thriller about a woman who has
Miller. a premonition about the death of her husband.
Warner Brothers Picture Hyde Park / TriStar - US
Ghost Rider The Hills Have Eyes 2
Film version of the comic book about a
Sequel to the 2006 horror remake about a
motorcycle stuntman who sells his soul to the
group of mutant cannibals.
devil.
Twentieth Century Fox - US
Columbia Pictures Corporation
Hot Fuzz The Queen
The talent behind Shaun Of The Dead reunite Helen Mirren stars as Queen Elizabeth II as
for Hot Fuzzs following the career of PC she attempts to deal with the death of Diana,
Nicholas Angel (Pegg). Princess of Wales
Big Talk / Working Title - UK Granada / Pathe - UK
Norbit TMNT
A mild-mannered geek plots to leave his This state-of-the-art CG animation brings the
nightmare wife when he falls in love with crime-fighting turtles to life for a whole new
another generation.
Dreamworks - US. Imagi Entertainment – Hong Kong / US
Outlaw
Violent British thriller about a group of men
who take the law into their own hands.
Vertigo Films - UK


Is Cinema Dead?

Photograph: Getty
Is this the future of cinema-going?

Culture Vulture Blog: Guardian Unlimited
Is Cinema Dead, Paul Hamilos (June, 2005)

I literally mean, is cinema dead? Do we no longer enjoy the thrill of finding ourselves in a darkened
room with hundreds of strangers, waiting eagerly to discover what cinematic delights are in store for
us?

DVD sales are now a huge part of the Hollywood marketing machine – an estimated 60% of revenue
from the US came in home sales, compared to 23% for tickets. Any number of films now do as much,
if not more, business on the small screen. And, of course, there's that old problem for Hollywood of
piracy (oddly not something that Joe Public is losing too much sleep over), which meant that Star
Wars was available on DVD across the world just hours after it hit the cinema.

Warner, for example, has just released a film on DVD in China on the same day it came out in the
cinema in the US, in a bid to stay one step ahead of those pesky pirates. It’s the first time something
like this has happened, and they’re surely testing the water ahead of bigger releases.

The challenge is up to cinema owners to make the cinema-going experience a more enjoyable one.
Bigger seats, cheaper tickets, and so on, would go some way to improving the matter. But can they
compete with the comforts of home, where you can drink and smoke to your heart's content, shout at
the screen, and answer your mobile phone should you so desire?



FILM STUDIES

FM4
Varieties of Film: Issues and Debates

SPECIMEN PAPER

(2¾ hours)

ADDITIONAL MATERIALS

In addition to this examination paper, you will need:

• a 12 page answer book.

INSTRUCTIONS TO CANDIDATES

Answer three questions, one from each section.
Write your answers in the separate answer book provided.

INFORMATION FOR CANDIDATES

Questions in Sections A and B carry 35 marks. Questions in Section C carry 30 marks.
The number of marks is given in brackets at the end of each question.

You are reminded that assessment will take into account the quality of written communication
used in your answers.

No certificate will be awarded to a candidate detected in any unfair practice during the
examination.

You are reminded that this paper is synoptic and so will test understanding of all aspects of AS
and A level Film Studies.


FM4 – Varieties of Film Experience: Issues and Debates

Answer three questions – one from each section

Section A: World Cinema Topics

Aspects of a National Cinema
Your answer should be based on a minimum of two films appropriate to one of the following topics:
• Japanese Cinema 1950 – 1970 • Iranian Cinema 1990 – present
• Mexican Cinema 1990 – present • Bollywood 1990 – present

Either

1. To what extent do the films you have studied explore tensions within society as opposed to
being simply stories about individuals? [35]

or

2. Compare some of the stylistic features in the films you have studied discussing how far they
make for a distinctive kind of cinema. [35]

International Film Styles
Your answer should be based on a minimum of two films appropriate to one of the following topics:
• German and/or Soviet Film of the 1920s • Neo-Realism
• Surrealism • New Waves

Either

3. Discuss characteristic features of casting and/or performance, exploring how far these features
contribute the overall effect of the films you have studied. [35]

or

4. What is the relationship between visual style and the subject matter of the films you have
studied? [35]

Specialist Study: Urban Stories − Power, Poverty and Conflict
Your answer should be based on a minimum of two films.

Either

5. To what extent do you think the films you have studied present either clear or ambiguous
messages about the worlds they represent? [35]

or

6. What is the importance of mise-en-scène and/or sound in creating meaning and generating
response in the films you have studied? [35]


Specialist Study: Empowering Women

Either

7. How far do the films you have studied depend on dramatic moments of confrontation within
the narrative and how far on tracing a more subtle change over time? [35]

or

8. Compare and contrast the ways in which the audience is encouraged to identify with
particular characters in the films you have studied. [35]

Section B: Spectatorship Topics


Spectatorship and Early Film (1895 – 1917)
Your answer should refer to a range of examples, though you may concentrate on films from one part
of the period.

Either

9. Discuss the significance of two or three key aspects of film form in Early Cinema (such as
narrative and editing) in developing film spectatorship. [35]
or

10. How has your study of Early Cinema shaped your broader understanding of film
spectatorship? [35]

Spectatorship and Documentary

Either

11. Compare different documentary techniques employed to present the 'real', discussing their
impact on the spectator. Refer to at least two documentaries you have studied. [35]

or

12. Do you agree that as spectators we are more likely to accept at face value what we see and
hear in documentary films? [35]

Spectatorship: Experimental and Expanded Film/Video

Either

13. 'Experimental films are often designed to make us see and experience the world differently.'
Has this been your experience as a spectator of the films you have studied for this topic? [35]

or

14. 'Experimental Film requires a different kind of spectatorship.' Has this been your experience?
[35]


Spectatorship: Popular Film and Emotional Response

Either

15. Explore possible reasons to explain why a second or third viewing of a film can actually
increase the emotional response rather than lessen it. [35]

or

16. How far is the emotional response to mainstream films triggered by specific techniques used
by the filmmakers? [35]

Section C: Single Film: Close Critical Study


Your answer should make detailed reference to your chosen film.

General Questions

17. What does your chosen film reveal about the usefulness of one or more critical approaches
you have applied? [30]

18. Consider debates that have arisen in the critical reception of your chosen film, either at the
time of its initial release or now or both.
[30]
Questions on single films

19. In Modern Times, discuss the view that Chaplin is too sentimental in his approach to be able
to offer any valuable insight into the world. [30]

20. How far is Les Enfants du Paradis limited as a film by its theatricality? [30]

21. Film scholars have argued that Vertigo is a film about cinema and about spectatorship. How
far do you think this is true? [30]

22. The Battle of Algiers offers multiple characters for the spectator to identify with. Critically
discuss the strengths and limitations of this approach in relation to the film's subject. [30]

23. What is the importance of movement and soundtrack in Sweet Sweetback's Baadasssss
Song? [30]

24. In Solaris, what themes do you believe Tarkovsky is exploring through Kelvin's relationship
with the 'second' Khari? [30]

25. What is significant about the visual style of Happy Together in relation to the themes it
explores? [30]

26. 'Despite the gesture of destroying symbols of corporate power at the end, Fight Club is a film
about power and control, not liberation.' How far do you agree? [30]

27. How successful is Talk to Her in undermining conventional gender stereotypes? [30]

28. 'After repeated viewings, Morvern Callar remains a strange, unknowable film, more dream-
like than a narrative realist film'. How useful and accurate do you find this comment? [30]


FM2: BRITISH AND AMERICAN FILM
MARKING GUIDELINES

AO1 AO2 Totals
Max raw mark Max raw mark Max raw marks
(Unit Weighting, (Unit Weighting, (Unit Weighting,
% AS) % AS) % AS)
Section A 20 20 40
Section B 20 20 40
Section C 20 20 40
60 (30%) 60 (30%) 120 (60%)

Note: Raw marks equate to Unified Mark Scale totals.

General Performance Descriptors: Section A – Producers and Audiences

AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.

The ability to demonstrate knowledge and understanding (AO1) is weighted equally with the ability
to apply that through exploration and analysis (AO2) at all levels.

Approach to Assessing Section A

• In this section, candidates are being required to respond quickly to a range of materials.
Examiners should be flexible in their approach, prepared to consider diverse approaches and
recognise that the candidate's ability may be demonstrated as much in the process of engaging
with the material as in what is said.

• The likely proportion of an answer based on the stimulus itself and the proportion based on
case study material introduced by candidates will vary enormously. Sometimes this will
depend on the question. However, the relative emphasis may vary considerably even in
different responses to the same question. However, the relative emphasis may vary
considerably even in different responses to the same question. Again, examiners should be
flexible, avoiding an over-prescriptive starting position


Level Performance Descriptor
1: 0-15 Level 1 candidates will be able to give few indications that they have gained knowledge and
understanding of the areas studied for the unit. References will tend to be imprecise and/or
inaccurate.

Quality of written communication will be inadequate so that communication is only successful in
simple statements. There will be frequent inaccuracies.

2: 16–23 At the lower end of this level, candidates will demonstrate some knowledge and understanding of
the areas studied for this unit. However knowledge will, by comparison with work at higher
grades, be insecure with significant inaccuracies. There will be some relevant detail but limited
ability to work from the particular to the general. Description will dominate, possibly reliant on
the stimulus material.
(16-19)
Quality of written communication will be inconsistent but will enable basic if limited
communication. There will be frequent inaccuracies although not sufficient to prevent
communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will demonstrate sufficient knowledge and
understanding of the areas studied for this unit to respond to the question. Description will
dominate, with limited ability to discriminate between more or less significant points either based
on the stimulus material or on candidates' own studies. Candidates will however implicitly
(20-23) demonstrate some appreciation of the relevant issues to support their response.

Quality of written communication will be adequate. Although sometimes awkward in expression,
communication will generally be clear. There will be occasional inaccuracies.

3: 24-31 At the lower end of this level, candidates will demonstrate a sound level of knowledge and
reasonable understanding of the areas studied for this unit. They will display a reasonable
understanding of, and engagement with, the issues raised by the question and some ability to
select material relevant to the question. This will involve as appropriate: a reasonable ability in
interpreting stimulus material, recognising some of the key points; an ability to provide material
from their own studies.

(24-27) References made to both stimulus material and candidates' own study material will generally be
accurate, although not always the most appropriate for the argument developed. There will be
descriptive material related to the relevant issues offering clear evidence of study.

Quality of written communication will be sound: reasonably fluent, reasonably structured and
mainly accurate, enabling clear communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will demonstrate a good level of knowledge and a
generally confident understanding of the areas studied for this unit. They will display a good
understanding of, and a good engagement with, the issues raised by the question and display an
ability to select relevant material. This will involve as appropriate: a good ability in interpreting
stimulus material, recognising many of the key points; a good ability to provide appropriate
material from their own studies.

References made to both stimulus material and candidates' own study material will be accurate
and relevant to the argument developed. The work will show clear signs of developing a well-
(28-31) structured response. There will be some evidence of a 'voice' developing in the candidate.

Quality of written communication will be good. It will be fluent, well-structured and accurate.

4: 32-40 Level 4 candidates will be distinguished by an excellent knowledge and confident understanding
of the subjects studied for this unit. They will display an excellent understanding of, and a lively
engagement with, the issues raised by the question set, and display a very good ability to select
relevant material. This will involve as appropriate: an excellent ability in interpreting stimulus
material, recognising key points; an excellent ability to provide appropriate material from their
own studies.

References made to both stimulus material and candidates' own study material will be both
accurate and relevant to the argument developed. The work will be well-structured. There will be
a clear and authoritative 'voice' developing in the candidate.

Quality of written communication will be excellent. It will be fluent, well-structured and
accurate, showing signs of sophistication.


Section A: Guidelines on specific questions

The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.

Question 1:
• The relationship between the American and British film industries.
• Distribution, exhibition and the dominance of the American film industry.
• The importance of stars, both British and American.
• Audience behaviour in relation to fandom/marketing.

Question 2:
• Attractions of cinema viewing: visual impact of large cinema screen, power of (surround)
sound, social dimensions of experience, (possible) release ahead of official DVD availability
• Attractions of other forms: availability of DVDs, additional features, increase in quality of
'home cinema', film availability on internet, social dimensions of experience.

General Performance Descriptors: Sections B and C


The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.


1: 0-15 Level 1 candidates will be able to give few indications that they have gained
knowledge and understanding of the work covered in the unit. References will
generally be inaccurate. There is likely to be generalised and inconsistent
description.

Quality of written communication will be inadequate so that communication is only
successful in simple statements. There will be frequent inaccuracies.
2: 16-23 At the lower end of this level, candidates will have a basic ability to describe their
chosen films but, compared with work at higher grades, knowledge will be insecure
with significant inaccuracies. There will be some detail but this will not always be
relevant and there will be limited ability to work from the particular to the general.
(16-19) Description will dominate with little indication of understanding of narrative and
representation issues in particular.

Quality of written communication will be inconsistent but will enable basic if
limited communication. There will be frequent inaccuracies although not sufficient
to prevent communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have an ability to describe their chosen
films with general accuracy. Description will dominate but this will generally be
(20-23) relevant. There will be some appreciation of narrative and representation issues
although this will tend to be implicit rather than explicit.

Quality of written communication will be adequate. Although sometimes awkward
in expression, communication will generally be clear. There will be occasional
inaccuracies.

3: 24–31 At the lower end of this level, candidates will have a sound knowledge and
understanding of their chosen films and be able to make reasonably detailed and
accurate reference to them. The ability to make points supported with relevant
evidence will be emerging although there may still be a tendency to the descriptive.
The use of appropriate specialist language will be emerging. There will be a sound
(24-27) knowledge of narrative and representation issues if not always developed.

Quality of written communication will be sound. It will be reasonably fluent,
reasonably structured and mainly accurate.
………………………………………………………………………………………..
At the upper end of this level, candidates will have a good knowledge and
understanding of their chosen films and be able to make detailed and accurate
reference to them. Clear points of view will be developed and the use of appropriate
(28-31) specialist language will inform discussion. There will be a good knowledge of
narrative and representation issues in particular.

Quality of written communication will be good. It will be fluent, well-structured
and accurate.
4: 32-40 Level 4 candidates will be distinguished by excellent knowledge and confident
understanding of their chosen films and be able to make very detailed and accurate
reference to them. Points of view will be developed very effectively with
appropriate specialist language a feature of all film references. There will be an
excellent knowledge of narrative and representation issues.

Quality of written communication will be excellent. It will be fluent, well-
structured and accurate, showing signs of sophistication.


Section B: Guidelines on specific questions

prescriptive.

General characteristics of answers in this section:

• Knowledge and understanding of the selected films.
• An appreciation of the films' macro features in particular.
• An ability to compare the films.

British Film and Genre

Questions 3 and 4:
• An awareness of the importance of genre within the context of British cinema.
• An awareness of the narrative conventions of genre with some awareness of continuities and
changes in these conventions over time.
• An understanding of how genres can express issues.

British Film and Stars

Questions 5 and 6:
• An understanding of the way the chosen star communicates/makes meaning through their
roles, screen persona and media image.
• An appreciation of the contexts within which the chosen star can be placed.
• An awareness of the specific characteristics of stardom within British Cinema.

British Film and Production Companies

Questions 7 and 8:
• An understanding of specific characteristics of the chosen production company – including its
films and its underpinning ethos.
• Understanding of the social, political and economic contexts within which the chosen
production company has operated.
• An awareness of the specific characteristics of the production company within the British film
industry.

British Film: Cultural Study

Questions 9 and 10:
• An understanding of the cultural/historical contexts within which the chosen films were
produced.
• An appreciation of how messages and values contained within the chosen films articulate
these contexts.
• An awareness of the distinctive response of filmmakers in both the content and style of films
produced.


British Film: Social – Political Study: Living with Crime

Questions 11 & 12:
• An appreciation of the messages and values contained within the chosen films.
• An understanding of the relationship between form and content, possibly with a particular
reference to narrative and generic features.
• An understanding of contexts, especially time and place.

British Cinema: Identity – 'Borders and Belonging;

Questions 13 & 14:
• An understanding of the political, economic and cultural contexts which the films engage
with.
• An appreciation of how messages and values contained within the chosen films articulate
these contexts.
focus on issues of representation.


Section C: Guidelines on specific questions

prescriptive.

General characteristics of answers in this section:

• Knowledge and understanding of the selected films.
• An appreciation of the films' macro features in particular.
• An ability to compare the films.

Questions 15 and 16:
• An understanding of the films' messages and values.
• An awareness of how these are articulated through film form, especially narrative and genre.
• A knowledge of production contexts (economic, technological, regulatory, etc.) in developing
comparisons between two films.


FM4: VARIETIES OF FILM EXPERIENCE: ISSUES AND DEBATES
MARKING GUIDELINES

AO1 AO2 Totals
Max raw mark Max raw mark Max raw marks
(Unit Weighting, (Unit Weighting, (Unit Weighting,
% A Level) % A Level) % A Level)
Section A 17.5 17.5 35
Section B 17.5 17.5 35
Section C 15 15 30
50 (12.5%) 50 (12.5%) 100 (25%)

Note: Raw marks equate to Unified Mark Scale totals.

General Performance Descriptors: Sections A and B




1: 0-13 Level 1 candidates will give few indications that they have gained knowledge and
understanding of the work covered in the unit. References will generalised and
frequently inaccurate. Description and detail will not always be relevant.

Quality of written communication will be inadequate so that communication is only
successful in simple statements. There will be frequent inaccuracies.

2: 14-20 At the lower end of this level, candidates will have a basic ability to describe their
chosen films and topic. However this knowledge will tend to be insecure with
significant inaccuracies. There will be some detail but this will not always be
relevant and there will be limited ability to work from the particular to the general.
(14-16) Description will dominate.

Quality of written communication will be inconsistent but will enable basic if
limited communication. There will be frequent inaccuracies although not sufficient
to prevent communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have some ability to describe their
chosen films and topic. Knowledge and understanding will be more secure but
(17-20) description will dominate. An appreciation of the issues raised by the question will
be evident although it may be implicit.

Quality of written communication will be adequate. Although sometimes awkward
in expression, communication will generally be clear. There will be occasional
inaccuracies.

3: 21-27 At the lower end of this level, candidates will have a sound knowledge and
understanding of their chosen films and topic. The ability to make points
supported with relevant evidence will be emerging although there may still be a
tendency to the descriptive. The use of appropriate specialist language will be
(21-23) emerging.

Quality of written communication will be sound. It will be reasonably fluent,
reasonably structured and mainly accurate.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and
understanding of their chosen films and topic. Clear points of view will be
(24-27) developed and the use of appropriate specialist language will inform discussion.

Quality of written communication will be good. It will be fluent, well-structured
and accurate.
4: 28-35 At Level 4, candidates will be distinguished by an excellent knowledge and
confident understanding of their chosen films and topic. Points of view will be
developed very effectively with appropriate specialist language a feature of all film
references.

Quality of written communication will be excellent. It will be fluent, well-
structured and accurate, showing signs of sophistication.


Section A: Guidelines on specific questions

prescriptive.

Aspects of a National Cinema
Questions 1 and 2:

• An understanding of the idea of a national cinema, including strategies for a successful
indigenous cinema within the global market.
• A specific understanding of the characteristics of the chosen national cinema within its
political, historical and social contexts.
• An understanding of how the form and style expresses a particular view and how this may in
some ways be distinctive to that national cinema.

International Film Styles
Questions 3 and 4

• A knowledge and appreciation of the importance of the relevant historical, political, social,
cultural and artistic contexts.
• A specific understanding of the chosen films and their stylistic features – and of the
relationship of these chosen features to thematic preoccupations.
• An understanding of what is distinctive – and innovative – in the films studied.

Specialist Study 1 – Urban Stories: Power, Poverty and Conflict
Questions 5 and 6

• An appreciation of the messages and values contained within the chosen films.
reference to distinctive stylistic features.

Specialist Study 2 – Empowering Women
Questions 7 and 8

• An appreciation of the messages and values contained within the chosen films, especially
gender issues.
reference to distinctive stylistic features which relate to a ‘gendered’ cinema.


Section B: Guidelines on specific questions

prescriptive.

Questions 9 and 10
• An understanding of the rapid development of micro features of film language during the
period, especially in relationship to spectator positioning and response.
• An understanding of the rapid development in the story-telling capacity of early cinema with
particular reference to narrative and spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition.

Questions 11 and 12
• An awareness of different kinds of documentary practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.

Questions 13 and 14
• An understanding that experimental film/video demands a different and more challenging
spectatorship experience.
• An awareness of different kinds of experimental practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.

Questions 15 and 16
• An understanding of how cinema produces a range of emotional responses in the spectator,
using both macro and micro features.
• An appreciation of how spectators seek a range of different experiences when watching films,
including experiences that may challenge and disturb.
• An appreciation of cinematic contexts – including the significance of audience viewing
situations, fandom and ‘cultism’ – in contributing to spectator response.

General Performance Descriptors: Section C

across different historical periods and geographical locations.



1: 0 -11 Level 1 candidates will give few indications that they have gained knowledge and understanding of the
work required to respond adequately to the questions on this paper. References will be highly
generalised and frequently inaccurate.

There will thus be no obvious evidence of understanding or an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.

Quality of written communication will be inadequate so that communication is only successful in
simple statements. There will be frequent inaccuracies.

2: 12 – 17 At the lower end of Level 2, candidates will have some ability to describe the critical issues they
choose to write about but, compared with work at higher grades, knowledge will be insecure with
significant inaccuracies. There will be some detail but this will not always be relevant and there will be
limited ability to work from the particular to the general. Description will dominate with very little
evidence of understanding in attempting to respond to specific issues raised by the questions.

There will thus be evidence of a basic understanding and basic ability to apply that understanding
(12-14) through analysis of film and the relevant critical and contextual issues.

Quality of written communication will be inconsistent but will enable basic if limited communication.
There will be frequent inaccuracies although not sufficient to prevent communication.
…………………………………………………………………………………………
At the upper end of this level, candidates will have an ability to describe in broad terms the critical
issues they choose to write about. Description, generally accurate, will dominate. An appreciation of
the basic aspects of critical debates and issues will be apparent although this will often be implicit
rather than explicit.

There will thus be evidence of a developing understanding and an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.

(15-17) Quality of written communication will be satisfactory. Although sometimes awkward in expression,
communication will be generally clear. There will be some inaccuracies.

3: 18-23 At the lower end of Level 3, candidates will have a sound knowledge and reasonable understanding of
the critical issues they choose to engage with. They will be able to make detailed and accurate
references to specific films and cinemas. There will be a sense of being able to make and support
points rather than rely on description at this level, in comparison with work at higher levels, clear
points of view won't always be developed.

Candidates will thus demonstrate a sound understanding of film and film issues and a sound ability to
(18-20) apply that understanding through analysis of film and the relevant critical and contextual issues.

Quality of written communication will be sound. It will be reasonably fluent, reasonably structured
and generally accurate, enabling clear communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and understanding of the critical
issues they choose to engage with. They will be able to make detailed, accurate and usually precise
reference to specific films and cinemas.

There will thus be clear evidence of a good understanding of film and film issues and a good ability to
apply that understanding through effective analysis of film and the relevant critical and contextual
issues.
(21-23)
Quality of written communication will be good. It will be fluent, well-structured and accurate.

4: 24-30 Level 4 candidates will be distinguished by an excellent knowledge and confident understanding of the
critical issues they choose to engage with. They will be able to make very detailed, accurate and
precise reference to specific films and cinemas. Work will be structured highly effectively. There will
be evidence of a clear and distinctive 'voice' developing.

There will clear evidence of a high level of understanding of film and film issues and an excellent
ability to apply that understanding through coherent analysis of film and the critical and contextual
issues relating to them.

Quality of written communication will be excellent. It will be very fluent, well-structured and
accurate, showing signs of sophistication.


Section C: Guidelines on specific questions

The following is a guideline to the understanding candidates may demonstrate in their answers.
It is not intended to be prescriptive.

Questions 17 to 28
• Knowledge of some of the different critical responses provoked by the chosen film, together
with an appreciation of the film’s status – arising, for example, from a consensus view that it
is a stylistically innovative film or a significant auteur work, or a major contribution to the
way we think theoretically about film.
• Understanding of the issues underlying its (possibly diverse) critical reception, including, for
example, those relating to theme, style and structure.
• An appreciation of how one or more critical approaches applied by the candidate has been
productive in enhancing understanding and appreciation of the chosen film.

GCE Film Studies SAM (2009-2010)/JD
25 September 2007

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