“If students aren't taught the language of sound and images, shouldn't they be considered as illiterate as if they left college without being able to read and write?"
George Lucas, filmmaker
"No matter what the source, information is only powerful if students know what to do with it. As students are inundated with media messages, the challenge is not to amass more information,but to understand it."
Kathleen Tyner, author, "Literacy in A Digital World"
The Film/Media Department is now established as one of the most successful departments in the school at Post 16, with 70% students achieving a C or higher at A Level in the last three years. In the Sixth Form students can specialise in either Film Studies A Level or the Creative Media BTEC, with both subjects achieving above the national average in the summer of 2017. Many students have also then gone onto study Film or Media related degrees at University. In addition pupils are offered the opportunity to study a wide range of Films at GCSE, from mainstream blockbusters to the richness and variety offered by ‘Non-Hollywood’ films. The new syllabus gives students the opportunity to study and compare films across the 20th century as well as create short films of their own.
Head of Department: Mr K Wright
Film Studies/Media Teacher: Mrs Battershill
Film Studies GCSE is a very popular choice for pupils who appreciate a subject which is academic in its foundation but also provides opportunities to apply learning in a practical context.
Film Studies GCSE
The WJEC Eduqas specification in GCSE Film Studies is designed to draw on learners' enthusiasm for film and introduce them to a wide variety of cinematic experiences through films which have been important in the development of film and film technology. Learners will develop their knowledge of US mainstream film by studying one film from the 1950s and one film from the later 70s and 80s, thus looking at two stages in Hollywood's development. In addition, they will be studying more recent films – a US independent film as well as films from Europe, including the UK, South Africa and Australia.
Production is an important part of this specification and is integral to learners' study of film. Studying a diverse range of films from several different contexts is designed to give learners the opportunity to apply their knowledge and understanding of how films are constructed to their own filmmaking and screenwriting. This is intended to support learners in producing creative films and screenplays as well as enable their production work to provide an informed filmmaker's perspective on their own study of film.
WJEC CBAC Ltd.
Films set for study
Component 1: Key Developments in US Film
Three US films must be chosen for this component: one pair of mainstream films for
comparison and one independently produced film.
Learners must choose one of the following pairs of mainstream films for a comparative
· King Solomon's Mines (Bennett & Marton, USA, 1950), PG and Raiders of the Lost
Ark (Spielberg, USA, 1981), PG
· Singin' in the Rain (Donen & Kelly, USA, 1952), U and Grease (Kleiser, USA, 1978),
· Rear Window (Hitchcock, USA, 1954), PG and Witness (Weir, USA, 1985), 15
· Rebel without a Cause (Ray, USA, 1955), PG and Ferris Bueller's Day Off (Hughes,
USA, 1986), 12A
· Invasion of the Body Snatchers (Siegel, USA, 1956), PG and E.T. the Extra-
Terrestrial (Spielberg, USA, 1982), U
Learners must choose one of the following independently produced films:
· Little Miss Sunshine (Dayton/Faris, USA, 2006), 15
· Juno (Reitman, USA, 2007), 12
· The Hurt Locker (Bigelow, USA, 2008), 15
· Whiplash (Chazelle, USA, 2014), 15
· Me and Earl and the Dying Girl (Gomez-Rejon, USA, 2015), 12.
Component 2: Global Film: Narrative, Representation and Film Style
Three films must be chosen for this component.
Learners must choose:
· one of the following global English language films:
· Rabbit-Proof Fence (Noyce, Australia, 2002), PG
· Slumdog Millionaire (Boyle, UK, 2008), 15
· District 9 (Blomkamp, South Africa, 2009), 15
· An Education (Scherfig, UK, 2009), 12A
· Song of the Sea (Moore, Eire, 2014), PG
· one of the following global non-English language films:
· Spirited Away (Miyazaki, Japan, 2001)
· Tsotsi (Hood, South Africa, 2005), 15
· Let the Right One In (Alfredson, Sweden, 2008), 15
· The Wave (Gansel, Germany, 2008), 15
· Wadjda (Al-Mansour, Saudi Arabia, 2012), PG
· one of the following contemporary UK films (produced since 2010):
· Submarine (Ayoade, UK, 2010), 15
· Attack the Block (Cornish, UK, 2011), 15
· My Brother the Devil (El Hosaini, UK, 2012), 15
· Skyfall (Mendes, UK, 2012), 12
· Brooklyn (Crowley, UK, 2015), 12A.
GCE AS/A2 Level Film
The AS/A specification in Film Studies is designed to deepen students understanding, appreciation and enjoyment of film, the major art form of the twentieth century, and one developing new modes of expression and exhibition in the first decades of the twenty-first century.
The specification builds on the cine-literacy learners have developed informally since childhood, as well of course upon that learned at GCSE . They will also engage with a wide range of different kinds of films, developing skills of observation, critical analysis and personal reflection, as well as developing their creativity and practical skills, either in audio-visual or written form. A variety of forms of assessment are used, with the intention of producing imaginative, active learners.
Films set for study Component 1: Varieties of film and filmmaking Six feature-length films will be studied for this component. Section A: Hollywood 1930 - 1990 (comparative study) Two Hollywood films will be studied for comparison, one chosen from group 1 and one chosen from group 2:
Group 1: Classical Hollywood (1930-1960) · Casablanca (Curtiz, 1942), U · The Lady from Shanghai (Welles, 1947), PG · Johnny Guitar (Ray, 1954), PG · Vertigo (Hitchcock, 1958), PG · Some Like It Hot (Wilder, 1959), 12
Group 2: New Hollywood (1961-1990) · Bonnie and Clyde (Penn, 1967), 15 · One Flew Over the Cuckoo's Nest (Forman, 1975), 15 · Apocalypse Now (Coppola, 1979), 15 · Blade Runner (Scott, 1982), 15* · Do the Right Thing (Lee, 1989), 15. *Learners study Blade Runner in the Director's Cut version, released 1992.
Section B: American film since 2005 (two-film study) Two films will be studied, one chosen from group 1 and one chosen from group 2:
Group 1: Mainstream film · No Country for Old Men (Coen Brothers, 2007), 15 · Inception (Nolan, 2010), 12A · Selma (Duvernay, 2014), 12A · Carol (Haynes, 2015), 15 · La La Land (Chazelle, 2016), 12A
Group 2: Contemporary independent film (produced after 2010) · Winter's Bone (Granik, 2010), 15 · Frances Ha! (Baumbach, 2012), 15 · Beasts of the Southern Wild (Zeitlin, 2012), 12A · Boyhood (Linklater, 2015), 15 · Captain Fantastic (Ross, 2015), 15.
Section C: British film since 1995 (two-film study) Two of the following British films will be studied: · Secrets and Lies (Leigh, 1996), 15 · Trainspotting (Boyle, 1996), 18 · Sweet Sixteen (Loach, 2002), 18 · Shaun of the Dead (Wright, 2004), 15 · This is England (Meadows, 2006), 18 · Moon (Jones, 2009), 15 · Fish Tank (Arnold, 2009), 15 · We Need to Talk about Kevin (Ramsay, 2011), 15 · Sightseers (Wheatley, 2012), 15 · Under the Skin (Glazer, 2013), 15.
2: Global filmmaking perspectives Five feature-length films (or their equivalent) will be studied for this component.
Section A: Global film (two-film study) Two films will be studied, one chosen from group 1 and one from group 2:
Group 1: European film · Life is Beautiful (Benigni, Italy, 1997), PG · Pan’s Labyrinth (Del Toro, Spain, 2006), 15 · The Diving Bell and the Butterfly (Schnabel, France, 2007), 12 · Ida (Pawlikowski, Poland, 2013), 12A · Mustang (ErgÅ±ven, France/Turkey, 2015), 15 · Victoria (Schipper, Germany, 2015), 15
Group 2: Outside Europe · Dil Se (Ratnam, India, 1998), 12 · City of God (Mereilles, Brazil, 2002), · House of Flying Daggers (Zhang, China, 2004), 15 · Timbuktu (Sissako, Mauritania, 2014), 12A · Wild Tales (Szifrón, Argentina, 2014), 15 · Taxi Tehran (Panahi, Iran, 2015), 12.
Section B: Documentary film One of the following films will be studied: · Sisters in Law (Ayisi and Longinotto, Cameroon/UK, 2005), 12A · The Arbor (Barnard, UK, 2010), 15 · Stories We Tell (Polley, Canada, 2012), 12A · 20,000 Days on Earth (Forsyth and Pollard, UK, 2014), 15 · Amy (Kapadia, UK, 2015), 15.
Section C: Film movements - Silent cinema One of the following film options will be studied: · One Week (1920), U and The Scarecrow (1920), U and The 'High Sign' (1921), U and Cops (1922), U, (Keaton, US) · Strike (Eisenstein, USSR, 1924), 15 · Sunrise (Murnau, US, 1927), U · Spies (Lang, Germany, 1928), PG · Man with a Movie Camera (Vertov, USSR, 1928), U and A Propos de Nice (Vigo, France, 1930), U.
Section D: Film movements - Experimental film (1960-2000) One of the following film options will be studied: · Vivre sa vie (Godard, France, 1962), 15 · Daisies (Chytilova, Czechoslovakia, 1965), 15 and Saute ma ville (Akerman, Belgium, 1968), 15 · Pulp Fiction (Tarantino, US, 1994), 18 · Fallen Angels (Wong, Hong Kong, 1995), 15 · Timecode (Figgis, US, 2000), 15.
There have already been a number of visits to screenings of special interest. We also run annual trips to the Warner Brothers studio in London.
The ‘Into-Film’ film club ran a number of successful screenings last year utilizing the Cotswold Hall’s large screen and surround sound speakers, mainly focusing on non-mainstream and off-beat films which broadened the student’s film-watching experience. ‘Into-Film’ is scheduled to return again in the near future.
Careers in Journalism, Television, Radio, Advertising, the Music Industry, Game Design, many other areas of creative media and of course Film itself.