Tuesday 26 April 2011

Example Exam Questions



The Film Industry

  • To what extent are Hollywood films simply ‘products’ made to make a profit?
  • How important is marketing in influencing people to watch Hollywood films both at the cinema and on DVD?
  • How are billboard posters and poster-style advertisements in newspapers and magazines used to create audiences for films?

The Film Audience

  • What role does the internet now play in enabling people to develop their interest in films?
  • In what ways do factors such as who we watch films with and where we watch films influence our viewing experience and our response to film material?
  • How has the experience of watching films changed in recent years and how do you think it might develop in the future?

Stars

  • To what extent are star images controlled by the film industry?
  • To what extent are fans now able to determine the success or failure of individual stars?
  • What are some of the ways in which fans and the film industry work together to create a star’s image?

Swinging Britain 1963–1973

  • What for you are the most striking uses of narrative construction in the films you have studied?
  • Do the directors of the films you have studied employ narrative in particular ways to say make comment on class in this period?
  • The films of Swinging Britain are essentially about freedom.  Discuss how the films you have studied present freedom.
  • Is there any benefit to understanding the narrative structures in the films of Swinging Britain in exploring the cultural context of the films you have studied?
  • What particular Micro aspects employed in the films you have studied are significant in advancing either Narrative or Genre in the Swinging Britain period?

AS Film Studies : Exam Requirements

What do I need to know about the contemporary UK and US industries?


With regard to the US film industry, the basics of: - the ways in which ‘deals’ are made and projects put into production, including the relative power of stars and directors
- the importance of genre and ‘series’ films
- global marketing and distribution
- conglomeration and its significance
- distinctions between ‘studio’ and more ‘independent’ films

With regard to the UK film industry, the basics of::
- ways in which UK films are financed and production supported
- characteristic types of UK film – including genre
- the marketing and distribution of relatively low budget films
- ways of finding international markets, and the tensions in doing so
- limitations of the UK film industry and policies for addressing these


What should you highlight as important in considering the Star topic option?


Star study has specific elements. Traditionally the distinction has been made between actual person – roles – screen persona – wider media image. Whether studying Julie Christie or Ewan McGregor films it should be possible to explore the interesting tensions across these. However, the topic is more modest in its ambition and, as with the other topics, focuses on narrative and representation.
Here are two questions that can be asked:
• Is the star associated with a particular kind of narrative film?
• Does the star embody particular traits that relate to issues of representation?


What is Swinging Britain 1963 – 1973?


 How progressive was Britain in the 60s and early 70s? How far did a social and style revolution
extend beyond the metropolitan areas? To some degree this topic is dealing with a myth of cultural history and possibly inviting the question: how far did cinema contribute to this myth? The time frame of this option begins after the ‘kitchen sink’ new wave of the late 50s and early 60s. The films for this option are nearly all characterised by some radical or transgressive or fantasy element or mark a shift in social and
moral attitudes.

British & American Film – Section C



Historical genre comparison :
 Bonnie and Clyde & Natural Born Killers

The work of the best 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. In addition there will be a good knowledge of narrative and representation.

Sunday 17 April 2011

British Style Genius - The Origins Of '60's Fashion





















.
An excellent BBC series on youth culture and fashions
www.youtube.com/watch?v=EsAwqT61Gzg
http://www.youtube.com/watch?v=s7SjJt6fjr4&NR=1
http://www.youtube.com/watch?v=Pbm6_FqjEHA&feature=related

Swinging Britain 1963-1973





















AS Film Studies Textbook Chapter

Swinging London

Mod Culture

Youth Culture

The Who : My Generation (1965)
The original Mod anthem, a put-down of the morals and values of the older generation and a  glorious celebration of British youth culture before Woodstock and the birth of the hippie. 

Bob Dylan : Subterranean Homesick Blues (1965)
The template for all protest songs - in less than three minutes Dylan debunks the myths surrounding the American Dream.

Barry McGuire : Eve Of Destruction (1965)
A pop cash-in riding on the coat tails of Dylan, this song reads like a bunch of headlines torn from the front pages of the popular press.

Pink Floyd : Arnold Layne (1967)
An early example of British psychedelia which leans heavily on the writings of Edward Lear and Lewis Carroll.

The Beatles : Hello Goodbye (1967)
The Fab Four decked out in their full Sgt. Pepper finery. They had their first hit in December '62, but already the signs of discontent are there. Having ditched their boy-band past ( see ' A Hard Days Night ' ) their music was becoming increasingly experimental. In 1969 John Lennon announced that he was quitting, and by 1970 they were gone, leaving a massive footprint on the face of popular culture.  

The Small Faces : Itchycoo Park (1967)
A classic piece of British psychedelic pop which merges English sensibility with American hippie idealism. The Small Faces, along with The Beatles, The Kinks,Pulp and Blur, can be described as quintissently ' English ' in their outlook.
 http://www.youtube.com/watch?v=VJzcF0v1eOE

The Rolling Stones : Street Fighting Man (1968)
Inspired by student demonstrations in Grosvenor Square and the Paris riots of '68. The writer of this lyric is now Sir Mick Jagger. Draw your own conclusions.

John Lennon : John Sinclair (1970)
A song protesting about the imprisonment of John Sinclair, manager of The MC5, a proto-punk political band from Detroit. At the time Lennon was under investigation from both the FBI and CIA. Heavy !!!

T.Rex : Get It On (1971)
The turn of the decade saw a younger generation begin to influence the direction of popular music, with T.Rex spearheading a movement labelled ' Glam Rock '. Check out a young Elton John on piano ! Glam was a direct response to the boring hippie music listened to by the elder brothers and sisters of the kids who were teenagers in 1971.
http://www.youtube.com/watch?v=XspsJACj8WY&feature=related

Mott The Hoople : All The Young Dudes (1972)
The ultimate Glam Rock anthem, this tune casts aside the values of the '60's generation and looks forward to the dawn of a new era. During the course of this song ( written by David Bowie), they dismiss The Beatles and The Stones while extolling the virtues of T.Rex. 

David Bowie : Drive In Saturday (1973)
The single most important musical artist to come out of the UK, Bowie drew heavily on  Stanley Kubrick films such as 2001 and A Clockwork Orange. Listen carefully and you'll hear him name check Twiggy in the chorus, along with Carl Jung and The Rolling Stones. This song draws on the work of Philip K. Dick, William Burroughs and employs a kind of future nostalgia in looking forward to a world where humans have lost the means of one to one communication and so look to technology in order to enrich their lives. In other words...a bit like today. 

AS Film Studies : Get Carter

















Plot Synopsis
http://en.wikipedia.org/wiki/Get_Carter

Official Movie Trailer
http://www.youtube.com/watch?v=AgU1L1z-Zx4

Get Carter Fan Site
http://www.btinternet.com/~mark.dear/carterindex.htm

Mike Hodges Interview
http://www.screendaily.com/reports/one-on-one/mike-hodges/5024871.article

AS Film Studies : The Wicker Man













Plot Synopsis
http://en.wikipedia.org/wiki/The_Wicker_Man_(1973_film)

Official Movie Trailer
http://www.youtube.com/watch?v=5FdV-O8o7ok

Excellent 3-part BBC Documentary
http://www.youtube.com/watch?v=5FdV-O8o7ok
http://www.youtube.com/watch?v=b1GF3O1pVUE&feature=related
http://www.youtube.com/watch?v=JSMeZUIv-xM&feature=related

The Wicker Man Website
http://www.wicker-man.com/

Tuesday 12 April 2011

AS Film Studies : Don't Look Now


















Film Synopsis
http://en.wikipedia.org/wiki/Don't_Look_Now

Original Film Trailer
http://www.youtube.com/watch?v=TYICwstBwnM

BBC Culture Show Analysis
http://www.bbc.co.uk/learningzone/clips/interview-with-director-nicolas-roeg/10120.html

AS Film Studies : Blow - Up











Plot Synopsis
http://en.wikipedia.org/wiki/Blowup

Original Trailer
http://www.youtube.com/watch?v=2Xz1utzILj4&feature=related

AS Film Studies : Julie Christie





















Profile
http://en.wikipedia.org/wiki/Julie_Christie

Interview
http://www.youtube.com/watch?v=_QMwYNOMavo

AS Film Studies Textbook Chapter
http://cw.routledge.com/textbooks/9780415454339/downloads/christie.pdf

AS Film Studies : Performance



























Plot Synopsis
http://en.wikipedia.org/wiki/Performance_(film)

Memo From Turner
http://www.youtube.com/watch?v=T3qgmVb4-kU

Nic Roeg
http://www.screenonline.org.uk/people/id/456125/

The Making Of Performance Documentary
http://www.youtube.com/watch?v=wGmZYKm7FGo&feature=related
http://www.youtube.com/watch?v=fikZwrIOpyQ&feature=related
http://www.youtube.com/watch?v=U5pTz3YneCU&feature=related

AS Film Studies : A Clockwork Orange


Plot Synopsis
http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)

A Clockwork Orange Documentary
http://www.youtube.com/watch?v=lPW8Ek1BNSA&feature=related
http://www.youtube.com/watch?v=hOupYjbVEMA&feature=related

Stanley Kubrick Biography
http://en.wikipedia.org/wiki/Stanley_Kubrick

AS Film Studies : Billy Liar
















Synopsis
http://en.wikipedia.org/wiki/Billy_Liar_(film)


Original Film Trailer
http://en.wikipedia.org/wiki/Billy_Liar

AS Film Studies : A Hard Days Night




















A Hard Days Night

Film Synopsis
http://en.wikipedia.org/wiki/A_Hard_Day's_Night_(film)

Full Movie
http://www.youtube.com/watch?v=XkKra3_pfBY

Documentary
http://v.youku.com/v_show/id_XMjA4NzE0NTQ4.html

Script
http://www.aellea.com/script/ahdn.htm

Film Terms

Using these terms will help you to analyse and explain moving image sequences in film, television or advertising.


Framing
What’s included and excluded in an individual shot.

Very long shot/wide shot
A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place; also used to make a figure appear small or isolated.
Long shot
A shot in which a figure can be seen from head to toe.
Mid shot
Shows the figure from approximately the waist to the head. In a mid shot, you can easily recognise an individual but you can also see what they are doing with their hands.
Medium close up
From chest to head
Close-up
Head and shoulders, enabling you to easily see facial expressions, so you can see what characters are thinking and feeling
Big close up
Head only, used when expressions are important
Extreme close-up
From just above the eyebrows to just below the mouth, or even closer: used to emphasise facial expression or to make the subject appear threatening.

Other useful terms for shots are:
Two shot
Any shot with two people in it
Point of view shot
A shot from a character’s point of view
Reaction shot
A shot showing a character’s expression as they react to something
Noddy
A type of reaction shot used in interviews, where we see the interviewer apparently reacting to the interviewee
Over-the-shoulder shot
A shot in which we see a character over another’s shoulder, often used in interviews or dialogues
Lens
The type of lens, and how it’s used, can make a big difference to the meaning of a shot.
Wide-angle shot (taken with a wide-angle lens)
This has the effect of seeming to exaggerate perspective. It's often used to make the viewer feel that they are close to the action. If it's used for closeups, it makes the nose look bigger and the ears smaller ­ an effect usually used for comedy.
Telephoto shot
Like using a telescope, a telephoto lens appears to bring the subject closer and flatten out perspective. It also usually reduces depth of field.
Zoom lenses
These can vary the angle of view, from wideangle to telephoto, so that the subject appears to move closer (or further away) without the camera itself moving.
Depth of field
This means how much of the shot seems to be in focus, in front of and behind the subject.
Deep focus
Everything in the shot appears to be in focus, which means that we can be looking at action taking place in the foreground, middle ground and background.
Shallow focus
Isolates the subject from the background.

Camera position
Where the camera is in relation to the subject.
Low angle shot
The camera points upwards, usually making the subject or setting seem grand or threatening.
High angle shot
The camera looks down, making the subject look vulnerable or insignificant.
Bird’s eye shot
Looks vertically down at the subject.
Camera movements
Track
Moving the camera itself towards or away from the subject, or to follow a moving subject. (Not to be confused with a zoom, where the camera’s lens is varied to give the impression of moving closer to, or away from the subject.)
Pan
Pivoting the camera to the side to scan a scene or to follow a moving subject.
Whip pan
A sudden, fast pan.
Tilt
Pivoting the camera vertically up or down.
Arc
Moving the camera in an arc around the subject.
Crane shot
A shot where the camera itself moves up or down.
Hand-held shot
This is used to convey a sense of immediacy.

Lighting
Lighting can be high or low contrast and can vary in colour and direction.
High-key
The lighting is bright and relatively low in contrast ­ often used for Hollywood musical comedies.
Low-key
Much more pronounced shadows and dramatic contrasts.
Lighting from below
This can be used to make a subject appear threatening or horrific.
Backlighting
Produces a ‘halo’ effect around the edges of the subject.
Colour
Cold or blueish lighting can convey a sense of cold, alienation or technology, while warm or yellowish lighting can be used to convey comfort, sunset and so on. If colours are very rich and intense they are described as saturated.
Black-and-white or sepia can be used to show that a scene is set in the past, or to suggest sophistication.
Mise-en-scène
This means the way in which objects, scenery and the location are shown by using light and dark, pattern, colour, camera position and angle, and movement within the frame. Mise-en-scene establishes mood and atmosphere, and can express the inner life of characters through the way in which their settings are depicted on screen.

Editing
How the individual shots are put together.
There are two main types of editing which you will encounter in mainstream films and TV programmes:
Continuity editing
The majority of film sequences are edited so that time seems to flow, uninterrupted, from shot to shot. Within a ‘continuity editing’ sequence, only cuts will be used. Continuity editing can also involve ‘cross-cutting’, where a sequence cuts between two different settings where action is taking place at the same time.
Montage
In montage, different images are assembled to build up an impression. This is often used in title sequences. The most famous example of this technique is the Odessa Steps sequence from Battleship Potemkin.
Editing can vary both in pace (how long individual shots stay on the screen for) and in the transitions between shots.
Transitions describe the way in which one shot replaces the previous one:
Cut
One image is suddenly replaced by another, without a visible transition.
Cross-dissolve
One image dissolves into another. This can be used to make a montage sequence - eg the title sequence - flow smoothly; it can also be used in continuity editing to show that we have moved forwards in time and/or space.
Fade up
An image gradually fades in
Fade out
An image gradually fades out.
Fades to and from black usually mean that time has passed
Wipe
One image replaces another without dissolving, with the border between the images moving across or around the screen.

Sound
Diegetic sound
Sound that we think is part of what’s going on on the screen ­ horse’s hooves, the sound of thunder, and so on ­ even though many of these will have been added later by a ‘Foley artist’.
Non-diegetic sound
Sound that we know is not part of what’s on screen, such as music (unless there's an orchestra in shot!) and voiceover.
Sound bridge
This uses sound to link two scenes, by having the picture and the diegetic sound change at different points. Usually the sound from the second scene is heard before we start to see the picture from that scene.
©2002 Media Education Wales