GCE AS/A FILM STUDIES 26

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

AO1

Max raw mark (Unit Weighting,

% A Level)

AO2 Max raw mark

(Unit Weighting, % A Level)

Totals Max raw marks (Unit Weighting,

% 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 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) will be weighted equally with the ability to apply that through exploration and analysis (AO2) at all levels.

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Level Performance Descriptor

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 (14-16) (17-20)

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. 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 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 (21-23) (24-27)

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 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 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.

GCE AS/A FILM STUDIES 28

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. 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. • An understanding of the relationship between form and content, possibly with a particular

reference to distinctive stylistic features. • An understanding of contexts, especially time and place.

Specialist Study 2 – Empowering Women Questions 7 and 8

• An appreciation of the messages and values contained within the chosen films, especially gender issues.

• An understanding of the relationship between form and content, possibly with a particular reference to distinctive stylistic features which relate to a ‘gendered’ cinema.

• An understanding of contexts, especially time and place.

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Section B: Guidelines on specific questions

The following is a guideline to issues candidates may raise in their answers. It is not intended to be 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 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 geographical 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) will be weighted equally with the ability to apply that through exploration and analysis (AO2) at all levels.

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Level Performance Descriptor

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 (12-14) (15-17)

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 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. 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 (18-20) (21-23)

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 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. 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.

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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