Specimen Papers - WJEC new spec

8/14/2019 Specimen Papers - WJEC new spec

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GENERAL CERTIFICATE OF EDUCATION

TYSTYSGRIF ADDYSG GYFFREDINOL

2009 - 2010

FILM STUDIES

SPECIMEN QUESTION PAPERS

SPECIMEN MARKING GUIDELINES


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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


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GCE AS/A FILM STUDIES 5

WELSH JOINT EDUCATION COMMITTEE

General Certificate of Education

Advanced Subsidiary/Advanced

CYD-BWYLLGOR ADDYSG CYMRU

Tystysgrif Addysg Gyffredinol

Uwch Gyfrannol/Uwch

FILM STUDIES

FM2

British and American Film

SPECIMEN PAPER

(2 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.


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FM2: British and American Film

Answerthree 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]


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Section B: British Film Topics


British Film and Genre

You should discuss a minimum oftwo films in your answer and base it on one of the following:

Horror orComedy.

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 orEwan 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 theytake on? [40]

British Film and Production Companies


Ealing Studios orWorking 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]


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British Film: Cultural Study


Swinging Britain 1963 - 1973 orThatcher's Britain: the 1980s.

Either

9. How does narrative explore particular tensions ofeither 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 oftwo 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 oftwo films in your answer and base it on the following: 'Bordersand 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 oftwo 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]


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General Certificate of Education

Advanced Subsidiary/Advanced


Tystysgrif Addysg Gyffredinol

Uwch Gyfrannol/Uwch

FILM STUDIES

FM2

British and American Film

SPECIMEN PAPER

2 hours

Resource Material for use with Section A


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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 WillFerrell (released in 2006 and 2007)

UK Release: Box OfficeOpening Weekend

US Release: Box OfficeOpening Weekend

Box OfficeTakings (m)

Screens Box OfficeTakings ($m)

Screens

TalladegaNights: The

Ballad of RickyBobby (2006)

1.03 m 403 $47.04 m(approx 23.9 m)

3803

Blades ofGlory (2007)

1.02m 362 $33m 3372


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Poster for Talladega Nights (2006)

Front Cover of Premiere, April 2007


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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 avery high quality portfolio of multiplex cinemas. We will continue to expand and enhance this platformto ensure that we have the leading, most modern and best equipped cinema circuit in the UK. TheVue brand will become synonymous with the best screens, the best sound and the best seating, tocreate the best possible cinematic experience. We will make sure this appeals to everyone by offeringa 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 leatherseats, waiter service and bar. Less than 10 minutes from Manchester city centre in The Lowry OutletMall at Salford Quays.

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

300 (GC) Premonition

Based on the epic graphic novel by Frank

Miller.Warner Brothers Picture

A supernatural thriller about a woman who has

a premonition about the death of her husband.Hyde Park / TriStar - US

Ghost Rider The Hills Have Eyes 2

Film version of the comic book about a

motorcycle stuntman who sells his soul to the

devil.

Columbia Pictures Corporation

Sequel to the 2006 horror remake about a

group of mutant cannibals.

Twentieth Century Fox - US

Hot Fuzz The Queen

The talent behind Shaun Of The Dead reunite

for Hot Fuzzs following the career of PC

Nicholas Angel (Pegg).

Big Talk / Working Title - UK

Helen Mirren stars as Queen Elizabeth II as

she attempts to deal with the death of Diana,

Princess of Wales

Granada / Pathe - UK

Norbit TMNT

A mild-mannered geek plots to leave his

nightmare wife when he falls in love with

another

Dreamworks - US.

This state-of-the-art CG animation brings the

crime-fighting turtles to life for a whole new

generation.

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


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Is Cinema Dead?

Is this the future of cinema-going?

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

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

DVD sales are now a huge part of the Hollywood marketing machine an estimated 60% of revenuefrom 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 ofpiracy (oddly not something that Joe Public is losing too much sleep over), which meant that Star

Warswas 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 thecinema in the US, in a bid to stay one step ahead of those pesky pirates. Its the first time somethinglike this has happened, and theyre 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 theycompete with the comforts of home, where you can drink and smoke to your heart's content, shout atthe screen, and answer your mobile phone should you so desire?

Photograph:Getty


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General Certificate of EducationAdvanced Subsidiary/Advanced


Tystysgrif Addysg GyffredinolUwch Gyfrannol/Uwch

FILM STUDIES

FM4

Varieties of Film: Issues and Debates

SPECIMEN PAPER

(2 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.


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FM4 Varieties of Film Experience: Issues and Debates

Answerthree questions one from each section

Section A: World Cinema Topics


Aspects of a National Cinema

Your answer should be based on a minimum oftwo films appropriate to one of the following topics:

Japanese Cinema 1950 1970 Mexican Cinema 1990 present

Iranian 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 oftwo films appropriate to one of the following topics:

German and/or Soviet Film of the 1920s Surrealism

Neo-Realism 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 ConflictYour answer should be based on a minimum oftwo 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-scne and/or sound in creating meaning and generatingresponse in the films you have studied? [35]


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Specialist Study: Empowering Women

Your answer should be based on a minimum oftwo films.

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

Your answer should be based on a minimum oftwofilms.

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]


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

20. How far isLes 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. TheBattle 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]


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FM2: BRITISH AND AMERICAN FILM

MARKING GUIDELINES

AO1

Max raw mark

(Unit Weighting,

% AS)

AO2

Max raw mark

(Unit Weighting,

% AS)

Totals

Max raw marks

(Unit Weighting,

% 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 engagingwith the material as in what is said.

The likely proportion of an answer based on the stimulus itself and the proportion based oncase 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


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Level Performance Descriptor

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

Quality of written communication will be inadequate so that communication is only successful in

simple statements. There will be frequent inaccuracies.

2: 1623

(16-19)

(20-23)

At the lower end of this level, candidates will demonstrate some knowledge and understanding ofthe areas studied for this unit. However knowledge will, by comparison with work at highergrades, be insecure with significant inaccuracies. There will be some relevant detail but limitedability to work from the particular to the general. Description will dominate, possibly reliant onthe stimulus material.

Quality of written communication will be inconsistent but will enable basic if limitedcommunication. There will be frequent inaccuracies although not sufficient to preventcommunication..At the upper end of this level, candidates will demonstrate sufficient knowledge andunderstanding of the areas studied for this unit to respond to the question. Description willdominate, with limited ability to discriminate between more or less significant points either basedon the stimulus material or on candidates' own studies. Candidates will however implicitlydemonstrate 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

(24-27)

(28-31)

At the lower end of this level, candidates will demonstrate a sound level of knowledge andreasonable understanding of the areas studied for this unit. They will display a reasonableunderstanding of, and engagement with, the issues raised by the question and some ability toselect material relevant to the question. This will involve as appropriate: a reasonable ability ininterpreting stimulus material, recognising some of the key points; an ability to provide materialfrom their own studies.

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 bedescriptive material related to the relevant issues offering clear evidence of study.

Quality of written communication will be sound: reasonably fluent, reasonably structured andmainly accurate, enabling clear communication..At the upper end of this level, candidates will demonstrate a good level of knowledge and agenerally confident understanding of the areas studied for this unit. They will display a goodunderstanding of, and a good engagement with, the issues raised by the question and display anability to select relevant material. This will involve as appropriate: a good ability in interpretingstimulus material, recognising many of the key points; a good ability to provide appropriatematerial 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-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 understandingof the subjects studied for this unit. They will display an excellent understanding of, and a livelyengagement with, the issues raised by the question set, and display a very good ability to selectrelevant material. This will involve as appropriate: an excellent ability in interpreting stimulusmaterial, recognising key points; an excellent ability to provide appropriate material from theirown studies.

References made to both stimulus material and candidates' own study material will be bothaccurate 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 andaccurate, showing signs of sophistication.


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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 theability to apply that through exploration and analysis (AO2) at all levels.


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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 communicationwill be inadequate so that communication is only

successful in simple statements. There will be frequent inaccuracies.

2: 16-23

(16-19)

(20-23)

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.

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 sufficientto 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

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: 2431

(24-27)

(28-31)

At the lower end of this level, candidates will have a sound knowledge andunderstanding 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

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

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.


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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 theirroles, 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 itsfilms and its underpinning ethos.

Understanding of the social, political and economic contexts within which the chosenproduction company has operated.

An awareness of the specific characteristics of the production company within the British filmindustry.

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 articulatethese contexts.

An awareness of the distinctive response of filmmakers in both the content and style of filmsproduced.


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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 engagewith.

An appreciation of how messages and values contained within the chosen films articulatethese contexts.

An understanding of the relationship between form and content, possibly with a particularfocus on issues of representation.


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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.


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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







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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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 pointssupported 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.


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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 successfulindigenous cinema within the global market.

A specific understanding of the characteristics of the chosen national cinema within itspolitical, historical and social contexts.

An understanding of how the form and style expresses a particular view and how this may insome ways be distinctive to that national cinema.

International Film StylesQuestions 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 therelationship 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 WomenQuestions 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


prescriptive.

Questions 9 and 10

An understanding of the rapid development of micro features of film language during theperiod, especially in relationship to spectator positioning and response.

An understanding of the rapid development in the story-telling capacity of early cinema withparticular 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 eachin 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 challengingspectatorship experience.

An awareness of different kinds of experimental practice and the distinctive features of eachin relation to spectatorship.

An appreciation of cinematic contexts including developments in technology and exhibitionas 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 viewingsituations, fandom and cultism in contributing to spectator response.

General Performance Descriptors: Section C


expression, together with its contexts of production and reception and of the diversity in filmmakingacross different historical periods and geographical locations.AO2: Apply knowledge and understanding, including some of the common critical approaches thatcharacterise the subject, when exploring and analysing films and when evaluating their own filmcreative projects, to show how meanings and responses are generated.

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


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1: 0 -11 Level 1 candidates will give few indications that they have gained knowledge and understanding of thework required to respond adequately to the questions on this paper. References will be highlygeneralised 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 insimple 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 theychoose to write about but, compared with work at higher grades, knowledge will be insecure withsignificant inaccuracies. There will be some detail but this will not always be relevant and there will belimited ability to work from the particular to the general. Description will dominate with very littleevidence 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 understandingthrough analysis of film and the relevant critical and contextual issues.

Quality of written communicationwill 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 criticalissues they choose to write about. Description, generally accurate, will dominate. An appreciation ofthe basic aspects of critical debates and issues will be apparent although this will often be implicitrather than explicit.

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

Quality of written communicationwill 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 communicationwill be sound. It will be reasonably fluent, reasonably structuredand 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 toapply that understanding through effective analysis of film and the relevant critical and contextual

issues.

Quality of written communicationwill 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 andaccurate, 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, togetherwith an appreciation of the films 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, forexample, those relating to theme, style and structure.

An appreciation of how one or more critical approaches applied by the candidate has beenproductive in enhancing understanding and appreciation of the chosen film.

GCE Film Studies SAM (2009-2010)/JD

25 September 2007

Specimen Papers - WJEC new spec

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