This resource closely follows the EDUQAS A-Level specification and the Lisa Wardle textbook to offer teachers a comprehensive introduction to the main issues around spectatorship. This is especially useful in teaching Component 1, Section B, American Film Since 2005. Topics covered include active versus passive spectatorship, viewer positioning, analysis of how film form and narrative shape spectator response, viewing contexts, demographic factors, intertextuality, preferred, negotiated and oppositional readings ( Stuart Hall’s theory) with a few case study application suggestions (CAROL, Haynes, 2015). The resource includes interactive exercises and is presented with nice visuals and text/picture animations. Approx length of time - 1 entire lesson (1 hour). Number of slides: 38.
Realism in Winter’s Bone helps A-Level Film Studies students to engage with the 2010 film ***Winter’s Bone ***(Granik). The resource transmits knowledge of both the aesthetics of film realism as well as an understanding of social realism in terms of representation, ideology and social contexts. This colorful 3 page illustrated resource forms one full lesson and prompts students to answer questions and to undertake their own BINARY ANALYSIS of the film Winter’s Bone, with helpful questions to spark ideas.
This GERMAN EXPRESSIONIST film from the late silent period showcases many features of German Expessionist cinema, as well as being a key example of a film made in Hollywood for an American audience. Made in 1927 by Fox Studio, this film forms the basis of a lesson around German Expressionist cinema and its visual techniques. This 32-Slide presentation provides lots of detail as well as explanation about how certain visual effects were achieved. Ideal for teachers fdollowing the EDUQAS Film Studies A-Level, Component 2.
Component 2, Section B: documentary film Critical Debates: the significance of digital technology in
This fully interactive, colour slide presentation comprises 25 slides which include links to relevant YouTube videos, classroom exercises and exam questions. The case study used for this particular slide presentation is ‘Sisters in Law’ but any of the films on the specification could be substituted. This is a valuable teachring resource for the EDUQAS FILM STUDIES A-LEVEL.
This 39-slide fully interactive presentation ends with exam questions and guidance from the EDUQAS boards, as well as offering historical context and aesthetic characteristics of German Expressionist cinema, with special focus on SUNRISE (FW Murnau). This presentation is excellent for exam revision and conveys the key talking points for this section of the **Film Studies **Component 2 paper.
This 14 slide, fully-animated presentation involves key revision in preparation for Component 1, Section A: Hollywood 1930 – 1990 Comparative Study. Focus is on the auteur debate and industrial contexts, with other factors such as gender representation and genre also considered. The presentation involves interactive exercises and should fill one lesson.
This fully animated, interactive presentation is comprised of 43 full colour slides. The analysis of narrative, formal elements and spectatorship aims at preparing film studies students for the A-Level Exam, (EDUQAS FIlm Studies, Component 1B - American Cinema). It is equally useful for any film or media course. Elements of narrative, as well as camera, sound design, mise-en-scene and lighting are all analysed in this comprehensive study of this modern Western gothic film. This presentation is designed to form the basis for a full one hour lesson, and could be extended to further sessions.
This is a** fully animated** and illustrated (with helpful links integrated) overview of the Cinéma Vérité film movement, comprising 44 slides. Useful for teaching the EDUQAS A-LEVEL in FILM STUDIES (Documentary Component) as well as the IB in Film or Media Studies. The content covers how Cinema Verite ** evolved in the United States, UK, Canada and France. *A- Level FIlm Studies Tutors can use this for two entire lessons. The PowerPoint presentation is to be used over a two-hour lesson and includes breaks for discussion and feedback, as well as the option to use the built-in links to video clips / examples. The presentation includes pictures, text, exercises and video links. It is useful for teaching at A-Level, the International Baccalaureate, or as an introductory lesson at University Level.
This fully animated, interactive 20 Slide illustrated Power-Point presentation forms the basis of a lesson, ideal for a post-screening discussion of narrative in Wong Kar-Wei’s 1995 Hong Kong New Wave film FALLEN ANGELS. The presentation provides several opportunities to pause and discuss aspects of narrative in the film and encourages students to think about the ways in which Wong’s cinema breaks away from conventional genre storytelling methods. The presentation is ideal for the Global CInema / Experimental Cinema component of EDUQAS Film Studies A-Level or for any film studies course interested in Hong Kong New Wave, Auteur studies, or Global Cinema.
This is a 30 slide colour PowerPoint Presentation, with animated slides and interactive questions. The last several slides are designed for exam preparation for OCR General Certificate of Secondary Education. It is also useful for discussing broader questions, such as the differences between morality and law, or secularism and theocracy. Learning Outcomes: Understand the difference between secular and religious laws. For United Kingdom GCSE Religious Studies (9–1) Unit J625/06: Religion, philosophy and ethics in the modern world from a Christian perspective Unit J625/07: Religion, philosophy and ethics in the modern world from a Muslim perspective
Ideal for teaching and revising the AQA Religious Studies A, Component 2 – thematic studiesTheme F: Religion, human rights and social justice (GCSE). This 56-slide PowerPoint presentation covers the AQA curriculm and textbook’s main definitions and helps GCSE students prepare a good set of answers for the exams. It will encourage critical thinking about the examination board’s definitions and assumptions at certain points, but will not prevent students from saying the “right” answers needed to pass the examination.
This is a quick starter worksheet to get students to begin a discussion on the similarities and differences between documentaries and narrative (fiction) films. They may be surprised how many conventions and techniques overlap. This can help to stimulate discussion of what makes a film a documentary, since documentaries can be harder to distinguish from narrative films than one might think.
Suitable for teaching the EDUQAS FILM STUDIES A-LEVEL, this resource comprises a 23-slide presentation giving an overview of the distinctive features of Wong Kar-wei’s films. Useful for the EDUQAS A-LEVEL film studies Component 2: Global Filmmaking perspectives, Section D, Modern Experimental Film, this resources is fully animated and contains links to illustrative You Tube videos. This presentation provides an introduction to the cinema of Won Kar-wei and works well as background / contextualisation of CHUNGKING EXPRESS or FALLEN ANGELS. time: 1 hour
For **FILM STUDIES A-LEVEL ** This class exercise allows students to consider class representations in the 2009 UK independent film Fish Tank. It will prompt discussion and allow students to think about how a variety of characters are represented. The objective is for students to fill in their worksheets independently or in pairs, and then for each individual or pair to feedback to the whole group. In this way, a wide range of answers and insights can be explored. The exercise could fill nearly an entire 1 hour lesson, depending upon the group size.
For both film and media studies, this 14-slide full colour, interactive PowerPoint presentation provides a brief introduction to the basics of film editing (montage). The six elements of an edit are introduced, as well as a discussion of pace, style of editing and parallel editing (cross cutting). Helpful links to YouTube videos provide illustrative examples of the terminology presented. The Presentation - along with Q&A and examples - should fill a 1 hour lesson.
This is a full color 20-slide presentation with links to helpful film clips as illustrations. It forms a class lesson for A-Level film Studies or equivalent and gives helpful context for films produced at this exciting, director-led period of of Hollywood cinema.
E.M. Forster’s 1909 short story about a future dystopia provides an excellent stiumlus to explore many issues that impact young peoples’ lives in 2021. THE MACHINE STOPS (1909) paints a picture that allows us to reflect on a multitude of topical questions: how far has technology helped us to advance, individually and socially? how does technology impact our relationships to our bodies and senses? how does technology affect our relationship with the natural world? how do metaphor, irony and allegory work to convey social messages? how does technology impact our ability to gain knowledge of what is true and to separate fact from fiction? Forster’s prophetic short story was extremely prescient in its vision of a future society in which people would be confined indoors, socially distanced and isolated even from their closest kin, and in which all connection to people and the world is mediated through a “machine”. What happens when Kuno decides he wants to escape the machine and to live by his own wits?
This presentation is based on insights from Patricia White’s article ‘Cinema Solidarity: The Documentary Practice of Kim Longinotto’ from Cinema Journal 46, No. 1, Fall 2006. Using Sisters in Law (Ayisi and Longinotto) as the central case study, this 30-slide presentation forms the basis of an hour-long lesson and concludes with a past exam question. Ideal for teaching EDUQAS A-LEVEL** FILM STUDIES**, this resource focuses on Kim Longinotto’s documentary practice and ‘theory’, allowing students to contextualise her approach in terms of wider feminist debates around the position and role of Western feminists vis-a-vis feminists from other cultures and national contexts.
A brief explanation of the Bechdel Test and what it measures. The test is widely regarded as a measure of female representation in film, and provides a useful ‘rule’ by which representation of women / girls can be measured.