This is a set of notes to help for revision of TRAINSPOTTING for film studies A-Level candidates. Representations analyzed include: Nationality Class Gender Age

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.

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

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.

This is an activity for team or pairs from Years 11+ and involves an active search for the answers, which are interdependent, so that one answer leads to another as students progress. The game could be set up as a race to the finish line. Depending upon the research abilities and cinematic specialist knowledge of the team, the game could take anywhere from 15 minutes to 45 minutes to complete. Included in this resource pack is: a treasure hunt ‘map’, two styles of answer sheets for students/teams, and an answer key for teachers.

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.

**Raise the Red Lantern **(Dir. Zhang Yimou, 1991, China) is an excellent example of a film that deconstructs how patriarchal power works and in this sense it is a film that is empowering for women, despite being a narrative *about * disempowered women. The film has also been discussed as a metaphor for Chinese state power and therefore also functions a a subversive political commentary. With beautiful cinematography and composition throughout, this film is also a study in cinematic perfection, with mise-en-scene used to great symbolic effect. The film could be studied just as an excellent example of mise-en-scene.

This 10 question test is a great accompaniment to the Specatatorship PowerPoint Presentation Resource for teaching the EDUQAS A-Level Film Studies Component 1, Section B. Contemporary American Film. Topics covered include: hypodermic needle theory, active versus passive spectatorship, archetypes, intertextuality, viewing contexts, polysemy and oppositional readings of films. The test is best used for Year 12 or Year 13 film studies but can also be helpful for Media Studies teachers vis-a-vis spectaorship and ideology.

Basic Comprehension questions - Test - for SUNRISE, Eduqas A-Level Film Studies.

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.

Useful for the EDUQAS Film A-Level. 12 questions covering representations, class, ideology, narrative and ‘the female gaze’.

Studying FISH TANK (UK, 2009) for the Film or Media A-Level? Or perhaps you are just looking for a film with empowered female leads? Maybe you want to think about the concept of an ‘auteur’ director? This resource also gives some tips for studying ideology in films. Suited to 14+ age groups, this resource can be used for the EDUQAS Film Studies A-Level or AS Level, or just as an introduction to the concept of ‘Auteur’ directors or ideology.

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 full colour poster outlines Czech-American film director Milos Forman’s key directorial attributes and achievements. Perfect for the Auteur study question on the Eduqas Film Studies A-Level curriculum.

This is a 50 slide full colour PowerPoint Presentation on national identity versus British identity (as well as multicultural, globalized Britain) in the 1996 film Trainspotting (Danny Boyle). This is very useful for** EDUQAS A Level Film Studies** because of the focus on representations in the film, including how particular aspects of **mise-en-scene **link to identity, narrative themes and character. This presentation can be used to study the film’s binary oppositions and how Scotland and London come to represent different outlooks, rather than just different geographical locations.

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.

This chart helps to understand how the narrative conflicts in Winter’s Bone are related to different ideological positions, with respect to values such as community versus individual rights, ‘omerta’ versus whistleblowing, and ‘honour’ versus responsibility/ humanity.

This Graphic provides an overview of the key ideological issues for the film Winter’s Bone. There are other possibilities for the A-Level Film Studies Exam (such as gender or class) but this graphic provides possibly the best understanding of the more subtle political ideologies within the narrative and their contexts than the more ‘identity’ based approach to ideology. This graphic places the film within its concurrent social and political contexts, and these bear upon how the film will be** ‘de-coded’** (vis. Stuart Hall’s theory) by viewers, depending upon the background knowledge they bring to their viewing experience. Therefore, this resource provides possibilities for** spectatorship issues** as well as ideology.

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.