Teaching ‘Aesthetics’ at GCSE LevelComponent 2:

Global Film 35%

SectionA:Global(English Language)

SectionB:Global(non-EnglishLanguage)

SectionA:ContemporaryUK

CloseStudy(OneFilm)

CloseStudy(Onefilm)

CloseStudy(OneFilm)

FOCUS: Narrative FOCUS: Representation FOCUS: Aesthetics(FilmStyle)

Options:• Rabbit-ProofFence• SlumdogMillionaire• District9• AnEducation• SongoftheSea

Options:• Tsotsi• LettheRight Onein• TheWave• Wadjda• SpiritedAway

Options:• Submarine• Attack theBlock• Skyfall• MyBrothertheDevil• Brooklyn

Component 2

SectionA:Global(English Language)

SectionB:Global(non-EnglishLanguage)

SectionA:ContemporaryUK

FOCUS:thekeyelementsoffilmform(cinematography,mise-en-scène,editingandsound)thecontextsoffilm(social,cultural,historical,political,technologicalandinstitutional)includingkeyaspectsofthehistoryoffilmandfilmtechnology.

FOCUS: Narrative FOCUS: Representation FOCUS: Aesthetics

Options:• Rabbit-ProofFence• SlumdogMillionaire• District9• AnEducation• SongoftheSea

• Options:• Tsotsi• LettheRight Onein• TheWave• Wadjda• SpiritedAway

Options:• Submarine• Attack theBlock• Skyfall• MyBrothertheDevil• Brooklyn

Component 2

SectionA:Global(English Language)

SectionB:Global(non-EnglishLanguage)

SectionA:ContemporaryUK

CloseStudy(OneFilm)

CloseStudy(Onefilm)

CloseStudy(OneFilm)

FOCUS: Narrative FOCUS: Representation FOCUS: Aesthetics

Options:• Rabbit-ProofFence• SlumdogMillionaire

• District9• AnEducation• SongoftheSea

• Options:• Tsotsi

• LettheRightOnein

• TheWave• Wadjda• SpiritedAway

Options:• Submarine

• Attack theBlock

• Skyfall• MyBrothertheDevil• Brooklyn

Component 2

Skyfall Submarine

AttacktheBlockContext

Skyfall Submarine

AttacktheBlock

Context

Much in the same way that we (as Film teachers) would go to the cinema, we’re aware of the marketing and the production but haven’t seen the film. We don’t know what to make of it as we haven’t see it and we have no frame of reference for possible analysis (do we watch films for the first time with an eye specifically on aesthetics?), instead we watch and make a judgement as we watch, as we consider and we discuss afterwards.

Give students the chance to do the same.

Skyfall Submarine

AttacktheBlock

Component 2: context

Skyfall Submarine

AttacktheBlock

Component 2

Skyfall Submarine

AttacktheBlock

Carefully study the posters.

Component 2: context

What do the images suggest that the films

will be about?

What does any written information suggest that the

films will be about?

Do you recognise any names?

Does any of this affect your view of the film before even watching?

How do the images help with this?

Component 2: context

Ask students to research different aspects of social and

historical context

Skyfall Submarine

AttacktheBlock

Component 2: contextAttack the Block trailer

Skyfall Submarine

AttacktheBlock

From the trailer:

What does the trailer tell us?Did you recognise any conventions or tropes?

Is it persuasive or engaging? Do you want to watch the film as

a result?

Component 2: context

Skyfall Submarine

AttacktheBlock

Component 2: context

Social context for Attack the Block also happened the year after release, in terms of iconography.

Skyfall Submarine

AttacktheBlock

Provide marketing details such as posters, key articles or interviews. If appropriate explore details regarding production including cast, crew and any issues arising from production. You could also consider expectations based on the genre, the franchise and/or the cast and crew. This is also useful as it allows students to develop a knowledge bank that allows them to add details to reviews and to extended writing about the film in the way that a detailed review would do.

Component 2: context

Skyfall Submarine

AttacktheBlock

During/after viewing

Component 2: during/after viewing

Component 2: during/after viewing

Component 2: during/after viewing

Provide challenging or complex vocabulary beforehand and ask

students to identify examples whilst watching.

Component 2: during/after viewing

Component 2: during/after viewing

Component 2: during/after viewing

Boo-urns

Component 2: during/after viewing

Focus: Narrative

District 9 Trailer

Component 2: during/after viewing

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Consider the differences between provided narratives

from different sources.

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

…and don’t forget production details to find interesting social context.

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Inanalternate1982,analienshipinexplicablystopsoverJohannesburg.Wheninvestigationteamsentertheship,theydiscover apopulationofsickandmalnourishedextraterrestrials,whobecomenicknamed"prawns".TheSouthAfricangovernmentconfinesthealiensto"District9", agovernmentcampthatislocatedoutsideofJohannesburg.Twenty-eightyearslater,in2010,followingperiodicconflictbetweenthealiensandthelocalslivingnearDistrict9,thegovernmenthiresprivatemilitarycompanyMultinationalUnited(MNU)torelocatethealienstoanewinternment.Wikus vandeMerwe(SharltoCopley),anAfrikanerbureaucrat,isappointedbyPietSmit(LouisMinnaar),anMNUexecutiveandhisfather-in-law,toleadtherelocation.Meanwhile,threealiens— ChristopherJohnson(JasonCope),hisson,andafriend— scavengepiecesoftheirtechnologyfromwhichtheydistillafluidoftheirnativeprovenance,andstoreitinasmallcanister.Wikus confiscatesthecanisterfromtheshackofChristopher'sfriend,butaccidentallysprayssomeofthefluidontohisface.Christopher'sfriendissubsequentlykilledbyKoobus Venter(DavidJames),asadisticmercenarysoldieremployedbyMNU.Under thefluid'sinfluence,Wikus'body,startingwithhisinjuredleftarm,beginstodeteriorateandbecomealientissue.Aftertheextentoftheinfectionbecomesapparentatalocalhospital,heisimmediatelydetainedandtransportedtoMNUheadquartersforexperimentation,whereitis discoveredthatWikus'chimericDNAgrantshimtheabilitytousealienweapons,whicharebiologicallyrestrictedtoworkforalienusersonly.RealizingthepotentialfortunetobemadefromWikus'tissueinitscurrentstate,SmitandhisscientistsdecidetovivisectWikus;butheoverpowersthemandescapesthefacility.SmitordersVenterandhismentohuntWikus down,whileasmearstoryispublishedthatclaimsWikus hasbeenengaginginsexualactivitywithaliensandisafugitiveinfectedbyanalienSTD.Everyonebelievesthestory,even,foratime,Wikus'wife(andSmit'sdaughter)Tania(VanessaHaywood).Wikus findsrefugeinDistrict9andstumblesintoChristopher'sshack,wherehelearnsthatChristopherishidingthelostcommandmoduleoftheirspacecraftunderground,andcomestounderstandfromChristopherthatthefluidinthecanisterwouldbeabletoreactivatethecommandmoduleandthedormantmothership,inwhichheclaimshecanreverseWikus'mutation.TorecoverthecanisterfromMNUheadquarters,Wikus obtainsalienweaponsfromsuperstitiousNigerianarms-dealerObesandjo (EugeneKhumbanyiwa)andhisgang,thenheandChristopherattacktheMNUoffices,retrievethecanister,andfleetoDistrict9withMNUforcesinpursuit.Appalled bytheillegalexperimentsonhisfellowaliensatMNUheadquarters,ChristopherdecidestogethelpbeforecuringWikus,whichwilltakethreeyearsashewillneedtouseasmuchfluidaspossibleinordertoreachhisdestinationandgethelp.Frustrated,Wikus knocksoutChristopherandattemptstoflythecommandmoduletothemothership,butisalmostimmediatelyshotdownbyVenterandhismen.TheycaptureWikus andChristopher,butObesandjo's ganginterveneandseizeWikus,actingonObesandjo's beliefthateatingWikus'transformedarmwillenablehimtousealienweaponry.Obesandjo's baseisthenattackedbyMNU.In thecommandmodule,Christopher'ssonremotelyactivatesthemothershipandanalienmechanizedbattlesuitinObesandjo's basewhichkillsObesandjo andhismen.Wikus takescontrolofthebattlesuitandrescuesChristopher,whopromisestoreturninthreeyearswithacure.Wikus killsalltheattackingsoldiersbeforeVentercripplesthesuit,whichejectsWikus.AshecornersWikus,agroupofalienskillVenterbytearinghimapart.ThecommandmodulewithChristopherandhissonisliftedintothemothership,whichtheyusetoleaveEarth,andJohannesburg'sresidentscelebrateitsdeparture.A seriesofinterviewsandnewsbroadcastsareshownspeculatingaboutWikus'whereaboutsandthepotentialreturnofChristopherandthespacecraft,andwhatitmayentail.MNU'sillegalexperimentsareexposedbyWikus'friendandassistantFundiswa (Mandla Gaduka),andDistrict9isdemolished;allthealiensaresubsequentlymovedtothelargerDistrict10.Taniafindsametalfloweronherdoorstep,givingherhopethatWikus isstillalive.ThefinalsceneshowsafullytransformedWikus inajunkyard,craftingasimilarflower.

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Watch this clip from District 9.

Summarise the clip in a variety of lengths, perhaps using the resources on the

next few slides

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Aristotle

Vladimir Propp Tzvetan Todorov

Christopher Vogler

District 9 (2009) Dir. Neil Blomkamp

In what order do these screenshots occur?

District 9 (2009) Dir. Neil Blomkamp

How does the mise-en-scene reflect the development of the narrative?

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Narrative

District 9 (2009) Dir. Neil Blomkamp

Focus: Film style (aesthetics)

Focus: Aesthetics

Fan art provides a variety of responses into the style of a film in terms of influences.

Focus: Aesthetics

Attack the Block (20011) Dir. Joe Cornish

Attack the Block (20011) Dir. Joe Cornish

Focus: Aesthetics

Attack the Block (20011) Dir. Joe Cornish

Focus: Aesthetics

Attack the Block (20011) Dir. Joe Cornish

Focus: Aesthetics

Attack the Block (20011) Dir. Joe Cornish

Focus: Aesthetics

Attack the Block (2011) Dir. Joe Cornish

Focus: Representation

Focus: Representation

Why representation matters:

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

What type of character can we see here?

How is our understanding constructed?

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Let the Right One In, a Swedish horror film set in the early 1980s, uses the vampire genre to raise several issues about young people and the problems of integrating. Like Attack the Block, it uses genre to explore social and political issues.

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Try to describe these characters. What are they like? How can we tell?

Refer to aspects of mise-en-scene to do so.

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

How is genre constructed in these shots?How do the props and the effect represent

the idea of horror?

Do the images refer to any other film you can think of in the same genre?

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

How would you describe their friendship is represented in this scene?

What elements of film help in the construction of their friendship?

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

Focus: Representation

Let the Right One In (2009) Dir. Tomas Alfredson

How is this scene constructed to show that the kids are bullies?

How does the scene construct the sense that Oskar is isolated and

vulnerable?

Component 2

Any questions?

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