Eduqas New GCSE Film Studies: An approach to Component 2, Global Film.
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Transcript of Eduqas New GCSE Film Studies: An approach to Component 2, Global Film.
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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