QualificationAccreditedOxford Cambridge and RSAA LEVELSpecificationFILMSTUDIESH410For first assessment in 2019H418For first assessment 2022Version 1.5 (September 2021)ocr.org.uk/alevelfilmstudies
DisclaimerRegistered office: The Triangle BuildingShaftesbury RoadCambridgeCB2 8EAOCR is an exempt charity.Specifications are updated over time. Whilst every effort is made to check alldocuments, there may be contradictions between published resources and thespecification, therefore please use the information on the latest specification atall times. Where changes are made to specifications these will be indicated withinthe document, there will be a new version number indicated, and a summaryof the changes. If you do notice a discrepancy between the specification and aresource please contact us at: email@example.comWe will inform centres about changes to specifications. We will also publishchanges on our website. The latest version of our specifications will always bethose on our website (ocr.org.uk) and these may differ from printed versions. 2021 OCR. All rights reserved.CopyrightOCR retains the copyright on all its publications, including the specifications.However, registered centres for OCR are permitted to copy material from thisspecification booklet for their own internal use.Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered inEngland. Registered company number 3484466.
Contents12345Why choose an OCR A Level in Film Studies? 21a.1b.1c.1d.1e.Why choose an OCR qualification? Why choose an OCR A Level in Film Studies? What are the key features of this specification? What is new in OCR A Level Film Studies? How do I find out more information? 23456The specification overview 72a.2b.2c.2d.2e.2f.OCR’s A Level in Film Studies (H410) Content of A Level in Film Studies (H410) Content of Film History (01) Content of Critical Approaches to Film (02) Content of non-examined assessment Making Short Film (03/04) Prior knowledge, learning and progression 7810172528Assessment of A Level in Film Studies 293a.3b.3c.3d.3e.3f.3g.3h.Forms of assessment Assessment Objectives (AO) Assessment availability Retaking the qualification Assessment of extended response Non-examined assessment Synoptic assessment Calculating qualification results 2932333333334141Admin: what you need to know 424a.4b.4c.4d.4e.4f.4g.Pre-assessment Special consideration External assessment arrangements Admin of non-examined assessment Results and certificates Post-results services Malpractice 42434344474848Appendices 495a.5b.5c.5d.Overlap with other qualifications Accessibility Accepted file formats Guidance on NEA productions (Component 03/04) 49494950Summary of updates 52 OCR 2021A Level in Film Studies1
1Why choose an OCR A Level in Film Studies?1a. Why choose an OCR qualification?1Choose OCR and you’ve got the reassurance thatyou’re working with one of the UK’s leading examboards. Our new A Level in Film Studies course hasbeen developed in consultation with teachers,employers and Higher Education to provide learnerswith a qualification that’s relevant to them and meetstheir needs.We’re part of the Cambridge Assessment Group,Europe’s largest assessment agency and adepartment of the University of Cambridge.Cambridge Assessment plays a leading role indeveloping and delivering assessments throughoutthe world, operating in over 150 countries.We work with a range of education providers,including schools, colleges, workplaces and otherinstitutions in both the public and private sectors.Over 13,000 centres choose our A Levels, GCSEs andvocational qualifications, including CambridgeNationals and Cambridge Technicals.Our SpecificationsWe believe in developing specifications that help youbring the subject to life and inspire your students toachieve more.We’ve created teacher-friendly specifications basedon extensive research and engagement with theteaching community. They’re designed to bestraightforward and accessible so that you can tailorthe delivery of the course to suit your needs. We2aim to encourage learners to become responsible fortheir own learning, confident in discussing ideas,innovative and engaged.We provide a range of support services designedto help you at every stage, from preparationthrough to the delivery of our speciﬁcations.These include: A wide range of high-quality creative resourcesincluding: Delivery Guides Transition Guides Topic Exploration Packs Lesson Elements . . .and much more. Access to Subject Advisors to support youthrough the transition and throughout thelifetime of the specification. CPD/training for teachers to introduce thequalifications and prepare you for firstteaching. Active Results – our free results analysisservice to help you review the performance ofindividual learners or whole schools.All A level qualifications offered by OCR areaccredited by Ofqual, the Regulator for qualificationsoffered in England. The accreditation number forOCR’s A Level in Film Studies is QN603/1120/4. OCR 2021A Level in Film Studies
1b. Why choose an OCR A Level in Film Studies?OCR’s A Level in Film Studies has been designedto ignite a passion for film and encourage broadercultural and historical perspectives on this academicarea of study. Feedback from teachers and otherkey stakeholders has been fully considered toensure a diverse, inclusive and coherent course ofstudy that meets learners’ needs and allows themto fully achieve their potential, preparing them tomake informed decisions about further study andprogression to Higher Education or employment.This course of study encourages learners to watch,engage critically with and explore a wide range offilm; to develop and sustain confident, personalresponses to film via textual analysis; and to enjoya variety of critically acclaimed films across themajor genres. These include films from differentcultural perspectives, films from the Silent Era to thepresent day, and different forms of film, includingdocumentary, shorts and experimental.OCR’s A Level in Film Studies reinforces therelationship between academic theory and practicethrough a synoptic creative production and evaluationwhere learners are offered the opportunity to engagein practical work such as the production of theirown short film or screenplay in response to a briefset by OCR, through the non-examined assessmentComponent (03/04).It is our strong desire that OCR’s A Level in FilmStudies should inspire learners to continue learningbeyond the confines of the classroom as well asdeveloping personal and interpersonal skills that willserve them well both in Higher Education and in theworkplace.Aims and learning outcomesOCR’s A Level in Film Studies will encourage learnersto: demonstrate knowledge and understanding ofhow films generate meanings and responses demonstrate knowledge and understanding offilm as an aesthetic medium2 demonstrate knowledge and understanding ofthe different ways in which spectators respondto film apply critical approaches to film demonstrate an ability to apply knowledge andunderstanding of film through eitherfilmmaking or screenwriting. demonstrate knowledge and understanding ofa diverse range of film, including documentary,film from the Silent Era, experimental1 film andshort filmdemonstrate knowledge and understanding ofthe significance of film and film practice innational, global and historical contextsdemonstrate knowledge and understanding offilm and its key contexts (including social,cultural, political, historical and technologicalcontexts)“experimental film”: films which are non-narrative or which work against the conventions of narrative used in bothmainstream and independent film production practice.1“aesthetic”: the way a film’s visual and aural features are used to create essentially non-narrative dimensions of the film,including the film’s ‘look’.2 OCR 2021A Level in Film Studies31
1c.1What are the key features of this specification?The key features of OCR’s A Level in Film Studies foryou and your learners are: to study a wide range of critically acclaimed,culturally and historically diverse films set byOCR, including feature length fiction anddocumentary films and shorts (bothexperimental and fiction) with a broad choiceof set films offered to centres to develop a working knowledge andunderstanding of the language and syntax offilm to interrogate how concepts such as narrative,genre, representation, spectatorship andaesthetics are used to create meaning bydeconstructing and creating film to encourage a wider understanding of film bystudying at least two film movements orstylistic developments, characterised by thesignificant contribution they made to filmaesthetics 4to study of a wide range of critical approachesto filmto develop an understanding of the contexts inwhich films are made, including the social,cultural, historical, institutional, technologicaland, where relevant, political contexts to allow the opportunity for a synopticapplication of learning through practical work,including the production of a 5 minute shortfilm or a 10 minute screenplay for a short film to research, plan and develop film productionor screenwriting skills through learners’practical work to develop skills to carry out an evaluativeanalysis of learners’ own productions inrelation to other professionally produced work to reduce the burden of assessment for centresby only requiring research and planning to besubmitted as authentication evidence formoderation with no additional requirementsfor centre marking to offer non-examined assessment set briefsthat last for the lifetime of the specification to allow co-teachability with OCR’s AS Level inFilm Studies by featuring a number of sharedset films to support internal marking and preparatorylearning through the provision of clear markingcriteria for non-examined assessment. OCR 2021A Level in Film Studies
1d. What is new in OCR A Level Film Studies?This section is intended for teachers using OCR’s A Level in Film Studies. It highlights the differences between ALevel Film Studies (H467) and the new version (H410) for first teaching from September 2017.What stays the same?What’s changing? There is still a mix of examined and practicalnon-examined assessments (NEA). Practical (NEA) work still offers learners theopportunity to produce a short film, or ascreenplay for a short film with digital stillstogether with an evaluation.Learners are now required to study a range ofcritically recognised and culturally significantset films from a range of different nationalcinemas, contexts and film forms (includingdocumentary, short and experimental). The micro-elements of film form(cinematography, mise-en-scène, editing andsound) are still the primary tools of filmanalysis but at A Level performance has beenintroduced as an additional micro-element. Learners must study set films from a range oftime periods from the silent era to presentday. Learners must study aesthetics and a range ofspecified critical approaches, including twofilmmakers’ theories on film. Learners must study at least two majormovements or stylistic developments in filmhistory. The structure of the course has changed sothat exams now comprise 70% of the courseand practical (NEA) work now comprises 30%(but there is no longer a requirement forresearch and planning to be assessed). The A Level is now a standalone, separatequalification to the AS Level. For practical (NEA) work learners may stillmake use of others as long as the outcomecan be assessed as the work of an individuallearner. Representation, messages and values, genre,narrative, style, theme, authorship andspectatorship are still key conceptual areas atA Level. Learners still need to be aware of the contextsof the films they have studied (social, cultural,political, historical and institutional). There is still a requirement to study film frommore than one time period. There is still a requirement to study nonEnglish language film. The A Level is still assessed via two examinedassessments lasting two hours and a practical(NEA) production. OCR 2021A Level in Film Studies15
1e. How do I find out more information?1If you are already using OCR specifications you cancontact us at: www.ocr.org.ukWant to find out more?If you are not already a registered OCR centre thenyou can find out more information on the benefits ofbecoming one at: www.ocr.org.ukAsk the Subject Advisors:If you are not yet an approved centre and would liketo become one go to: www.ocr.org.ukCustomer Contact Centre: 01223 553998Email: firstname.lastname@example.orgTeacher support: www.ocr.org.ukTwitter: @OCR Media Film6 OCR 2021A Level in Film Studies
2The specification overview2a. OCR’s A Level in Film Studies (H410)Learners take three components: Film History, Critical Approaches to Film and Making Short Film to be awardedthe OCR A Level in Film Studies.Content OverviewAssessment Overview2Learners will develop knowledge of film form through thestudy of at least three US set films from: the Silent Era1930–19601961–1990.Learners will also study set films from two majorEuropean film movements or stylistic developments: Experimental film (European surrealist film)and eitherGerman expressionism orFrench new wave.Learners will further develop knowledge andunderstanding of key critical approaches to film and ofnarrative, genre, representations and spectatorship.Learners must study at least one set film from each of thecategories below: Contemporary BritishContemporary USDocumentaryNon-European non-English languageEnglish language (non-US)US Independent.Learners must study one compilation of short Britishfiction films. Learners have the opportunity todemonstrate knowledge, understanding and skills through: the production of a 5 minute short film or a 10minute screenplay for a short film (incorporating adigitally photographed storyboard)an evaluative analysis of the production in relationto professionally produced set short films.Film History(01)105 marks2 hour paper35%of totalA Level2 hour paper35%of totalA LevelMaking Short Film(03/04)*90 marksNon-examinedassessment (NEA)30%of totalA LevelCritical Approachesto Film(02)*105 marks*Indicates inclusion of synoptic assessment. See Section 3g for further details.Learners who are retaking the qualification may carry forward their result for the non-examined assessmentcomponent. See Section 4d for further details. OCR 2021A Level in Film Studies7
2b. Content of A Level in Film Studies (H410)2The OCR A Level in Film Studies will introducelearners to a wide range of films from differentnational cinemas, from the Silent Era to the presentday, incorporating different film forms (shorts,experimental, documentary and fiction) andproduced by a diverse variety of authors.Contexts and conceptsLearners will be introduced to the contexts thatsurround film-making and to the concepts of: p.Learners will develop the critical tools to understandhow these concepts are used to create meaning infilm by both interrogating and creating film and bydeveloping a working knowledge and understandingof the micro-elements of film form, which include: cinematography (including lighting)mise-en-scèneeditingsoundperformance. film poetics, as an understanding of film as aconstructed artefact, resulting from processesof selection and combinationfilm narrative, including the formalist andstructuralist conception of film narrativeauteurismideology (the concept of film as ideological)the claims of naturalism and realism as againstthe expressivethe significance of the digital in film and newpossibilities for cinemathe significance of at least two filmmakers’theories of film.Film History (Component 01) offers learnersopportunities to: employ textual analysis skills to demonstrateand apply their knowledge and understandingof film form in US cinema through the study ofat least three set films from the Silent Era to1990 learn about two European film movements andtheir experimental nature and the stylisticdevelopments and contributions that theymade to film aesthetics through the study of atleast two set films.Learners will also:Critical Approaches to Film (Component 02) offerslearners opportunities to: undertake a comparative study of at least twoset films (contemporary British and US) interms of genre, narrative, representation andcritical debates encompassing the significanceof the digital in film, viewing conditions andAuteurism undertake a close study of at least one setdocumentary film to develop a knowledge andunderstanding of the conventions of this styleof filmmaking, the contexts that can influenceit and two contrasting filmmakers’ theories ondocumentary filmmaking develop knowledge and understanding of theideology within film through the comparative develop the skills to analyse, interpret andcompare films critically, communicating ideaseffectively through discursive argumentbe able to synthesise complex areas ofknowledgeshow how knowledge of the ways in whichfilms reflect their social, cultural, political,historical and institutional contexts informsanalysis and understanding of set films.Critical debatesLearners will also be expected to apply the followingkey critical approaches to film, using subject specificterminology:8 OCR 2021A Level in Film Studies
study of at least three set films from thefollowing categories: non-English language,English language (non-US) and US Independent.Making Short Film (Component 03/04) is the nonexamined assessment (NEA) component wherelearners will produce a short film or screenplay andan evaluation of their work.Set filmsA choice of set films is provided by OCR. The set filmlists are given in Sections 2c, 2d and 2e of thisspecification.The suitability and effectiveness of the set films willbe reviewed after three years. Each set film willremain on the list for the lifetime of the qualification,unless the review process identifies a necessarychange. If a film is to be removed from the list andreplaced with another film, centres will be notified atleast a year in advance prior to first teaching of a twoyear course.Age ratingsOCR’s set film lists for A Level Film Studies containfilms with a mixture of certifications, including 18certificate films. Centres are advised to take intoaccount the advice from the British Board of FilmCertification (BBFC) (quoted below in italics) and thematurity of their learners before showing any 18certificated films. In each set film list we have ensuredthere are films with certifications below an age ratingof 18 to ensure centres can still show set films tolearners for whom a 18 certificate may not beappropriate. The set film lists offer sufficient choicefor teachers to minimise potential offence and/ordisadvantage to candidates with a particularcharacteristic.The BBFC’s cinema age ratings only apply to filmsshown in licensed cinemas.The age rating for a DVD, video or Blu-ray explains theaudience we believe the film is suitable for andapplies to point of sale or rental, rather than to wherethe material is viewed. It is not actually illegal forschools to show BBFC-rated videos or DVDs or Blu-rayto its pupils of any age, just as parents may also OCR 2021A Level in Film Studieschoose to show any material to children in the home.Merely showing an age restricted film to underagedpersons – or allowing them to see one outside alicensed cinema – is not in itself an offence.We would, however, strongly discourage such apractice unless (a) the children in question are only ayear or so below the age stated on the certificate, and(b) there is a serious educational purpose to showingthe recording.Even in such cases clearly schools should seekparental consent prior to showing it. We would alsorecommend obtaining the approval of the HeadTeacher and Governors. It is vital to make sure thatany children watching are not likely to suffer any illeffects as a result of seeing the film.Please see the BBFC website for more teacher-guideGood practiceAs good practice, it is recommended that teachersprovide further classroom support to learnersthrough practical filmmaking exercises, whereappropriate, and through the screening of additionalextracts and clips throughout the course to helpfurther develop learners’ understanding of the filmsstudied – both contextually and in terms of howmeanings and responses are generated by film.ResourcesBefore a centre begins this qualification, there is aneed for suitable viewing, film production and editingfacilities (still or moving image). Learners should betaught how to use these facilities before embarkingon their non-examined assessment (NEA). Theminimum resourcing requirements that a centrewould be expected to have for the delivery of OCR’s ALevel in Film Studies are appropriate cameras (eitherstill or moving image) that have the ability to beseated on tripods for capturing stable images andused handheld where appropriate (e.g. high endmobile phones, iPads, Tablets, DSLRs and camcorders)and software for editing (moving image or still image)and a reliable internet connection.92
2c.Content of Film History (01)Section A: Film Form in US Cinema from the SilentEra to 19902This section focuses upon the micro-elements of filmform and the construction of meaning and responseby both filmmaker and spectator, with a particularfocus on US films from the Silent Era to 1990.1961–1990:2001: A Space Odyssey (1968). Directed by StanleyKubrick. USA, URaging Bull (1980). Directed by Martin Scorsese.USA, 18Learners will be required to study three set filmsfrom US cinema in this section. Learners must studyone of the listed set films from each of the followingtime periods:E.T. (1982). Directed by Steven Spielberg. USA, PGSilent Era:The Conversation (1974). Directed by Frances FordCoppola. USA, 12Wings (1927). Directed by William A. Wellman. USA,PG*The Gold Rush (1925). Directed by Charlie Chaplin.USA, UThe Mark of Zorro (1920). Directed by Fred Nibloand Theodore Reed. USA, UThe General (1926). Directed by Clyde Bruckman,Buster Keaton. USA, USunrise (1927). Directed by F.W. Murnau. USA, UThe Wind (1928). Directed by Victor Sjostrom. USA,not ratedDo the Right Thing! (1989). Directed by Spike Lee.USA, 15West Side Story (1961). Directed by Jerome Robbins/Robert Wise. USA, PGKnowledge and understanding of film form and its keyterms will be developed through: studying the micro-elements of film formidentifying how these elements constructmeanings and contribute to the aestheticsof filman appreciation of film poetics: film as aconstructed artefact, resulting fromprocesses of selection and combination.Citizen Kane (1941). Directed by Orson Welles. USA, UFor clarity, it is reiterated that each set film chosen forstudy must be from a different time period. A list ofset films is included below as a reference example ofa selection meeting these criteria:Singin’ in the Rain (1952). Directed by Gene Kelly/Stanley Donen. USA, UThe Gold Rush (1925). Directed by Charlie Chaplin.USA, UStagecoach (1939). Directed by John Ford. USA, UVertigo (1958). Directed by Alfred Hitchcock. USA,PG (1930-1960)1930–1960:Vertigo (1958). Directed by Alfred Hitchcock. USA, PGDouble Indemnity (1944). Directed by Billy Wilder.USA, PGAll that Heaven Allows (1955). Directed by DouglasSirk. USA, UE.T. (1982). Directed by Steven Spielberg. USA,PG (1961-1990)Further details of the assessment of this componentare given in Section 3a.*Birth of a Nation (1915). Directed by DW Griffith. USA, 15 was replaced by Wings for first teach in September 2021. The last assessment forBirth of a Nation is June 2022.10 OCR 2021A Level in Film Studies
Section B: European Cinema HistoryFrench new wave:This section focuses upon the study of at least twomajor European movements or stylistic developmentsin film history, characterised by the significantcontribution they made and continue to make to filmaesthetics. Learners must study one compulsory,distinctly experimental film movement (surrealist film)and one other film movement from a choice of two.The 400 Blows (1959). Directed by François Truffaut.France, PGExperimental film – European surrealist filmLearners must study a set pair of two experimentalfilms from the European surrealist film movement ofthe 1920s and 1930s.This movement challenged conventional ideas aboutfilmmaking and its films were experimental in nature.For the purposes of this specification ‘experimental’films are defined as those films which are nonnarrative or which work against the conventions ofnarrative used in both mainstream and independentfilm production practice.Un Chien Andalou (1929). Directed by Luis Buñuel.France, 15L’Age D’or (1930). Directed by Luis Buñuel. France, 15À Bout de Souffle (1960). Directed by Jean-LucGodard. France, PGThe German expressionist and French new wave filmslisted above, whilst displaying innovation in theirdevelopment of genre and use of the micro-elementsof film are not considered experimental for thepurposes of this specification. The films listed forthese two movements do not necessarily workagainst the conventions of narrative used inmainstream and independent production practice, forexample, Metropolis, whilst helping develop a genreand using many innovative filmic ideas still consists ofan overarching, conventional narrative structure.For clarity, it is reiterated that learners must study theset experimental surrealist film pair and at least oneother set film from a choice of German expressionismand French new wave. The reference example belowshows a selection meeting these rules:The set experimental film pair is equivalent in studyto one feature length set film. Other European film movements or stylisticdevelopments In addition to the above, learners must also study atleast one other set film. This film should be drawnfrom one of the other European film movements orstylistic developments listed below:German expressionism:The Cabinet of Dr. Caligari (1920). Directed byRobert Wiene. Germany, UNosferatu (1922). Directed by F. W. Murnau.Germany, PGMetropolis (1927). Directed by Fritz Lang.Germany, PG OCR 2021A Level in Film Studies2Cleo from 5 to 7 (1962). Directed by Agnes Varda.France, PGUn Chien Andalou (1929). Directed by LuisBuñuel. France, 15 (Experimental, surrealistfilm)L’Age D’or (1930). Directed by Luis Buñuel.France, 15 (Experimental, surrealist film)and Metropolis (1927). Directed by Fritz Lang.Germany, PG (German expressionism)In this section learners are required to gainknowledge and understanding of: the contextual background to the two filmmovements or stylistic developmentsstudied, for example, how a movement orstylistic development shares similar ideasabout style, aesthetics, or political orsocial-cultural objectives; and agrees on11
methods of furthering these throughapproaches to film narrative/style/genre 2the experimental nature of film, with afocus on narrative forms which reject thethree-act structure, including non-linearnarratives and the significance of narrativestructures which are alternative to and/orin opposition to conventional narrativestructures.Learners will also need to build upon the knowledgeand understanding gained from the study of historicUS Film in Section A and develop this in relation tohistoric European film movements or stylisticdevelopments:12 the micro-elements of film form; and identifying how these elements constructmeanings and contribute to the aestheticsof film.In this section learners will also develop the skills tocritically debate: film narrative, including the formalist andstructuralist conceptions of film narrative the claims of naturalism and realism asagainst the expressive.There is no comparative requirement in this section.The focus of these critical debates is to help learnersdevelop their knowledge and understanding of thefilms they study. For example, learners would beexpected to study the structural approaches tostorytelling used within the set films, includinglooking at how the micro-elements of film were usedto create those structures in both conventional andexperimental ways.Further details of the assessment of this componentare given in Section 3a. OCR 2021A Level in Film Studies
The table below contains the indicative subject content for Component 01 Film History.Component 01: Film HistoryTopicKey IdeaLearners should have studied:Micro-elementsof film formCinematography(includinglighting) camera shots including point of view (POV) shots, focusincluding depth of field, expressive and canted angle shots,hand-held camera in contrast to steadicam technology the principles of 3 point lighting including key, fill andbacklighting composition, including balanced and unbalanced shots monochrome cinematography how all aspects of cinematography can generate multipleconnotations and suggest a range of interpretation how shot selection relates to narrative development andconveys messages and values how lighting, including 3 point lighting, conveys character,atmosphere, messages and values camerawork, including subjective camera, shifts in focus anddepth of field, mixed camera styles, filters chiaroscuro3 lighting and other expressive lighting effects how cinematography, including lighting, provides psychologicalinsight into character how and why different spectators develop differentinterpretations of the same camera shots and lighting how cinematography including lighting can be indicative of anauteur approach and can contribute to film aesthetic.2“chiaroscuro”: the dramatic effect of contrasting areas of light and dark in a shot through the use of controlled lightsources and props.3 OCR 2021A Level in Film Studies13
Component 01: Film History2TopicKey IdeaLearners should have studiedMicro-elementsof film formMise-en-scène how the principal components of mise-en-scène (setting,props, costume and make-up) can generate multipleconnotations and suggest a range o
2a. OCR's A Level in Film Studies (H410) 7 2b. Content of A Level in Film Studies (H410) 8 2c. Content of Film History (01) 10 2d. Content of Critical Approaches to Film (02) 17 2e. Content of non-examined assessment Making Short Film (03/04) 25 2f. Prior knowledge, learning and progression 28 3 Assessment of A Level in Film Studies 29 3a.
1920 - Nitrate negative film commonly replaces glass plate negatives. 1923 - Kodak introduces cellulose acetate amateur motion picture film. 1925 - 35mm nitrate still negative film begins to be available and cellulose acetate film becomes much . more common. 1930 - Acetate sheet film, X-ray film, and 35mm roll film become available.
Drying 20 minutes Hang film in film dryer at the notched corner and catch drips with Kim Wipe. Clean-Up As film is drying, wash and dry all graduates and drum for next person to use. Sleeve Film Once the film is done drying, turn dryer off, remove film, and sleeve in negative sleeve. Turn the dryer back on if there are still sheets of film drying.
2. The Rhetoric of Film: Bakhtinian Approaches and Film Ethos Film as Its Own Rhetorical Medium 32 Bakhtinian Perspectives on the Rhetoric of Film 34 Film Ethos 42 3. The Rhetoric of Film: Pathos and Logos in the Movies Pathos in the Movies 55 Film Logos 63 Blade Runner: A Rhetorical Analysis 72 4.
Film guide 5 Film is both a powerful communication medium and an art form. The Diploma Programme film course aims to develop students' skills so that they become adept in both interpreting and making film texts. Through the study and analysis of film texts and exercises in film-making, the Diploma Programme film
3. Stretch Film 24 Key Findings 24 Stretch Film Demand 25 Stretch Film Production Methods (Cast, Blown) 26 Stretch Film Resins 28 Stretch Film Products 30 Demand by Product 30 Stretch Wrap 31 Stretch Hoods 32 Stretch Sleeve Labels 34 Stretch Film Applications 35 Demand by Application 35 Pallet Unitization (Mach
4 EuropEan univErsity and film school nEtworks 2012 11 a clEar viEw German film and television academy (dffb), Berlin dE film and tv school of the academy of performing arts (famu), prague cZ london film school (lfs) uk university of theatre and film, Budapest hu pwsftvit - polish national film, television & theater school, lodz pl 12 adaptation for cinEma - a4c
power of a film score in cinema is such that it can break or make a film. Therefore, at the top of the list of the people who make cinema possi-ble also includes the film composer. However, it is also important for you to know that compos-ing for a film is no cakewalk—in the world of music in general the challenges that a film com-
Many community courts handle criminal cases only, but others are experimenting with a broader range of matters, including juvenile delinquency and housing code violations. Some community courts were initiated by courts, and some have been championed by a district attorney. These differences reflect a central aspect of community courts: they focus on neighborhoods and are designed to respond to .