AS Film Studies Revision

1. FILM
STUDIES
REVISION
DAY

2. EXAM FORMAT

3. EXAM FORMAT
The exam is 2 hours long. You
answer one question from
Section A, and two questions
from Section B.
In Section B you must answer
from two different topic areas –
The Rise of the
Blockbuster, and Developments
in 21st Century Film.
You should spend 50 minutes
on Section A, and 1 hour ten
minutes on Section B (35
minutes on each question in
Section B).

4. SECTION B: CINEMA
IN CONTEXT
Answer one question on the Rise of the Blockbuster and one
question on 21st Century Film.

5. SECTION B ASSESSMENT
CRITERIA
Assessment Criteria Level 4 (23-30 marks)
• Excellent knowledge and understanding of industrial and social
practice linked to audience behaviours.
• Excellent application of historical, sociological, economic and
technological factors to the set question demonstrating insight and
depth.
• Offers a full range of examples of industrial and social practice,
demonstrating excellent knowledge and understanding and a
confident ability to link examples to the demands of the set question.
• A clearly relevant, sustained and sophisticated response to the set
question.
• Use of film terminology is confident, frequent and consistently
accurate

6. SECTION B
KEY CONTEXTS
Sociological context
The input and impact of regulators, pressure groups, government
bodies and departments, and social events and trends.
Economic context
Audience pressure evidenced by box office receipts, cinema
admission figures, viewing figures, government levies and subsidies.
Technological context
The state of technological development at that time in each topic
area and how the available technology has been improved through
innovation and development. The impact of technological innovation
on film production, distribution and exhibition.

7. THE RISE OF THE
BLOCKBUSTER
• the emergence of the multiplex/megaplex cinemas in out-of-
town locations/shopping centres/retail parks in the UK and the
decline of city/town centre ‘fleapit’ cinemas
• the arrival of „blockbuster‟ films and related sequels, e.g.
The Godfather (1972), Jaws (1975), Star Wars
(1977), Superman (1978) and the ensuing developments in
production, distribution and exhibition
• the dawning of the home video age, format wars (VHS and
Betamax), the moral panic about uncensored and unregulated
content and the ensuing move to statutory regulation of film in
the home.

8. EMERGENCE OF THE
MULTIPLEX
the emergence of the multiplex/megaplex cinemas in out-of-town
locations/shopping centres/retail parks in the UK and the decline
of city/town centre ‘fleapit’ cinemas
What factors led to the decline of town or city centre cinemas
in the late 1970s and early 1980s?
[30]

9. EMERGENCE OF THE
MULTIPLEX
UK cinema admissions declining since 1940s (1946 peak of 1.6
billion). By 1984 UK cinema admissions were just 55 million.
At that time cinemas were mostly in town and city centres –
usually only had one screen (limited choice), no parking
facilities, uncomfortable seating, poor line of sight, smoking
permitted – known as fleapit cinemas.
Multiplexes developed in the US by AMC cinema chain.
First UK multiplex was The Point in Milton Keynes, opened in
1985.

10. ADVANTAGES OF
MULTIPLEXES
For exhibitors – more screens increases revenue without
significant increase of cost, out of town locations cheaper.
For audiences – better facilities, more comfortable seating, clear
view of screen, better projection and sound equipment, easy
parking, more choice.
The Point was hugely successful, selling 2 million tickets in the
first two years. Multiplexes rapidly spread across the UK in the
late 1980s, early 1990s.

11. EMERGENCE OF
MULTIPLEX
Economic factors – economy of scale – significantly increased
revenue without large increase in running costs. Cheaper locations.
Sociological – audience response – cinema-going not a popular
pastime in early 1980s due to poor facilities, rapid change in the
wake of multiplex expansion.
Technological – developments in projection and sound technology
part of the reason for the success of multiplexes.
To what extent do you think multiplexes still dominate cinema
exhibition today? Is that a good or bad thing? Relate to your own
experience/opinion.

12. ARRIVAL OF THE
BLOCKBUSTER
the arrival of „blockbuster‟ films and related sequels, e.g. The
Godfather (1972), Jaws (1975), Star Wars (1977), Superman
(1978) and the ensuing developments in production, distribution
and exhibition
What factors led to the rise of blockbuster films in the late
1970s? [30]

13. ARRIVAL OF THE
BLOCKBUSTER
Post-war era one of decline for Hollywood – Paramount
decree, rise of television.
By 1969 Hollywood teetering on brink of bankruptcy.
Movie brats (Coppola, Scorsese) breathed new life into American
filmmaking, producing more serious, complex films.
Bonnie & Clyde (1967) seen as the precursor to this.
Success of The Godfather (1972).

14. ARRIVAL OF THE
BLOCKBUSTER – JAWS
(1975)
Release and marketing strategies – Summer release, wide
release, saturation marketing, use of TV.
Box office success – over $100 million domestic box office.
Importance of merchandise.

15. ARRIVAL OF THE
BLOCKBUSTER
Star Wars (1977) consolidated blockbuster formula.
Into the 1980s expanded with franchises such as Superman,
Star Wars sequels, and Indiana Jones.

16. ARRIVAL OF THE
BLOCKBUSTER
Economic factors – huge success of Jaws and Star Wars
changed the type of films Hollywood made (high
concept, blockbusters). Genre films, special effects, franchises –
to what extent do you think that is still true today?
Sociological – audience response to blockbuster films key to
success – effect of marketing.
Technological – blockbusters have tended to make use of most
recent advances in special effects, Jurassic Park, Avatar

17. HOME VIDEO AGE
the dawning of the home video age, format wars (VHS and
Betamax), the moral panic about uncensored and unregulated
content and the ensuing move to statutory regulation of film in the
home.
“Film censorship is motivated by fears about audiences and
technologies.” Discuss this statement in reference to the
concerns expressed about uncensored and unregulated
video content in Britain in the early 1980s. [30]

18. HOME VIDEO AGE –
FORMAT WARS
1974 – Sony launch Betamax
1975 – JVC launch VHS
Betamax superior in picture quality but more expensive.
VHS had longer running time (initially 2 hours, later 3 hours)
and was cheaper. Betamax not suited to film due to limited
recording time.
By 1988 Sony had started to manufacture VHS.

19. MORAL PANIC
Home video launched in 1979 in UK.
Despite initial high costs, rapidly became popular.
Major studios were reluctant to release films on video –
concern about effect on theatrical box office and video
piracy.
Independent distributors dominated the market – cheaply
acquire distribution rights to low budget exploitation films.
No restrictions on video – anyone could rent/but any
available video.

20. MORAL PANIC
Daily Mail launched „Ban the Sadist Video‟ campaign.
Mary Whitehouse campaigned to introduce regulation.
DPP initially sought to ban „video nasties‟ for being in breach
of Obscene Publications Act – prompted by films such as
Cannibal Holocaust, Driller Killer, SS Experiment Camp.
Media pressure eventually led to introduction of Video
Recordings Act (1984) giving the BBFC the role of classifying
and regulating Home Video and making supply of videos to
underage people illegal.
Classis moral panic – sensationalised media reports – moral
guardians – increased response from police – more
sensationalised media reports – government intervention.

21. HOME VIDEO
Technological – development of home video formats, competing
formats. Technologies change the way audiences consume films.
How might you relate that to a contemporary context.
Sociological – role of the media and pressure groups in calling
for regulation – enacted by government.
Economic – VHS – lower cost helped it to win format wars
Studio anxiety about effect of home video on revenue created a
gap in the market exploited by independent distributors. Consider
contemporary comparison, e.g. studios slow to make use of
internet for legal distribution led to rise in online piracy.

23. SECTION B: DEVELOPMENTS IN
21ST CENTURY CINEMA AND FILM
(2000-PRESENT)
• the roll out of the UK‟s digital cinema network and the
impact for audiences and institutions
• the take up of broadband, internet piracy and the
opportunities and threats posed to institutions and
audiences from legal and illegal means of distribution and
exhibition
• the revival of 3D - the impact of films such as Avatar
(2009) in driving the „new‟ 3D and consideration of the
possible longevity of 3D or other future developments.

24. DIGITAL CINEMA
the roll out of the UK‟s digital cinema network and the impact
for audiences and institutions
”The introduction of the digital cinema network in the UK in
recent years has greatly extended audience choice.” How far
do you agree with this statement? [30]

25. DIGITAL CINEMA
Digital Screen Network – UK Film Council, £12 million, 250
screens. Launched in 2006.
Local digital screen – Huntingdon – widens choice –
independent film, event cinema.

26. DIGITAL CINEMA
Lowers distribution costs
Does not deteriorate unlike 35mm prints.
Easier to distribute in large countries – China.
Digital 3D projection needed for modern 3D – Avatar.
90% of UK and US screens now digital.

27. DIGITAL CINEMA
Technological - development of digital technology.
Economic – digital lowers costs of distribution, benefits both
studios and independents. Economic factors drove conversion to
digital cinema.
Sociological – role of government organisation (UK Film Council)
in promoting spread of digital cinemas. However DSN had limited
impact in widespread take up of digital cinema (less than 10% of
UK screens were digital by 2008. Success of Avatar, released
December 2009, huge boost to conversion to digital – by the end
of 2010 almost 50% of UK screens were digital, 2011 70%. Now
90%.

28. BROADBAND
the take up of broadband, internet piracy and the
opportunities and threats posed to institutions and
audiences from legal and illegal means of distribution and
exhibition
To what extent does internet piracy pose a threat to the film
industry? [30]

29. BROADBAND
Proliferation of broadband – introduced 2004.
76% of homes have broadband.
12 Mbps average speed
Online piracy significant threat to film industry - billions of
lost revenue, decline in DVD sales – knock effect – reduction
in studio film production.
Attempts to tackle it – prosecution, SOPA, now focused on
the piracy sites.
Shortening distribution windows, use of day and date
release.

30. BROADBAND
Rise of legal online platforms
SVOD/TVOD
2005 – no online VOD

31. BROADBAND
Technological – development of high speed broadband allows
internet to become suitable platform for film distribution.
Developments of devices such as smart TVs and popularity of
tablets has contributed to rise in legal downloads of films.
Sociological – attempts to tackle piracy, SOPA, audience
behaviour – pirating films often due to unavailability of films.
Legal VOD platforms reduce piracy?
Economic – economic costs of piracy to film industry. Consumer
point of view. Internet VOD new source of revenue – loss of DVD
revenue.

32. 3D REVIVAL
the revival of 3D - the impact of films such as Avatar (2009)
in driving the „new‟ 3D and consideration of the possible
longevity of 3D or other future developments.
What factors led to the rebirth of 3D cinema in recent years?
[30]

33. 3D REVIVAL
Technological developments – Reality Camera System
developed by James Cameron
Success of Avatar – $2.7 billion
3D allows studios to charge more for tickets, is thought to
tackle piracy.

34. 3D REVIVAL
Spread of digital 3D screens.
2010 peak – 7/Top 11 films worldwide were 3D.
3D=24% of UK box office.
By 2012 =18% of UK box office.

35. 3D REVIVAL
Technology – developments in camera technology, and digital
projection key to 3D revival
Economic – response to piracy, allows studios to generate more
revenue through higher ticket prices.
Sociological – audience response – 3D as a novelty?

36. EXEMPLAR ANSWER
Read through the exemplar answer – what has the student
done well?

37. STRUCTURE
Introduction – respond to wording of question – consider
argument, reference to economic, sociological, technological
if relevant.
Develop argument with reference to specific examples and
evaluation.
Conclusion – sum up argument, relate to own experience
where relevant, refer to relevant economic, sociological,
technological factors.

38. SECTION B
Choose one question from Section B to answer.
You should spend 35 minutes answering the question.

39. SECTION A: CONTEMPORARY
ENGLISH LANGUAGE FILM
Answer one question in this section. You will be give a
choice of questions.
You are discussing the films we have studied:
Super 8 (J.J. Abrams, USA, 2011)
Moonrise Kingdom (Wes Anderson, USA, 2012)
You MUST REFER TO BOTH FILMS IN YOUR ANSWER. If you
only refer to one film you will get a U for this question.
Spend 50 minutes answering this question.

40. SECTION A -
FRAMEWORKS
The question will ask you to discuss one or more of these
frameworks in relation to the two films:
• Representation
• Messages and Values
• Genre
• Narrative
• Theme
• Style
• Authorship

41. SECTION A –
TECHNICAL ANALYSIS
You will need to support your discussion of the key
framework with detailed technical analysis:
• cinematography
• editing
• sound
• mise-en-scene

42. SECTION A –
ASSESSMENT CRITERIA
Assessment Criteria
Level 4 (32-40 marks)
• Excellent knowledge and understanding of the relevant framework
for analysis.
• Excellent application of the relevant framework for analysis to the
films chosen demonstrating insight and depth.
• Offers a full range of examples from the films chosen for
response, demonstrating very good to excellent technical
knowledge and understanding and a confident ability to link
examples to the demands of the set question.
• A clearly relevant, sustained and sophisticated response to the set
question.
• Use of film terminology is confident, frequent and consistently
accurate.

43. REPRESENTATION
Consider the representation of social groups within the films:
• Gender
• Age
• Social class

44. REPRESENTATION –
SUPER 8
How is age represented in the film?
Gender – role of fathers.
Social class – how is the working class character
represented?

45. REPRESENTATION –
MOONRISE KINGDOM
Age – how are the young characters represented?
Gender – role of father figures. Representation of Social
Services.

46. MESSAGES & VALUES
What ideologies are communicated to the audience?
You could consider this in relation to the film‟s depiction of
masculinity, the role of the family, social class, and the
representation of youth.
What values and beliefs does the film endorse? Which does
it criticise?

47. GENRE – THEORETICAL
APPROACHES
Neale argues that genres are ‘systems of intelligibility’ – they help
audiences to make sense of a film – cognition.
Ryall – genre supervises relationship between filmmaker and
audience.
Collins – genericity – argues in postmodern media genres are not
always fixed or clear. Postmodern texts often use intertextuality
(reference to other texts), and eclecticism (creating a text from a
range of other texts and genres).
Cawelti – genre as ritual/myth – genres allow for the exploration
of the human condition in a palatable context.
Iconography – importance of visual conventions.

48. SUPER 8 - GENRE
Sci fi, coming of age film.
Sci fi – what is the significance of the alien in the film? What
does it represent?
Coming of age – how does the film explore key themes of
coming of age film (conflict with family, death, sexual identity,
nostalgia, rites of passage?

49. MOONRISE KINGDOM -
GENRE
Hybridity
Is the film generically classifiable?
Wes Anderson film – generic category.
Coming of age film – how does the film explore these key
themes?

50. NARRATIVE - THEORY
Todorov – equilibrium, disequilibrium, resolution.
Propp – character types.
Barthes – narrative codes (action, enigma, semic, symbolic, etc.)
Vogler and Campbell – the Hero’s Journey

51. SUPER 8 - NARRATIVE
Todorov – clear use of EDR – what values are associated with
the key narrative points?
How can Barthes‟ narrative codes be applied?
Can you apply Propp‟s character types?

52. SUPER 8 - NARRATIVE
Is the Hero‟s Journey (Vogler and Campbell) applicable?
http://nealewadefilmstudies.blogspot.co.uk/p/contemporary-
english-language-film.html

53. MOONRISE KINGDOM -
NARRATIVE
Todorov – EDR
Barthes – narrative codes
Campbell and Vogler

54. THEMES – SUPER 8
Super 8 is about grief, getting over loss, coming of
age, father/child relationships.
The film links the idea of coming of age to both facing up to death
and loss, and the development of sexual identity. In coming of
age films, death is both symbolic (the death of
childhood/innocence) and literal – relating to the idea that
acknowledging mortality and dealing with death is a rite of
passage.
The film dramatizes the trauma of moving out of childhood, and
developing maturity through both the narrative about the death of
Joe’s mother, and the threat posed by the alien/the army.

55. THEMES – MOONRISE
KINGDOM
key themes include coming of age, failure to conform/not
fitting in, first love, the search for home/family.

56. STYLE
Super 8 – style and genre/how is style used to communicate
meaning?
Moonrise Kingdom – the film is heavily stylised. This reflects the
director’s authorial style, and the eclecticism employed in
constructing the film.
Consider how the film self-consciously draws attention to its
stylised use of sound, mise-en-scene, camerawork, and even
editing. What effect does this have? You could relate it to Wes
Anderson’s claim that he wanted the film to feel like a children’s
book, and more broadly to his directorial style.

57. AUTHORSHIP
Auteur Theory – developed by French film critics from Cahiers
du Cinema magazine.
Director can be seen as the author – only if they stamp their
personal style on all their films – expressing their worldview and
transcending studio system
Competent but indistinctive directors described as metteurs-en-
scene.
Andrew Sarris developed the auteur theory identifying three key
elements within a director‟s work – technique, personal
style, inner meaning
Criticisms of auteurism – film as collective medium, role of the
audience?

58. AUTHORSHIP AND
SUPER 8
J.J. Abrams – best described as metteur-en-scene?
Super 8 is his most personal film – „weird autobiography‟.
Doesn‟t really express distinctive world-view, instead is
guided by genre template.

59. AUTHORSHIP AND
MOONRISE KINGDOM
Wes Anderson as auteur – highly distinctive
style, techniques, and narrative concerns.
Key characteristics of Anderson‟s films include elaborate set
design, stylized costuming, plays or performances within the
films, repertory of actors, tracking shots, symmetrical
composition, use of colour palettes, family issues key to
narrative, nostalgia, period setting, sense of
artifice/theatricality.

60. TEXTUAL ANALYSIS
You need to use detailed analysis of the use of technical
elements (with good use of terminology) to support your
discussion of both films.
Try to identify examples which can be applied to a range of
the frameworks.

61. SUPER 8 – TEXTUAL
ANALYSIS
Opening scene – 4:06
family homes – 6:17-7:57
bar scene – 7:57-9:20
sneaking out/filming9:22-17
diner 32:15-33:40
Alice as zombie 39-40:22
(Home video 57-1:02:00)
Joe argues with father 51:54-54:00
Alice argues with father 1:02:33-1:05
Joe confronts the monster 1:36:44-1:38:09
final scene 1:39:10-1:43:00

62. MOONRISE KINGDOM
ANALYSIS
Opening sequence (Khaki Scouts, narrator)
Letter sequence
Khaki scouts search party
Confronting Khaki scouts
Beach sequence
Walt chopping something down
Social services
Bishops going to bed
Captain Sharp‟s caravan
Church tower
Final sequence

63. REVISION
Write answers to at least two of the possible questions for
each of the Section B topics.
Write at least one practice answer for Section A.
Complete essay plans for the other frameworks identifying
key points and examples from technical areas.
Watch the films – Super 8, Moonrise Kingdom.
Look at films that are relevant to Section B, e.g. Jaws, Star
Wars, Indiana Jones, The Godfather, Bonnie and
Clyde, Avatar, The Hobbit.

64. REVISION
RESOURCES
nealewadefilmstudies.blogspot.com
@nealewademedia