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World Cinema Essay Planning

What might I be asked in the exam?

Here is a list of all the World Cinema Questions  that have ever cropped up.

What are these questions about?

In pairs you should go through and see if you can spot any repetition / trends in questions that have arisen in previous years.

Alongside each question try to summarise what it is asking you about.

OK – where do I start?

You should then pick 4 different questions and complete 5 minutes plans for each.

You could do this as a mind map for example.

When planning –

  • start with your significance – what are the points that you want to make (aim for 4 different ideas). (S)
  • then think What examples would be great to back that idea up? 2 per point would be great (E)
  • then – what terms can I use in this example and what meaning is being communicated to the audience. (T/A)
  • and finally – how can I link this idea and analysis back to my initial point in the paragraph & the question as a whole. (Q)

You should then pick one of these to plan more thoroughly for a timed essay. Which you will complete without notes!

World Cinema Revision 1 – CONTEXT

THE SIGNIFICANCE OF CONTEXT

One type of question that may arise is about the context of how the films were made based on the times they were made – in other words – CONTEXT.

Here are a couple of examples of context type questions.

How far have your contextual studies been important in understanding the specific urban locations and life experiences represented in the films you have studied for this topic?

How far should the films you have studied for this topic be seen in relation to their particular time and place?

What are the relevant contextual elements that you need to be aware of? 

In pairs / 3s decide on 5 key areas of contextual significance for the Bicycle Thieves. We will then discuss these and decide on the most important ones as a class.

Now do the same for City of God – this always seems a bit harder because it’s more contemporary – but there are still loads of contextual choices in the film.

How can I evidence these? 

Make a copy of this template and put in the class agreed contexts for TBT & COG. Now consider specific examples from the films that you would use to evidence these. Remember your examples must come from a key moment in the film and should include a term – so add those in now.

So now you have formed the basics of a context essay – the key context will form your point (your significance – that so what – the reason you’re writing that paragraph) and then you have your micro example and term…

Now all you need is to analyse the meaning that example communicates / implies / connotes for the audience and link it back to the question… simples.

Pre reading – World Cinema Revision

Here are some articles / videos that will help refresh your minds of some of what you need to know for world cinema

Cinema Novo 

Italian Neorealism

A brief overview of Italian Neo Realism:

Here is a great lecture given by MIT Professor David Thorburn, who covers:

  • The context of post WWII Italy
  • The features and ‘density’ of Italian Neo Realism (28.00 – 34.15)
  • The cinema of Fascist Italy that the film was reacting to

City of God – Treatment of the City

Style over substance – City of God review

Style over Substance City of God extended reading

SPECTATORSHIP REVISION 5 – Past Paper Questions

What might I be asked in the exam?

Here is a list of all the questions that have ever cropped up for Spectatorship & Documentary.

What are these questions about?

In pairs you should go through and see if you can spot any repetition / trends in questions that have arisen in previous years.

Alongside each question try to summarise what it is asking you about.

OK – where do I start?

You should then pick 4 different questions and complete 5 minutes plans for each.

You could do this as a mind map for example.

When planning –

  • start with your significance – what are the points that you want to make (aim for 4 different ideas). (S)
  • then think What examples would be great to back that idea up? 2 per point would be great (E)
  • then – what terms can I use in this example and what meaning is being communicated to the audience. (T/A)
  • and finally – how can I link this idea and analysis back to my initial point in the paragraph & the question as a whole. (Q)

You should then pick one of these to plan more thoroughly for a timed essay on Thursday 10th May. Which you will complete without notes!

SPECTATORSHIP REVISION 4 – The Imposter Micro Analysis

As with Grizzly Man you should now do the same for 3 (or 4 as they’re shorter) of the following sequences from The Imposter:

  1. Missing Boy: 00:00:16 – 00:05:30
  2. No Other Way: 00:27:20 – 00:30:54
  3. Going to School: 01:02:00 – 01:08:00
  4. They Killed Him: 01:08:00 – 01:14:30
  5. Frederic Bourdin: 01:17:00 – 01:22:08
  6. Digging: 01:27:24 – 01:31:45

Remember in your analysis you need to consider micro features & specific terms:

  • mise-en-scene
  • cinematography
  • sound
  • performance
  • editing

 

SPECTATORSHIP REVISION 1 – Documentary Conventions / Modes & Terms

Task 1: What is a Documentary? 

Define documentary & the intended audience response to a documentary.

What is meant by the phrase ‘the creative treatment of actuality’? & who said it?

Task 2: How can we recognise a documentary? 

What do we expect to see in a documentary film? What are the key conventions/ repertoire of elements?

As a class create a mindmap of the key conventions & repertoire of elements.

From this mindmap draw up a list of conventions with a key example from Grizzly Man and/or The Imposter to evidence where you can see this convention in our chosen films. Divide & Conquer to create a class revision overview.

Task 3: What different types or modes of Documentary are there?

Recap the modes of documentary

In Pairs consider Grizzly Man / The Imposter and what mode these are and give examples of why you think this. Relay your thoughts with the class and finalise decisions.

Task 4: What terminology should I use to discuss Documentary Films? 

Refine your key conventions list to create a glossary of terms including definitions that you will use in your spectatorship / documentary essays.

Peer & Self Assessment

Here is a previous students Critical Reception Essay. It’s got some great bits in it – but it is by no means perfect.

Using our new STEAQ assessment you are going to peer assess this essay using this document. Consider what the student has done well and what they could have developed. Remember that the quote will count as part of the ‘point’ that you are making and you should have additional micro examples from the film to back up your ideas.

Using the assessment document tally up a mark out of 15 that you would give the essay and give 2 specific areas for development.

  • Green (awesome) = 3 points
  • Yellow (pretty good) = 2 points
  • Orange (erm, it’s ok) = 1 point
  • Red (where is this) = 0 points

You should then discuss this with your neighbour to see what they put and why.

Now you are going to use the same document to self assess your Critical Reception essays before submitting them to your teacher.

You should indicate where on each element you think you have achieved and then at the bottom of your essay give yourself a mark out of 15 & 2 specific targets  for your next essay.