WJEC - A2 Film Studies FM4 mark scheme & guidance

1. GCE AS/A FILM STUDIES 26
FM4: VARIETIES OF FILM EXPERIENCE: ISSUES AND DEBATES
MARKING GUIDELINES
Section A
Section B
Section C
AO1
Max raw mark
(Unit Weighting,
% A Level)
17.5
17.5
15
50 (12.5%)
AO2
Max raw mark
(Unit Weighting,
% A Level)
17.5
17.5
15
50 (12.5%)
Totals
Max raw marks
(Unit Weighting,
% A Level)
35
35
30
100 (25%)
Note: Raw marks equate to Unified Mark Scale totals.
General Performance Descriptors: Sections A and B
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.

2. GCE AS/A FILM STUDIES 27
Level
1: 0-13
Performance Descriptor
Level 1 candidates will give few indications that they have gained knowledge and
understanding of the work covered in the unit. References will generalised and
frequently inaccurate. Description and detail will not always be relevant.
Quality of written communication will be inadequate so that communication is only
successful in simple statements. There will be frequent inaccuracies.
2: 14-20
(14-16)
(17-20)
At the lower end of this level, candidates will have a basic ability to describe their
chosen films and topic. However this knowledge will tend to be insecure with
significant inaccuracies. There will be some detail but this will not always be
relevant and there will be limited ability to work from the particular to the general.
Description will dominate.
Quality of written communication will be inconsistent but will enable basic if
limited communication. There will be frequent inaccuracies although not sufficient
to prevent communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have some ability to describe their
chosen films and topic. Knowledge and understanding will be more secure but
description will dominate. An appreciation of the issues raised by the question will
be evident although it may be implicit.
Quality of written communication will be adequate. Although sometimes awkward
in expression, communication will generally be clear. There will be occasional
inaccuracies.
(21-23)
At the lower end of this level, candidates will have a sound knowledge and
understanding of their chosen films and topic.
The ability to make points
supported with relevant evidence will be emerging although there may still be a
tendency to the descriptive. The use of appropriate specialist language will be
emerging.
(24-27)
Quality of written communication will be sound. It will be reasonably fluent,
reasonably structured and mainly accurate.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and
understanding of their chosen films and topic. Clear points of view will be
developed and the use of appropriate specialist language will inform discussion.
3: 21-27
4: 28-35
Quality of written communication will be good. It will be fluent, well-structured
and accurate.
At Level 4, candidates will be distinguished by an excellent knowledge and
confident understanding of their chosen films and topic. Points of view will be
developed very effectively with appropriate specialist language a feature of all film
references.
Quality of written communication will be excellent.
structured and accurate, showing signs of sophistication.
It will be fluent, well-

3. GCE AS/A FILM STUDIES 28
Section A: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
Aspects of a National Cinema
Questions 1 and 2:
•
•
•
An understanding of the idea of a national cinema, including strategies for a successful
indigenous cinema within the global market.
A specific understanding of the characteristics of the chosen national cinema within its
political, historical and social contexts.
An understanding of how the form and style expresses a particular view and how this may in
some ways be distinctive to that national cinema.
International Film Styles
Questions 3 and 4
•
•
•
A knowledge and appreciation of the importance of the relevant historical, political, social,
cultural and artistic contexts.
A specific understanding of the chosen films and their stylistic features – and of the
relationship of these chosen features to thematic preoccupations.
An understanding of what is distinctive – and innovative – in the films studied.
Specialist Study 1 – Urban Stories: Power, Poverty and Conflict
Questions 5 and 6
•
•
•
An appreciation of the messages and values contained within the chosen films.
An understanding of the relationship between form and content, possibly with a particular
reference to distinctive stylistic features.
An understanding of contexts, especially time and place.
Specialist Study 2 – Empowering Women
Questions 7 and 8
•
•
•
An appreciation of the messages and values contained within the chosen films, especially
gender issues.
An understanding of the relationship between form and content, possibly with a particular
reference to distinctive stylistic features which relate to a ‘gendered’ cinema.
An understanding of contexts, especially time and place.

4. GCE AS/A FILM STUDIES 29
Section B: Guidelines on specific questions
The following is a guideline to issues candidates may raise in their answers. It is not intended to be
prescriptive.
Questions 9 and 10
• An understanding of the rapid development of micro features of film language during the
period, especially in relationship to spectator positioning and response.
• An understanding of the rapid development in the story-telling capacity of early cinema with
particular reference to narrative and spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition.
Questions 11 and 12
• An awareness of different kinds of documentary practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.
Questions 13 and 14
• An understanding that experimental film/video demands a different and more challenging
spectatorship experience.
• An awareness of different kinds of experimental practice and the distinctive features of each
in relation to spectatorship.
• An appreciation of cinematic contexts – including developments in technology and exhibition
as they relate to spectatorship.
Questions 15 and 16
• An understanding of how cinema produces a range of emotional responses in the spectator,
using both macro and micro features.
• An appreciation of how spectators seek a range of different experiences when watching films,
including experiences that may challenge and disturb.
• An appreciation of cinematic contexts – including the significance of audience viewing
situations, fandom and ‘cultism’ – in contributing to spectator response.
General Performance Descriptors: Section C
AO1: Demonstrate knowledge and understanding of film as an audio-visual form of creative
expression, together with its contexts of production and reception and of the diversity in filmmaking
across different historical periods and geographical locations.
AO2: Apply knowledge and understanding, including some of the common critical approaches that
characterise the subject, when exploring and analysing films and when evaluating their own film
creative projects, to show how meanings and responses are generated.
The ability to demonstrate knowledge and understanding (AO1) will be weighted equally with the
ability to apply that through exploration and analysis (AO2) at all levels.

5. GCE AS/A FILM STUDIES 30
Level
1: 0 -11
Performance Descriptor
Level 1 candidates will give few indications that they have gained knowledge and understanding of the
work required to respond adequately to the questions on this paper. References will be highly
generalised and frequently inaccurate.
There will thus be no obvious evidence of understanding or an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be inadequate so that communication is only successful in
simple statements. There will be frequent inaccuracies.
2: 12 – 17
(12-14)
At the lower end of Level 2, candidates will have some ability to describe the critical issues they
choose to write about but, compared with work at higher grades, knowledge will be insecure with
significant inaccuracies. There will be some detail but this will not always be relevant and there will be
limited ability to work from the particular to the general. Description will dominate with very little
evidence of understanding in attempting to respond to specific issues raised by the questions.
There will thus be evidence of a basic understanding and basic ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be inconsistent but will enable basic if limited communication.
There will be frequent inaccuracies although not sufficient to prevent communication.
…………………………………………………………………………………………
At the upper end of this level, candidates will have an ability to describe in broad terms the critical
issues they choose to write about. Description, generally accurate, will dominate. An appreciation of
the basic aspects of critical debates and issues will be apparent although this will often be implicit
rather than explicit.
There will thus be evidence of a developing understanding and an ability to apply that understanding
through analysis of film and the relevant critical and contextual issues.
(15-17)
Quality of written communication will be satisfactory. Although sometimes awkward in expression,
communication will be generally clear. There will be some inaccuracies.
3: 18-23
At the lower end of Level 3, candidates will have a sound knowledge and reasonable understanding of
the critical issues they choose to engage with. They will be able to make detailed and accurate
references to specific films and cinemas. There will be a sense of being able to make and support
points rather than rely on description at this level, in comparison with work at higher levels, clear
points of view won't always be developed.
(18-20)
Candidates will thus demonstrate a sound understanding of film and film issues and a sound ability to
apply that understanding through analysis of film and the relevant critical and contextual issues.
Quality of written communication will be sound. It will be reasonably fluent, reasonably structured
and generally accurate, enabling clear communication.
……………………………………………………………………………………….
At the upper end of this level, candidates will have a good knowledge and understanding of the critical
issues they choose to engage with. They will be able to make detailed, accurate and usually precise
reference to specific films and cinemas.
There will thus be clear evidence of a good understanding of film and film issues and a good ability to
apply that understanding through effective analysis of film and the relevant critical and contextual
issues.
(21-23)
Quality of written communication will be good. It will be fluent, well-structured and accurate.
4: 24-30
Level 4 candidates will be distinguished by an excellent knowledge and confident understanding of the
critical issues they choose to engage with. They will be able to make very detailed, accurate and
precise reference to specific films and cinemas. Work will be structured highly effectively. There will
be evidence of a clear and distinctive 'voice' developing.
There will clear evidence of a high level of understanding of film and film issues and an excellent
ability to apply that understanding through coherent analysis of film and the critical and contextual
issues relating to them.
Quality of written communication will be excellent.
accurate, showing signs of sophistication.
It will be very fluent, well-structured and

6. GCE AS/A FILM STUDIES 31
Section C: Guidelines on specific questions
The following is a guideline to the understanding candidates may demonstrate in their answers.
It is not intended to be prescriptive.
Questions 17 to 28
• Knowledge of some of the different critical responses provoked by the chosen film, together
with an appreciation of the film’s status – arising, for example, from a consensus view that it
is a stylistically innovative film or a significant auteur work, or a major contribution to the
way we think theoretically about film.
• Understanding of the issues underlying its (possibly diverse) critical reception, including, for
example, those relating to theme, style and structure.
• An appreciation of how one or more critical approaches applied by the candidate has been
productive in enhancing understanding and appreciation of the chosen film.
GCE Film Studies SAM (2009-2010)/JD
25 September 2007