Joseph Allen – The Terminal (2004)
How does Cinematography & Mise-en-Scene create meaning & identity for the Audience, in an extract from ‘The Terminal’ (2004)?
Lucy Barrett – The Notebook (2004)
How do Sound & Performance create meaning for the Audience, in an extract from ‘The Notebook’ (2004)?
Louise Bone – 13 Going on 30 (2004)
How does Performance & Sound create a response in the Audience, within an extract from ’13 Going on 30’ (2004)?
Karis Bull-Welch – True Romance (1993)
How does Sound, Performance & Editing create a response from the Audience, in an extract from ‘True Romance’ (1993)?
Matthew Cowlin – School of Rock (2003)
How is Performance, Cinematography & Sound used to create a response from the Audience, in an extract from ‘School of Rock’ (2003)?
Daniella Crowley – Thirteen (2003)
How does Cinematography & Sound create a response from the Audience, within an extract from ‘Thirteen’ (2003)?
Joe Currie – The Deer Hunter (1978)
How does Performance, Mise-en-scene & Cinematography create a response from the Audience, in an extract from ‘The Deer Hunter’ (1978)?
Poppy Dolan-Miller – Kidulthood (2006)
How does Performance, Mise-en-scene & Cinematography create a response from the Audience, in the final scene from ‘Kidulthood’ (2006)?
Darrell Duhy – Saving Private Ryan (1998)
How does Cinematography & Performance create a response from the Audience, in the Omaha Beach landing from the film ‘Saving Private Ryan’ (1998)?
Joe Fitzpatrick – Kill Bill: Vol.1 (2003)
How does Performance, Cinematography & Sound create a response from the Audience, in the fight scene from ‘Kill Bill: Vol.1’ (2003)?
Christopher Gale – Saving Private Ryan (1998)
How do Sound & Performance create meaning for the Audience, in an extract from ‘Saving Private Ryan’(1998)?
Lauren Graham – The Butterfly Effect (2004)
How does Editing & Performance create a response from the Audience, in an extract from ‘The Butterfly Effect’ (2004)?
Kurt Groves – The Strangers
How does Cinematography, Sound & Performance provoke a reaction from the Audience, in an extract from the film ‘The Strangers’?
Lillie Hand – Taken
How do Performance & Sound create meaning for the Audience in the opening extract of ‘Taken’?
Shauna Harrendence – Into the Wild (2007)
How does Performance & Cinematography create meaning for the Audience, in an extract from ‘Into the Wild’ (2007)?
Anthony Howell – The Dark Knight (2008)
How does Cinematography & Performance creates a response from the Audience, from an extract of ‘The Dark Knight’ (2008)?
Caroline Rainbow – Willy Wonka & the Chocolate Factory (1971)
How does Performance, Mise-en-scene & Sound create an alternative meaning to the Audience, within an extract of ‘Willy Wonka & the Chocolate Factory’ (1971)?
Samantha Rance – Van Helsing (2004)
How does Mise-en-scene & Cinematography create meaning to the Audience, during the opening sequence to ‘Van Helsing’ (2004)?
Charlotte Ruffles – Harry Potter and the Prisoner of Azkaban (2004)
How does Cinematography & Sound create a response in the Audience, in an extract from ‘Harry Potter and the Prisoner of Azkaban’ (2004)?
Lauren Emma Smith – Moulin Rouge
How does Cinematography, Mise-en-scene & Performance create a response from the Audience in the ‘El Tango de Roxanne’ scene in Moulin Rouge?
Rebekah Taylor - Road to Perdition (2003)
How does Cinematography, Sound & Performance create a response from the Audience, in an extract from ‘Road to Perdition’?
Amber Titterton – House of Flying Daggers (2004)
How does Performance, Sound & Mise-en-scene provoke a response from the Audience, in an extract from ‘House of Flying Daggers’ (2004)?
Laura Walsh – I Am Legend (2007)
How does Sound & Cinematography create a response from the Audience, in an extract from ‘I Am Legend’ (2007)?
George Whitworth – Reservoir Dogs (1992)
How does Performance, Cinematography & Mise-en-scene create a response from the Audience, in an extract from ‘Reservoir Dogs’ (1992)?
