Here is the marking criteria for FM1 for all you guys studying AS Film Studies.
It includes a breakdown of how every piece of coursework for this unit is assessed.
Dec
02
We are now approaching the submission date of the AS Media Foundation Portfolio Preliminary Task, and your attention should be turning towards writing your evaluation of your experience since you began this assignment. What follows is a rough guide on how to write you Foundation Portfolio Evaluation… remember to refer back to your Production Logs while you do this!
As always, an evaluation should have a beginning, a middle, and an end – so three sections. These would be:-
- Introduction – Here you will introduce your brief, planning & research carried out, construction of product
- Evaluation of Finished Product
- Evaluation of Product with regards to Audiences & Institutions
Below is a further breakdown of what you need to include in each section – which should be written as thoroughly as possible.
Section 1 – Introduction
Here, you will need to state which assignment brief pathway you chose (Print or Video). You will need to make it clear to the reader exactly what you are being asked to do for the completion of your chosen brief. You also need to include information on how you carried out your research and planning in response to the brief, and how that has influenced the construction of your media product.
You also need to discuss the construction stage, and decisions made on creating your magazine or video.
Section 2 – Evaluation of finished Product
Here, you discussed your completed product. Again, you must explain the decisions you have made, and how the finished product may differ from previous drafts. You also need to discuss how these changes impact on your audience. How does your product create meaning to the audience?
Here, you should refer back to critical theories, as covered during your studies on the Key Media Concepts Unit – things like genre, narrative, audience effects, media language/technical vocabulary.
Section 3 – Evaluation of Product with regards to Audiences & Institutions
Here, you are to compare your media product with real existing media products, which are similar to your own. You have to discuss how your media product fits in with the wider context of media institutions and audiences. Discuss how you believe the audience will ‘receive’ your product (a fair idea of this would be feedback you received during your Focus Group sessions you held with your peers).
You must answer the following questions in your evaluation
- In what ways does your media product use, develop or challenge forms and conventions of real media products?
- How does your media product represent particular social groups?
- What kind of media institution might distribute your media product, and why?
- Who would be the audience for your media product?
- How did you attract/address your audience?
- What have you learnt about technologies from the process of constructing this product?
Other things you must consider….
- Remember to reflect on your experiences/decision-making. If you decided to do something in a particular way, you have to discuss why you did this. It is not good enough to simply describe… you need to analyse and evaluate!
Dec
02
foundation-portfolio-planning-mark-scheme5
foundation-portfolio-construction-mark-scheme3
foundation-portfolio-evaluation-mark-scheme2
Here you will find the mark scheme that will be used to to mark your coursework.
There are three key areas here; the planning stage, the construction stage and the evlauation stage.
Each stage is broken down into more specific things which will enable the moderator to give you extra marks – obviously, the more attention to detail you show, the higher the marks gained.
Take a look at the different aresa that are being assessed.
Dec
02
Planning
Level 1 0–7 marks
• There is minimal research into similar products and a potential target audience.
• There is minimal organisation of actors, locations, costumes or props.
• There is minimal work on shotlists, layouts, drafting, scripting or storyboarding.
• Time management may be very poor.
• There is minimal use of appropriate digital technology or ICT in the presentation.
Level 2 8–11 marks
• There is basic research into similar products and a potential target audience.
• There is basic organisation of actors, locations, costumes or props.
• There is basic work on shotlists, layouts, drafting, scripting or storyboarding.
• Time management may not be good.
• There is basic use of digital technology or ICT in the presentation.
Level 3 12–15 marks
• There is proficient research into similar products and a potential target audience.
• There is proficient organisation of actors, locations, costumes or props.
• There is proficient work on shotlists, layouts, drafting, scripting or storyboarding.
• Time management is good.
• There is proficient use of digital technology or ICT in the presentation.
Level 4 16–20 marks
• There is excellent research into similar products and a potential target audience.
• There is excellent organisation of actors, locations, costumes or props.
• There is excellent work on shotlists, layouts, drafting, scripting or storyboarding.
• Time management is excellent.
• There is excellent use of digital technology or ICT in the presentation.
Evaluation
Level 1 0–7 marks
• There is minimal understanding of the forms and conventions used in the productions.
• There is minimal understanding of the role and use of new media in various stages of the
production.
• There is minimal understanding of the combination of main product and ancillary texts.
• There is minimal understanding of the significance of audience feedback.
• There is minimal skill in choice of form in which to present the evaluation.
• There is minimal ability to communicate.
• There is minimal use of digital technology or ICT in the presentation.
Level 2 8–11 marks
• There is basic understanding of the forms and conventions used in the productions.
• There is basic understanding of the role and use of new media in various stages of the
production.
• There is basic understanding of the combination of main product and ancillary texts.
• There is basic understanding of the significance of audience feedback.
• There is basic skill in choice of form in which to present the evaluation.
• There is basic ability to communicate.
• There is basic use of digital technology or ICT in the presentation.
Level 3 12–15 marks
• There is proficient understanding of the forms and conventions used in the productions.
• There is proficient understanding of the role and use of new media in various stages of the
production.
• There is proficient understanding of the combination of main product and ancillary texts.
• There is proficient understanding of the significance of audience feedback.
• There is proficient skill in choice of form in which to present the evaluation.
• There is proficient ability to communicate.
• There is proficient use of digital technology or ICT in the presentation.
Level 4 16–20 marks
• There is excellent understanding of the forms and conventions used in the productions.
• There is excellent understanding of the role and use of new media in various stages of the
production.
• There is excellent understanding of the combination of main product and ancillary texts.
• There is excellent understanding of the significance of audience feedback.
• There is excellent skill in choice of form in which to present the evaluation.
• There is excellent ability to communicate.
• There is excellent use of digital technology or ICT in the presentation.
Construction – Print
Print
Level 1 0–23 marks
The work for the main task is possibly incomplete. There is minimal evidence in the work of the
creative use of any relevant technical skills such as:
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• manipulating photographs as appropriate to the context for presentation, including cropping
and resizing;
• accurately using language and register;
• appropriately integrating illustration and text;
• showing understanding of conventions of layout and page design;
• showing awareness of the need for variety in fonts and text size;
• using ICT appropriately for the task set.
Level 2 24–35 marks
There is evidence of a basic level of ability in the creative use of some of the following technical
skills:
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• manipulating photographs as appropriate to the context for presentation, including cropping
and resizing;
• accurately using language and register;
• appropriately integrating illustration and text;
• showing understanding of conventions of layout and page design;
• showing awareness of the need for variety in fonts and text size;
• using ICT appropriately for the task set.
Level 3 36–47 marks
There is evidence of proficiency in the creative use of many of the following technical skills:
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• manipulating photographs as appropriate to the context for presentation, including cropping
and resizing;
• accurately using language and register;
• appropriately integrating illustration and text;
• showing understanding of conventions of layout and page design;
• showing awareness of the need for variety in fonts and text size;
• using ICT appropriately for the task set.
Level 4 48–60 marks
There is evidence of excellence in the creative use of most of the following technical skills:
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• manipulating photographs as appropriate to the context for presentation, including cropping
and resizing;
• accurately using language and register;
• appropriately integrating illustration and text;
• showing understanding of conventions of layout and page design;
• showing awareness of the need for variety in fonts and text size;
• using ICT appropriately for the task set.
Construction – Video
Level 1 0–23 marks
The work for the main task is possibly incomplete. There is minimal evidence in the work of the
creative use of any relevant technical skills such as:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions and other effects selectively and appropriately for the task set;
• using sound with images and editing appropriately for the task set;
• using titles appropriately.
Level 2 24–35 marks
There is evidence of a basic level of ability in the creative use of some of the following technical
skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions and other effects selectively and appropriately for the task set;
• using sound with images and editing appropriately for the task set;
• using titles appropriately.
Level 3 36–47 marks
There is evidence of proficiency in the creative use of many of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions and other effects selectively and appropriately for the task set;
• using sound with images and editing appropriately for the task set;
• using titles appropriately.
Level 4 48–60 marks
There is evidence of excellence in the creative use of most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions and other effects selectively and appropriately for the task set;
• using sound with images and editing appropriately for the task set;
• using titles appropriately.
Nov
26
Georgia Gallagher – Lost Boys – How does Cinematography, Sound & Mise-en-scene create alternative meaning in extract from The Lost Boys?
Qudsia Shakeel – Atonement – How does Cinematography, Sound & Performance create emotion in extract from Atonement?
Jessica Starkins – The Matrix – How does Cinematography, Sound & Performance add to the Tension and give Meaning in the “They’re Coming For You” Scene from The Matrix?
Amy Collins – Ladder 49 – How do Performance & Sound create emotion in the final sequence of Ladder 49?
Ben Slater – Swordfish – How does Performance, Cinematography, and Editing create tension in the opening sequence of Swordfish?
Elliott Steel – Batman Begins – How does Performance, Cinematography & Mise-en-scene represent the two characters to the audience in an extract of Batman Begins?
Joseph Eaton – Shaun of the Dead – How does Cinematography, Sound & Performance contribute to the sense of comedy in an extract from Shaun of the Dead?
Philip Eccles – Cruel Intentions – How does Mise-en-scene foreshadow the climax, and Sound & Performance dictate the target audience of Cruel Intentions?
Steven Hayes – Final Fantasy VII: Advent Children – How does Sound, Editing & Cinematography set the scene of the final battle between Cloud and Sepithroth in Final Fantasy VII: Advent Children?
Amber Robinson – Matilda – How does the Sound, Mise-en-scene & Performance create tension in an extract from Matilda?
Matt Little – Rendition – How does the Mise-en-scene, Cinematogrpahy & Editing create realism in an extract of Rendition?
Liam Cairns – There Will Be Blood – How does Performance & Mise-en-scene represent the character Eli to the audience in an extract from There Will Be Blood?
Lisa Rodriguez – Reservoir Dogs – How does Performance, Cinematography & Sound create meaning to the audience in an extract from Reservoir Dogs?
Sophie Dew – Drop Dead Fred – How does Performance, Editing & Cinematography contribute to the sense of comedy for the audience in an extract from Drop Dead Fred?
Tiriwashi Muanaka – Why Did I Get Married? – How does Performance & Cinematography create meaning and tension in an extract from Why Did I Get Married?
Oct
08
It’s now been a few weeks since you were first introduced to the Foundation Portfolio assignment briefs.
Now is the time to begin your Production Logs. As you may remember, these are like ‘diaries’ to help you keep track of your progress, and also to evidence this to the examiner. You will also be required to reflect on your experiences during the process, as you will use this as the basis of your written evaluation which is to be submitted with your completed coursework.
This is what you should include in your Production Log so far:-
* Introduction to chosen brief.
* Initial response to brief.
* Description of creative ideas.
* Presentation of Ideas & Focus Group Feedback.
* SMART Targets.
* Photoshop training.
* Any other relevant information
Remember, that it is your responsibility to update your Production Logs on a regular basis, and in as much detail as possible.
Sep
22
Once you have planned your project, turn your attention to developing several goals that will enable you to be successful. Goals should be SMART – specific, measurable, agreed upon, realistic and time-based.
A goal might be to hold a weekly project meeting with the key members of your team throughout the project. Those of you working individually, can have regular meetings with your tutor.
The acronym SMART has a number of slightly different variations, which can be used to provide a more comprehensive definition for goal setting:
S – specific, significant, stretching
M – measurable, meaningful, motivational
A – agreed upon, attainable, achievable, acceptable, action-oriented
R – realistic, relevant, reasonable, rewarding, results-oriented
T – time-based, timely, tangible, trackable
This provides a broader definition that will help you to be successful in both your business and personal life.
When you next plan a project take a moment to consider whether your goals are SMART goals.
SMART Goals
Specific
- Well defined
- Clear to anyone that has a basic knowledge of the project
Measurable
- Know if the goal is obtainable and how far away completion is
- Know when it has been achieved
Agreed Upon
- Agreement with all the parties what the goals should be
Realistic
- Within the availability of resources, knowledge and time
Time Based
- Enough time to achieve the goal
- Not too much time, which can affect project performance
Aug
27
Below is a PowerPoint Presentation that I have put together from the examination board spec, explaining the structure of the FS5 Unit.
Take a look!
Aug
26
The following questions are of the generic type and could be used to analyse the FS5 Section B focus films:
- To what extent do you think your chosen film challenges audiences’ preconceptions about particular social groups?
- What do you consider to be the most distinctive visual features of your chosen film?
- To what extent do you think an understanding of the director’s other work would allow the viewer a greater understanding of your chosen film?
- Have the critical reviews you have read about your chosen film confirmed or challenged your own reading of the film?
- Do you think it is necessary to locate your chosen film within its social and political context in order to appreciate it fully?
Aug
26
Discussing Text & Representation
The skill of using close textual detail to inform a discussion of the representational aspects of a text is one that you will have used for FS3: British & Irish Cinema exam. Representation is constructed through textual elements and informed by the context of a film’s production. You will need to give detailed consideration to the way in which cinematography, mise-en-scene, sound and editing function to create representational meaning within your chosen film. Consider what the film seems to be saying about gender, race, nationality, age and sexuality. These messages will have been relayed to the film’s audience via textual choices. Once you have identified what you consider to be the film’s main representational depictions, you will need to discuss what the nature of these is. Are the groups represented within your text presented in a way that seems to conform to the dominant social attitudes of the time in which the film was made, or do they seem to challenge dominant ideologies?
Discussing Social,Political & Ideological Context
This area of investigation and preparation does not have to be as daunting as it may initially seem! As you already know from your AS and A2 studies, a film is a product not merely of its director, cast and crew. The look and content of a film are also influenced by audience expectations and the ideas that were circulating at the time the film was produced. Your focus film was made at a particular point in history and in a particular national (and social) context. consider what the film seems to be indicating about the politics and social opinions that surrounded its production. The discussions of social and political issues might be explicit, delivered through the dialogue of certain characters, but they might also be implicitly delivered through the construction of character, the mise-en-scene, the narrative pattern and even the cinematography.
If a particular political event occured at the time of the film’s production, the film may comment on it. A particular attitude towards a social group might also be apparent in your film text. This section of your preparation will probably overlap with the notes you have made on representation, but you should extend your comments beyond the representation of social groups to the representation and discussion of social issues and ideological standpoints. You might decide that your film challenges opinions held by the majority of society, or you might find that it supports a social attitude. Remember, of course, to make notes on your own responses to the messages that are apparent in your film. You may have sympathy with the standpoints that are being taken, or your own thoughts and ideas may be diametrically opposed to those of the film text. The dialogue between the messages of your chosen film and your own attitudes is an inportant aspect of your discussions in the exam.
Discussing Auteur Implications
Although you are not involved in an auteur study for this exam, there might be auteur-related implications to be identified within your focus film. It will be worth seeing some of the other films created by the director of your chosen film, to assess whether any signature characteristics are evident within these and your focus film. Look out for stylistic and thematic signatures that might be evident across your director’s work. These signatures may also have an implication in terms of national cinema – the thematic considerations that are evident could relate to the country in which the film was produced.
Discussing Audience Reception
The most straightforward kind of audience reception you can evaluate is that of the other members of your Film Studies class, who are also studying the film. The internet will also give you access to a wealth of audience comment and review. One issue to remember however, is that your focus film is an example of World Cinema, and as such will have been first seen in the country of its origin. the way in which the film was received when it was first shown will be of relevance to you background preparation. Box-office figures will be significant and again, you could use the internet to provide you with figures from the country of the film’s release and with those of its global release. You might also be able to find reviews from the film’s country of origin on the internet, which can be automatically translated.
Once you have gathered the figures and comments, you should make notes on the countries in which the film was most successful and on the features of the film about which there are most comments.
Discussing Critical Reception
It is important when you consider the critical reception of your focus film that you cover a range of reviews and critics’ opinions. You might find that the majority of critics agree on their response to the film, but you might also find that there are wildly differing opinions. You do not have to restrict your review search to those written in English – it is possible to locate foreign language reviews and have them automatically translated. When making notes on the crticial responses to your chosen film, try to identify the following kings of information:-
- the features of style that are discussed
- the thematic elements that are discussed
- information concerning the directors and their other works
- the context of the film’s release, in terms of institutional issues or information
- any comments concerning the social/ideological context in which the film was released
