Film

“If all the serious lyrical poets, composers, painters and sculptors were forced by law to stop their activities, a rather small fraction of the general public would become aware of the fact and a still smaller fraction would seriously regret it. If the same thing were to happen with the movies, the social consequences would be catastrophic.”

Erwin Panofsky, 1934

Film Language

Film language is used by directors, producers, editors, and other film professionals to create meaning from the moving images of film and video. We “read” (or decode) this language in a similar way to the way we interpret written language. Our interpretation of what happens is not limited to what is present on the screen, but also in influenced by what we may understand about factors like the context of a situation or the conventions of a genre.

In this I.B. course, a student will not only need to understand film language so that they can interpret film texts, but they must also demonstrate that they can communicate in film language in at least one of the five major areas of the course:

Learning Two Languages

While students are learning in your course, they will be learning two distinct but related languages.

  1. One is the language of film analysis,  which will begin with textual analysis of individual films and build into understanding institutional, sociological, historical, and theoretical topics related to film.
    • THIS FILM IS IMPORTANT (TO ME) BECAUSE . . .
  2. One is film language itself and particularly those skills needed by the screenwriter, cinematographer, director, editor, and sound designer/sound editor.
    • LOOK AT WHAT IS IMPORTANT (TO ME) . . .

Daily Schedule

Overview of Class Components and Assessments

Part One: Textual Analysis

  • SL 37.5 HOURS
  • HL 60 HOURS
  • Film Guide page 17
  • EXAM: THE PRESENTATION (Externally marked)
    • DESCRIBED – PAGE 26
    • ADDITIONAL MATERIAL HL – PAGE 29
    • CRITERIA SL – PAGE 28
    • CRITERIA HL – PAGE 31

Part Two: Film Theory and History

  • SL 37.5 HOURS
  • HL 60 HOURS
  • ASSUMES EXPERIENCE OF FILMS FROM MORE THAN ONE COUNTRY.
  • Film Guide page 17
  • EXAM: THE INDEPENDENT STUDY (Externally marked)
    • DESCRIBED PAGE 24
    • ADDITIONAL MATERIAL HL – PAGE 29
    • CRITERIA SL – PAGE 27
    • CRITERIA HL – PAGE 30

Part Three: Creative Process Techniques & Organization of Production

  • SL 75 HOURS
  • HL 120 HOURS
  • Film Guide page 18
  • EXAM: THE PRODUCTION PORTFOLIO (I.A. Internally assessed / externally moderated)
    • DESCRIBED PAGE 33
    • CRITERIA SL – PAGES 37 – 40
    • CRITERIA HL – PAGES 40 – 44

Three Compulsory Parts

(They are described in detail in the IB Film guide starting on page 17.)

1. TEXTUAL ANALYSIS  (25%)

  • Students will make detailed study of film sequences using their observation skills and critical analysis skills. The understanding of film language developed here will feed back into their own work on CREATIVE PROCESS.

2. FILM THEORY AND HISTORY (25%)

  • Students will need to develop research skills as they study various theoretical approaches, historical development of technology and film genres, and film-making traditions of many cultures. This study may also have profound influences on their own CREATIVE PROCESS.

3. CREATIVE PROCESS (50%)

  • Students will learn the creative, analytical, and production skills necessary to make films and express themselves in film language.

A Sense of Balance

The course guide suggests:

  • 37.5 to 60 hours (SL /HL) for Textual Analysis
  • 37.5 to 60 hours (SL /HL) for Film Theory and History
  • 75 to 120 hours (SL /HL) for the Creative Process (Production)

In short, equal time for each of the two new languages the student is learning to express themselves in.

The Whole Picture

The three sections of the course are not really separate. They all hone the students ability to observe, and then use, film language.

Exploiting the natural relationships between the three compulsory parts of the syllabus can be very useful in building units and helping students to attain skills. While units can be designed which only fulfill the needs of one section of the syllabus, building units that follow through all three parts can help students see the natural relationships between the various sections of the course.

Aims of The Course (IB Group 6 – The Arts)

  1. Enjoy lifelong engagement with the arts
  2. Become informed, reflective and critical practitioners in the arts
  3. Understand the dynamic and changing nature of the arts
  4. Explore and value the diversity of the arts across time, place and culture
  5. Express ideas with confidence and competence
  6. Develop perceptual and analytical skills
  7. Develop an appreciation of understanding of film as a complex art form
  8. Develop an ability to formulate stories and ideas in film terms
  9. Develop the practical and technical skills of production
  10. Develop critical evaluation of film productions by the students and other
  11. Develop a knowledge of film-making traditions in more than one country

I.B. Film Learners Strive To Be:

  • Inquirers
  • Knowledgeable
  • Thinkers
  • Communicators
  • Principled
  • Open-minded
  • Caring
  • Risk-takers
  • Balanced
  • Reflective

Course Units

Unit Hours Unit Hours
Unit 0: Career Essentials 30 Unit 6: Filmmaking Boot Camp: Visual Structures 40
Unit 1: History of Film/Cinema 45 Unit 7: Camera and Lens 20
Unit 2: Pre-Production 40 Unit 8: Lighting 20
Unit 3: Production (Production Portfolio) 40 Unit 9: Audio and Microphones 20
Unit 4: Post -Production 40 Unit 10: Video Editing, Graphics, and Publishing 20
Unit 5: Textual Analysis 45 TOTAL 360

Course Description

  • Length of class: 1 year SL or 2 year HL
  • Occupational Ed IB Elective, or Art Credit: 9, 10, 11, and 12
  • The IB Film course aims to develop in students the skills necessary to achieve creative and critical independence in their knowledge, experience, and enjoyment of film. The course is divided into three sections inextricably interwoven through the course; textual analysis, film theory and history, and creative process. Through a textual analysis of films and a study of film history students will enhance the development of their creative, analytic and production skills. Students will create scripts for documentaries that study specific film styles and techniques, develop oral presentation that critically analyze short film passages, and produce short films.

Syllabus

Social Media Contract

IB Film Web Sites

Daily Schedule

Grade Scale

Level Letter Skyward High % Skyward Low % Descriptor
4 A 100.00% 92.50% Advanced. Consistently exceeds proficient level of standard(s).
3.5 A- 92.49% 86.67% Proficient but partial success at advanced level.
B+ 86.66% 80.84%
3 B 80.83% 75.00% Proficient. Consistently (usually) meets standard(s).
2.5 B- 74.99% 66.67% Basic but partial success at proficient level.
C+ 66.66% 58.34%
2 C 58.33% 50.00% Basic. Inconsistently (occasionally) meets standard(s).
REDO

Grade Scoring Table

  20 0 0 0 0 0 0 0 0 0 2 2 2.5 2.5 2.5 3 3 3.5 3.5 4 4
19 0 0 0 0 0 0 0 1 1 2 2 2.5 2.5 2.5 3 3.5 3.5 4 4
18 0 0 0 0 0 0 1 1 1 2 2.5 2.5 2.5 3 3.5 3.5 4 4
C 17 0 0 0 0 0 0 1 1 2 2.5 2.5 2.5 3 3.5 3.5 4 4
O 16 0 0 0 0 0 0 1 2 2 2.5 2.5 3 3.5 3.5 4 4
M 15 0 0 0 0 0 1 1 2 2.5 2.5 3 3 3.5 4 4
P 14 0 0 0 0 0 1 2 2 2.5 2.5 3 3.5 4 4
E 13 0 0 0 0 0 1 2 2.5 2.5 3 3.5 3.5 4
T 12 0 0 0 1 1 2 2.5 2.5 3 3.5 4 4
E 11 0 0 1 1 1 2 2.5 3 3 3.5 4
N 10 0 1 1 1 2 2.5 3 3.5 3.5 4
C 9 0 1 1 1 2.5 3 3 3.5 4
I 8 1 1 1 2 2.5 3 3.5 4
E 7 1 1 2 2.5 3 3.5 4
S 6 1 1 2 3 3.5 4
5 1 2 2.5 3.5 4
4 1 2 3 4
3 1 3 4
2 2 4
1 4
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
S C O R E

Film Assessments from 2016

2016 IB Film Scores

Film Assessment – External – 50%

Independent Study – 25 %

  • Rationale, script & sources for short documnentary production on an aspect of film theory and/or film history
  • Based on: study of minimum of 2 films SL and 4 films HL from more than one country
  • Rationale: ≤ 100 words
  • Script: 8-10 pages SL, 12-15 pages HL
  • Marks: 25

Oral Presentation – 25 %

  • Detailed critical analysis of continuous extract from a prescribed film.
  • Extract: ≤ 5 minutes
  • Presentation: ≤ 10 mins SL and ≤ 15 mins HL
  • Marks: 25

Film Assessment – Internal – 50%

Production Portfolio

  • One completed film project with accompanying written documentation ≤ 1,200 words SL and ≤ 1,700 words HL
  • Film length: 4-5 mins SL and 6-7 min HL including titles
  • HL requires a 40-60 second film trailer, as well
  • Rationale: ≤ 100 words
  • Marks: 50

Past Student Work

Self Authored Projects

  • Technical and creative media skills are developed through project work, working toward mastery
  • Projects are composed of a plan and a product
  • Each project is about two weeks in length
  • Students produce projects throughout the term
  • Students present the product the last day of the project cycle

Daily Work

  • Students will receive a daily grade for being on task with the daily work. Credit will be reduced for any conduct not contributing to an academic atmosphere. Credit will not be granted if the student is absent, but the points can be made up upon return. Please refer to the online class schedule for missing work and consult with the teacher for make-up work.

Self Evaluation

  • Students will publish blog entry detailing their work for projects
  • Included in the entry will be a paragraph highlighting what was done and learned
  • A screenshot showing an example of the work and progress will be included
  • Sample Student Evaluation

Journal

  • Students will maintain a journal
  • The journal details what was done and learned
  • Sample journal entry

Leadership

  • Students will contribute to the learning community in some meaningful way
  • Student-lead leadership project will be developed between 1st and 2nd semester
    • This project is aligned with CTE standards and IB internal assessment

Teams

The Power of Project Based Learning

Screencasts – Assistance in Self-Directed Learning

Academic Integrity

Resources

Film Analysis

Film Training

 

Books

The Visual Story: Creating the Visual Structure of Film, TV and Digital Media by Bruce Block

The Story of Film by Mark Cousins

Looking at Movies: An Introduction to Film, by Richard Barsam and Dave Monahan

The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado

The Five C’s of Cinematography: Motion Picture Filming Techniques by Joseph V. Mascelli

Film Directing Shot by Shot: Visualizing from Concept to Screen by Steven D. Katz

In the Blink of an Eye: A Perspective on Film Editing by Walter Murch

The 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Van Sijll

Leave a Reply

Your email address will not be published. Required fields are marked *