SHORT FILMS

 

ESSENTIAL SHORT  FILM LIST

Learners are required to make a study of at least three short films in preparation for their production. The total running time of the films selected must be at least 80 minutes.

               FILM            DIRECTOR      LENGTH (MINUTES)           

Meshes in the Afternoon (Deren, US, 1946)   14’

La Jetée (Marker, France, 1962)       28’

La Ricotta (Pasolini, Italy, 1963)      34’

The Grandmother (Lynch, US, 1970)     34’

A Girl’s Own Story (Campion, Australia, 1987) 26’

Elephant (Clarke, UK, 1989)      39’

The Wrong Trousers (Park, UK, 1993)     30'

When the Day Breaks (Forbis/Tilby, Canada, 1999) 09'

About a Girl (Percival, UK, 2001)        09'

Wasp (Arnold, UK, 2003)         24'

High Maintenance (Van, Germany, 2006)           09'

Connect (Abrahams, UK, 2010)         05'

Night Fishing (Park, South Korea, 2011)            33’

Pitch Black Heist (Maclean, UK, 2012)         13

Curfew (Christensen, US, 2012)       19'

Swimmer (Ramsay, UK, 2012)       18’

The Gunfighter (Kissack, US, 2014)       09'

Stutterer (Cleary, UK, 2015)      12'

Here's direct links to all of the films we can find.....we may not cover all of them and you don't need to write about all of them but this should give you more than enough to analyse and influence your own ideas....




Curfew  ( Christensen 2012 )


 Comedy/drama with extensive use of traditional, efficient  and effective use of film form to build  narrative tension, show relationships between characters, create narrative structure and iconography to support the film's theme


                Connect (Abrahams 2012 )

Simple short film

        High Maintenence  ( Van 2006 )

Scifi ? 

The Gunfighter  ( Kissack 2014 )

Comedy Western relying on subverting the concept of voiceover                 


  The Wrong Trousers ( Nick Park)  

Action comedy British animated short , featuring narrative twists, enigmas, a character's journey, action scenes, humour and links to other genres.



Wasp ( Armold )

Drama

     Elephant ( Clark  1989)   part 1   part 2  part 3   part 4

 Violent  and realistic  British short film about the troubles in Northern Ireland in the 1970s and 1980s. No music and minimal narrative and use of dialogue.

                    Le Jetee  ( Marker  1962 )

                 An experimental short  scifi film

NEXT...

Pitch Black Heist ( Maclean 2012  )

a short crime drama  focusing on two characters with some experiments in film form.

                              The Grandmother      ( Lynch )    
    
another experimental film short from a director who started as a visual artist : experimental and non-realistic in mise-en-scene and sound)

Meshes of the afternoon  ( Deren 1946 )

Earlyish experimental silent  fiim with a circular dreamlike narrative

You should consider the following connections between these short films and your own ideas:

Influence on ideas of linear/non linear narrative structure

Similar or contrasting narrative elements, enigmas  or plot points

Similar social or emotional themes

Similar genre or genre conventions used

Similar characters or character development

Similarity in   film form elements : e.g handheld camera, mise-en-scene, use of sound such as music or dialogue , editing techniques, shot selection , use of colour and lighting

OTHER SHORT FILMS



THUNDER ROAD  ( best short film at Cannes 2016 )


BEAT ( 2015 )

"CASTELLO CAVALCANTI" by Wes Anderson

END OF THE LINE ( 2018 )


Whiplash ( 2012)


Short films 2018

OVERVIEW

2021-22 : Production work

Learners are required to submit the following tasks :

     

  a screenplay for a short film of between 1600 and 1800 words which includes one of the following:

• a narrative which has a distinct genre 

• a narrator 

• a narrative which has parallel stories

 • a non-linear narrative

Screenplay should closely  follow the standard screenplay format( look at examples ) and should be written in the present tense. 

It can be very descriptive in terms of mise-en-scene and action 
 The screenplay can also describe all elements of film form such sound elements in detail .

  
Consider issues like dialogue revealing plot and character, narrative structure and narrative tension in your screenplay as well as careful use of all elements of film form you have learnt from other films and screenplays.

and 

a digital storyboard  covering  half of the whole narrative 

 ( approximately 16-20 storyboard shots).    

The storyboard cshould be accurate and relevant in terms of framing, shot type, type of setting  and lighting as well as any intsructions and content about film form . 

or

A short film of between 4 and 5 minutes which includes at least one of the following  

• a narrative which has a distinct genre 

• a narrator 

• a narrative which has parallel stories

 • a non-linear narrative

and 

An evaluative analysis

Learners can also  complete an evaluative analysis of their production of between 1600 and 1800 words and make reference to some of the  short films selected for study from the compilation set by WJEC 

(at least three short films totalling a minimum of 80 minutes). The evaluative analysis must include:

·          narrative structure of the short films – an analysis of  the narrative features , film form and dramatic qualities of the  short films studied ( at least three from the list, totalling at least 80 minutes ),  highlighting key ideas  of film form and narrative which informed learners' own production.

·         cinematic influences – an analysis of how visual/audio elements of other professionally produced films or screenplays, including short films, influenced their short film or screenplay. If you created a screenplay, this should include mention of at least one screenplay and how it may have influenced dialogue,content and style of script, use of film form, mise-en-scene etc

·         how your own work creates meaning and effect – an evaluative analysis of how your production creates meanings and generates responses for the spectator in relation to other professionally produced films or screenplays, including at least one of the short films studied.

Learners must submit the evaluative analysis in the form of extended writing (which may include sub-headings). It must be word-processed and should be illustrated with screen shots or screenplay extracts. Screenplay extracts used to illustrate the evaluative analysis are excluded from the word count of  1600 – 1800 words.

GUIDANCE 

50 screenplays in various genres

Download or read examples to help with planning content and to refer to in evaluative analysis

PRODUCTION : Filming tasks and tips for marks

 

For those students who wish to film  their production work rather than just submit a script/storyboard,  make sure you complete an effective storyboard  or simple shot list to help plan effective shots to maximise your marks.  

You should also complete a production plan detailing specific  filming locations , dates , cast , props and costume requirement s to help you plan. 

Students who wish to focus on the script and storyboard please ensure you use the resources below for their final versions and make sure you follow the guidance . 

STORYBOARD TEMPLATE  PLEASE USE THIS TEMPLATE

You can delete and resubmit earlier versions on moodle if you wish

RESOURCES TO HELP

EDUQAS marked example ( completed screenplay plus complete  storyboard and evaluative analysis) BAND 5/4

SCREENPLAY HELP 

EDUQAS Information about screenplay format plus example from Juno to complete

MORE SCREENPLAY HELP

General guidance and help about screenplay writing from the exam board

LINK to all other exam board resources

50 screenplays in various genres

Download or read examples to help with planning content 

SCREENPLAY EXAMPLES /STORYBOARD TEMPLATE

EDUQAS marked example ( completed screenplay plus complete  storyboard and evaluative analysis) BAND 5/4

SCREENPLAY HELP 

EDUQAS Information about screenplay format plus example from Juno to complete



50 screenplays in various genres

Download or read examples to help with planning content and for the evaluative analysis






STORYBOARD TEMPLATE  PLEASE USE THIS TEMPLATE

EXAMINERS REPORT : Production

COMPONENT 3: PRODUCTION 


General Comments 

 Component 3 offers a significant synoptic opportunity to apply knowledge gained elsewhere in the Specification through the demonstration of practical skills. To quote the Specification: Production is a crucial and synoptic part of the specification, giving learners the opportunity to put into practice the filmmaking ideas they develop throughout their course of study. The study of film form in particular is intended to enable learners to produce high quality short films and screenplays as well as provide them with a filmmaker's perspective on the films they study.

 Centres were able to engage their candidates with the concepts around the short film, through some dynamic use of the short film compilation set by WJEC, and candidates were able to select appropriate films to study, applying this study to their own productions. This is impressive and Centres should rightly be congratulated on successfully delivering this new approach to teaching and contextualising production.


Candidates offered an incredible diverse range of short films and screenplays encompassing a wide variety of styles and influences. The impact of the short film compilation was significant across the majority of candidates’ work, with direct and visible application of learning at all levels. This is highly creditable and is not only a testament to individual engagement, but also to the high-quality teaching they received.



Comments on individual questions/sections 

Option 1: Short Film

There was evident excitement and pleasure in making the short films, and there was a marked difference in focus created by the dual demands of applying learning from the short film compilation, and of the Production Brief. It is without question that candidates who engaged directly with the Production Brief achieved the best results. Candidates engaged well with the concept of the narrative twist and with the narrative portraying conflict between two characters, and those applying experimental film techniques to their productions were able to utilise both the narrative which begins with an enigma, and the narrative which establishes and develops a single character. The options and influences gave opportunity for an incredible level of diversity, and application of learning, with everything from horror and sci-fi films through to Chris Markeresque meditations on life being created.

It was particularly pleasing to see candidates making the decision to create narratives that were within their abilities to deliver, and enlisting participants (huge thanks to willing or unwilling friends and family members) to assist in this creation. In doing this, candidates engaged with wider learning and developed transferable skills that will see them into the future.

Option 2: Screenplay for a Short Film (and accompanying Storyboard)

As with the film production, there was a wide range of subjects delivered through the creation of screenplays, with many exploring genre, and many revealing significant study of screenplays and of screenwriting. This is commendable and is to be encouraged. The narrative which begins with an enigma, and the narrative which establishes and develops a single character were the most prevalent, with the narrative which portrays conflict between two central characters, and the narrative twist also having significant presence. Again, candidates were able to offer diverse screenplays from comedies to intense psychological dramas, and were able to engage well with the constraints of duration and with the demands of the short film form. Candidates performed best here where they were encouraged to work from their own enthusiasms and interests, and where this was informed by the study of screenwriting itself. The study of screenwriting, be it through techniques (of characterisation, dialogue, or structure), or concepts (such as myth, psychology, or story) has had a dramatic impact on the quality of screenplays produced, and the application of learning here has given the screenplays significant depth and quality. Candidates generally were able to exemplify their screenplays through an appropriately constructed storyboard. It is essential that candidates select a sequence to storyboard that offers them the best opportunity to demonstrate their knowledge of filmmaking techniques. It is imperative that candidates use this opportunity to display their knowledge of constructional devices, and it is advisable that they do so within the storyboard template available on the Eduqas A Level Film Studies Resources website. The storyboard is the place for more focus on technical audio/visual instructions and the best work had some excellent detail in this section. Centres who used the WJEC template or used the headings from it, had greater success in providing the correct amount of detail to accompany the images. Some images were difficult to see: too dark, upside down or shot in portrait. The best photographs were taken in landscape where composition and lighting had been considered. The advice for film-making about the close up and an identifiable protagonist is also relevant here, too many storyboards have a predominance of one shot type, often the long shot or mid shot. Candidates are advised to think about shot durations as long durations for each shot had a real effect on pacing and were not well thought out.


Evaluative Analysis The new Specification added a significant additional demand to the reflection on production, with the inclusion of reference to the short film compilation. Candidates were able to take to this task with ease, and were able to deploy their knowledge of their chosen films with aplomb, offering structural and textual analysis, and connecting this to their own production work. This is to be applauded and highly commended. With the short films as a contextualising structure, candidates were able to produced tight, focused reflections on their production work, and were able to analyse construction, stylistic features, demonstration of influence, and structural elements. Most importantly, they were then able to demonstrate their knowledge of how all of this creates meaning and effect.  The majority of candidates were able to make references to the short film compilation throughout their analyses, and some took a more segmented approach, detailing their used of the short films, and then moving on to talk about other elements. A limited number of Centres candidates approached this task as an analytical essay, deconstructing the short films in detail, and this is an approach that did not give candidates enough scope to focus on their own production work, and is to be discouraged.




Summary of key points • Production work should focus on the Production Brief. Time spent exploring and exemplifying how the four options work within short films would be beneficial to candidate understanding. • The short film compilation offers a wide range of short films, and candidates should be encouraged to select films that have some relationship to their intended productions. Selecting a film to be used in the negative (how they did not influence, or how they deployed techniques that were not used) is not the best approach, and candidates would be better advised to structure their work to demonstrate the application of concepts/techniques from their chosen films. • Production work requires study. Candidates making films should study practical short film filmmaking techniques and should apply them. Candidates creating screenplays should study short film screenwriting techniques and should apply them. Both are distinct disciplines and candidates who undertake such study inevitably produce better results. • Production work that was directly and explicitly focused on one of the options from the Production Brief tended to be work that achieved higher marks. It is worth taking time to measure progress against the chosen option so that its use and visibility can be assessed and mediated where necessary. • In general, the storyboard which accompanies the screenplay requires more attention from centres and candidates. • The short film compilation is designed to inform the production work, and as such should be intrinsic to its development. Therefore, in the development stages of the work, it is useful to consider how the chosen films have been used, and whether their influence is evident in the production work. This process of using the films can be further explored in the Evaluative Analysis. • A reminder please that written work should still be annotated before it is uploaded. Some centres completed coversheets from the previous year and as the coversheet had changed to include a new GDPR section, as well as the separation of the marks as outlined above, it is vital that centres use the most current version. • Please ensure that non-film sources such as books, people and very often TV shows are not cited as cinematic influences; ‘Pretty Little Liars’ and ‘Black Mirror’ seem to have been very popular with this year’s cohort and was mentioned inappropriately by quite a few of the candidates. © WJEC CBAC Ltd. 23 • Ensure that candidates identify the chosen brief from the list of four in the specification on the coversheet; some candidates just identified which type of work it was (screenplay or filmmaking) rather than referring to the specific brief chosen. It would be good practice for candidates to refer to the brief at the start of the Evaluative Analysis too which many did, evaluating the ways that their piece met the brief. • Please be aware that there should be no instructions for cinematography and editing within the screenplay. These ideas should be expressed in the illustrative storyboard. In a similar way to the filmmaking, the best pieces had few characters and had created carefully written and convincing dialogue for these, which created a clear sense of character.