Everything ends. And to quote Ash, Carys and Becky, "Everyone Dies", but enough of that.

We've got to the end! Everything has been taught and now all we have to do is revise for the final exam.

This presentation will offer some guidance on what we've done and what else we can do.

I've littered with comments and links so have fun.

reno

The the exam is on the 19th June, as you know. It seems quite a while away so it gives us lots of time to do additional revision. However, don't think that means that you can relax and not start revising! The key ro revision is to ensure it is an:

ongoing process.

You need to be working on your revision throughout this time by doing a little bit every day.

Ah, the AS. I'm sure you remember Rita, Sue and Bob, Too!

Have a walk down memory lane and say hello to some old friends...

https://www.youtube.com/watch?v=PTMJMWVknL0

But enough with that, let's start to concentrate on the A2 Exam. Over the next few slides I'll be collating links and videos to help you revise.

The purpose of this part of the exam is to demonstrate our understanding of National Cinema by using the Case Study of Mexican Cinema Post 1990. Therefore, it is not just about understanding Mexican Cinema but the debates around:

. Nationhood
. Identity
. Cinema as ideological

Go through your notes on Higson. Contact me if you're having trouble with this and we'll sit down together and discuss his articles.

The Higson article: http://iands.files.wordpress.com/2010/08/the-concept-of-national-cinema.pdf

Prezi on Higson: http://prezi.com/xaujysv97tno/the-concept-of-national-cinema/

http://categoryd.blogspot.co.uk/2007/11/national-cinema-problem.html

As well as the theory around Higson you also have to know the film texts extremely well. I would recommend seeing them at least two more times and then looking at other Mexican films to give you greater context.

Ensure you have detailed notes on KEY SCENES, which demonstrate your theories.

The purpose of this section is to demonstrate your understanding Spectatorship Theory by exploring Experimental Film and Expanded Cinema. Unlike the other sections where we focus on just a couple of films, it is expected for this unit to use a number of film texts (as they are often a lot shorter). Make sure you refer TO AT LEAST THREE DIFFERENT TEXTS.

Like the previous section, this isn't just about the film texts themselves as it does require you to debate Spectatorship Theory - but you use the film texts as your examples.

It is clear that in the Specification it encourages you to explore your personal experiences. After all, AUDIENCE = GROUP OF PEOPLE and SPECTATOR = THE INDIVIDUAL.

Things to consider:

.This guy is great. http://tonymckibbin.com/course-notes/spectatorship-theory

Decent stuff from Film Reference: http://www.filmreference.com/encyclopedia/Romantic-Comedy-Yugoslavia/Specta...

Here's some classic Mulvey. Could be useful when discussing Deren: http://www.aber.ac.uk/media/Documents/gaze/gaze09.html

It's also important to consider how this unit has opened up other areas of study. Consider the individual film texts and explore the themes they portray. How does this effect the spectator experience.

Another thing to consider is how Spectatorship is effected by the following:

. architecture
. technology

Think about the architecture of a cinema and how that changes the cinematic experience. Then compare that experience to a screening in a classroom or at home with your parents.

The technology of how a film is exhibited will also change the experience.

But what about the technology that was used to create the film in the first place? Consider the HD technology used to make Ocean Without a Shore and the tech in Mothlight.

Bill Viola, "The Self is an ocean without a shore". Read more: http://artelectronicmedia.com/artwork/ocean-without-a-shore

Explore some Kenneth Anger: http://exfm12.com/tag/kenneth-anger/

Analysis of Matthew Barney’s Cremaster Cycle as Sculpture: http://www.sewanee.edu/cremaster/Documents/jones.pdf

Brakhage: http://www.perpetualnostalghia.com/2013/08/experimental-lunch-mothlight.htm...

Interesting stuff on Maya Deren: http://366weirdmovies.com/119-meshes-of-the-afternoon-1943/

Section C is a Single Film close study of a film usually outside of the English language. This year we have gone with Wong Kar-wai's Happy Together.

What exactly is this film about? Is it a gay love story? Is it a road movie? Or a film about the 'migrant experience'? Maybe it's just a pretentious display of beautiful images but ultimately doesn't have much depth. Maybe.

Whatever your position it is important that you can argue it with CONVICTION.

You should read the photocopied book I gave you but I can make other copies if you can't find it.

Consider how the film is ALLEGORICAL.

Is the film a Wong Kar-wai film? Or is it so heavily influenced by it's cinematographer, Chris Doyle, that it's really all about Doyle.

Wong Kar-wai at Senses of Cinema: http://sensesofcinema.com/2002/great-directors/wong/

And more: http://sensesofcinema.com/2001/13/wong-kar-wai/wong-symposium/

Diary of the making of the film: http://www.tonyleung.info/goodies/chris.shtml

Interview with Chris Doyle: http://www.masteringfilm.com/interview-with-cinematographer-christopher-doy...