SECTION A: GUIDELINES ON SPECIFIC QUESTIONS
The following is a guideline to issues candidates may raise in their answers at Level 4.
It is not intended to be prescriptive.
Either,
Q.1 How important is merchandising to Producers and Audiences? [40]
Level 4
The question will be addressed directly and encourage debate considering the importance of merchandising for the US and UK film industries.
There will be evidence that the issues suggested by the resource material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links to developing their response to the question.
.The best candidates will be able to debate the place of merchandising within marketing and distribution.
The resource material suggests that:
Merchandising is important not only for marketing but to generate profit
Merchandising is used by the industry to ‘keep the brand visible’ beyond the life of the film (a ‘legacy brand’).
Raises issue of whether (some) films can be mere merchandising opportunities.
Some fans certainly believe that some films are ‘great’ precisely because they don’t provide merchandising opportunities.
There’s a suspicion that Hollywood franchises are simply ‘made to make money from children’.
Or,
Q.2 Why do some UK films achieve more success than others? [40]
Level 4
The question will be addressed directly and encourage debate about the idea of success
in the UK film industry.
There will be evidence that the issues suggested by the resource material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links in developing their response to the question.
The best candidates may show an ability to discuss different kinds of UK film, including co-productions.
The best candidates may also be able to compare the UK film industry with Hollywood or other national cinemas.
The resource material suggests that:
Need for investment in mainstream films to achieve commercial success (Julian Fellowes)
Ken Loach believes that there should be a wide variety of films available to audiences – which might mean investing in a range of different films which might challenge audiences.
Ken Loach points out that the ‘market does not provide choice’ if it’s not ‘forced’ to.
Raises question of whether there can be different kind of success – successful films which raise important issues and are stylistically successful but may only reach a minority audience and commercially successful films
Q.1 How important are stars for US and UK film producers? [40]
Level 4
The question will be addressed directly and encourage debate considering the importance of stars for the US and UK film industries.
There will be evidence that the issues suggested by the resource material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links to developing their response to the question.
The best candidates may show an ability to argue that factors other than stars are more important to US and UK film producers.
The best candidates may be able to identify similarities and differences between the importance of stars to US and UK film producers.
The resource material suggests that:
Stars are important in the Production, Distribution and Exhibition of US and UK films.
Some films may achieve success without stars, indeed other factors such as technology and directors may be important too.
Stars are important in the perceived success of US and UK films. That success may be financial or critical success.
Stars can be ‘created’ by US and UK film producers.
Some ‘stars’ may be more important than others.
Or,
Q.2 ‘Film reviews are of no importance for audiences today.’ How far do you agree with this statement? [40]
Level 4
The question will be addressed directly and encourage debate about the importance of film reviews to audiences.
There will be evidence that the issues suggested by the resource material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links in developing their response to the question.
The best candidates may show an ability to argue that factors other than reviews are more, or less, important to audiences today.
The best candidates may be able to compare the relative importance of different kinds of film reviews.
The resource material suggests that:
Professional reviews may, or may not, have an influence over the consumption choices made by film audiences.
Some reviewers and sources of reviews may be more important to some audiences than others.
Non-professional reviews may be more, or less, important to audiences today.
The appeal of some films to audiences may not be influenced by reviews.
There are many different types of reviews available to audiences today.
Q.1 How important are film franchises for producers and audiences?
Level 4
• The question will be addressed directly and encourage debate considering the
‘how important’ aspect of the question.
• There will be evidence that the issues suggested by the stimulus material have
provided a platform for developing a lively and engaged response to the question.
• The candidate will draw upon relevant and productive case study material and
establish links to developing their response to the question.
• The best candidates may show an ability to argue for factors which are not
obvious.
The resource material suggests that:
• Franchises make profits through, for example, cinema, DVD releases and
merchandise.
• Franchises reduce risk for producers and provide familiarity with audiences in
the way stars or genres have done in the past.
• Franchises allow exploiting existing properties to the full for the target audience.
• Viral marketing is particularly good for franchises because it generates interest
through existing fans on the internet.
Or,
Q.2 What can be done to attract bigger audiences to UK films?
Level 4
• The question will be addressed directly and encourage debate.
• There will be evidence that the issues suggested by the stimulus material have
provided a platform for developing a lively and engaged response to the question.
• The candidate will draw upon relevant and productive case study material and
establish links to developing their response to the question.
• The best candidates may show an ability to argue for factors which are not
obvious.
The resource material suggests that:
• There are British films which reach British audiences.
• Television puts money into productions which reach large audiences and also
allows for innovation.
• A Government quota for British films would increase British film production.
Q.1 How can producers work to keep the current high level of interest in British cinema? [40]
Level 4
The question will be addressed directly and encourage debate, particularly considering ‘How producers can maintain interest’.
There will be evidence that the issues suggested by the stimulus material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links to developing their response to the question.
The best candidates may show an ability to argue for factors, which are not obvious and may argue that the current interest in UK film cannot be sustained.
The resource material suggests that:
UK film is currently successful in different ways, for example in critical and financial terms.
The UK film industry has talent but needs regular funding opportunities if it is to be sustainable.
Film audiences have got to continue to show an interest in UK film to sustain its success.
Film Education, TV investment, increased collaboration between producers and distributors and extending the provision of localised film exhibition may all help to sustain and develop the success of UK film.
Or,
Q.2 How far has the internet changed the film experience for audiences? [40]
Level 4
The question will be addressed directly and encourage debate about the ‘changed the film experience’ aspect of the question.
The candidate may consider a range of film ‘experiences’ or focus on one type of experience in answering the question.
There will be evidence that the issues suggested by the stimulus material have provided a platform for developing a lively and engaged response to the question.
The candidate will draw upon relevant and productive case study material and establish links to developing their response to the question.
The best candidates may show an ability to argue for factors, which are not obvious and may suggest that the Internet has not changed the film experience for audiences.
The resource material suggests that:
The Internet has allowed audiences to become filmmakers who can not only make films but also distribute and exhibit them too.
The Internet has allowed audiences to collaborate as filmmaking and film fan communities.
Audiences are using the Internet, as filmmakers and fans, in many different ways.
The Internet has dramatically changed audiences’ access to films and film-related information.
The Internet has made the film experience more interactive for film audiences.
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