Revision 2 - Section A World Cinema Surrealism

Section A: World Cinema 

In order to understand surrealism as an example of an international film style we need, first of all, to have an understanding of what we mean by world cinema.

Starter: Answer the 3 questions about surrealism on the handout provided.

How would you define world cinema?

It’s a term used in English-speaking countries to refer to the films and film industries of  non-English-speaking countries. The word ‘world’ has often been interchanged with ‘foreign’.

2.       In A2 Film Studies we look at film as art rather than film as a commercial product.

Our starting point is to understand what we mean by art. How would you describe art?

The expression of human creative skill, often in a visual form, producing works that are appreciated primarily for their beauty or emotional power.

3.       Historically, art (painting, drawing etc) existed before film was invented so what is so exciting about surrealism is that it was the first film ‘movement’ to develop out of an art ‘movement’.

       What is an art movement?

      An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a restricted period of time, (usually a few months, years or decades).

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Task 3: Watch this overview of surrealism

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Points to remember:

Don’t describe the style or the films in negative or derogatory terms

Surrealism in the 1920s (France) was one of the most influential, experimental and radical art and

cinema forms ever to emerge

Don’t describe the narratives as ‘weird’ or making no sense. Narratives are anti-narrative

(deliberately) or non-linear, non cause-effect etc. All of this was deliberate playing with rules and

techniques to push boundaries and explore possibilities – the focus of many these films was style

rather than story.

Past questions - Task 3: Produce essay response plans for the questions on the handout provided.


Either 3. Consider the significance of cinematography and/or editing in creating a distinctive style of cinema in the films you have studied for this topic. [35] 
or 4. How important is it to see the films you have studied for this topic as being marked by their specific time and place of production?

Either, 3. Explore in detail the use of a particular micro feature in your chosen international film style. [35] 
Or, 4. Discuss some of the factors that contributed to the development of your chosen international film style.

3. Discuss how far your international film style was developed by directors and how far by other influences. [35] 
Or, 4. To what extent is your international film style characterised by a particular approach to performance and/or mise-en-scène?

3. How far does cinematic style support themes and ideas in the films you have studied for this topic? [35] 
Or, 4. Discuss how far the development of your chosen international film style can be seen as the work of particular creative individuals?

3. How far can the impact of your chosen international film style be explained by reference to its historical context? [35] 
Or, 4. ‘There are as many stylistic differences as there are similarities within international film styles.’ With reference to the films you have studied for this topic, how far do you agree? [35]

Section C Vertigo - Revision 1

FM4 - SECTION C: (Past Paper Questions 2012 – 2014)

In the exam you will select one question and answer solely on your selected critical study (Vertigo).  You will have a choice of 2 ‘general questions’ or 1 ‘specific’ question.

Past General Questions:

How far has an awareness of the filmmaker as auteur influenced your response to your chosen film?

How far has particular writing by critics been important in developing your understanding and appreciation of your chosen film?

How useful have you found a particular film critical approach, such as an auteur or genre approach, in gaining a deeper understanding and appreciation of your chosen film?

With reference to critical and review writing you have considered as part of your study, discuss how your ideas on your chosen film have developed.

Explore how far the application of a particular critical approach has either reinforced or challenged your first impressions of your close study film.

 How far have the opinions of reviewers and critics informed your thinking about your close study film’s messages and values?

In developing a response to your chosen film, how valuable did you find the application of a specific critical approach?

Explore how far a particular debate by critics has influenced your understanding of your chosen film.

Discuss some specific discoveries you have made in applying a critical approach to your chosen film.

Often different critics and reviewers respond very similarly to a film.’ How far is this true of your close study film?

Past Vertigo Specific Questions:

The representation of women in Vertigo demonstrates how far this is a film by a man for men.’ How far do you agree?

There is an artificial cinematic quality about Vertigo which makes us question constantly what kind of film we are watching.’ How far can it be argued that this is strength of Vertigo?

For the first time, in 2012, Vertigo, made in 1958, was voted the ‘greatest film ever made’ by Sight and Sound magazine.’ Why should the film be so highly regarded today?

Explore the importance of narrative structure in the development of key themes and ideas in Vertigo.

Identify and discuss two elements of Vertigo which, in your view, contribute to the sense of strangeness the film conveys.

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Task 1: Expand on the rough structure for response to this exam question.

 ‘The representation of women in Vertigo demonstrates how far this is a film by a man for men.’ How far do you agree?'

Vertigo:

A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.

Release Date:

 24 August 1958 (UK)

Does the synopsis indicate that this is a film by a man for men?
What films do men generally watch?

Does Hitchcock employ any devices to attract a male audience?

Several times during Vertigo we are asked to question the genre of the film.

What aspects of the film qualify it as a romance genre film?

What aspects of the film qualify it as a thriller? As a mystery?

The start of the film sets it up as an action. Scottie almost falls from a roof after a chase which kills a colleague.

A romance would not normally appeal to a male audience.

The introduction of Madeline engages the male audience. How?

Laura Mulvey's male gaze.

Themes of obsession, love and identity are explored. How?

This links to how women are represented as objects of male obsession.

Shifting 'genres' was a risk for Hitchcock.
This lead to the film receiving mixed reviews.

Vertigo engages a wider audience through the use of experimental cinematography, sound and narrative.

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