Component 3

Component 3: Production (30% of AS Film Studies/skills development for AL Film Studies)

Production brief : Learners are required to create an individual production consisting of:

EITHER 
(i) a short film of between 4 and 5 minutes which includes one of the following:

• a narrative twist
• a narrative which begins with an enigma
• a narrative which establishes and develops a single character
• a narrative which portrays a conflict between two central characters.

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

• a narrative twist
• a narrative which begins with an enigma
• a narrative which establishes and develops a single character
• a narrative which portrays a conflict between two central characters.

The screenplay must be accompanied by a digitally photographed storyboard of a key section from the screenplay (approximately 2  minutes’ screen time, corresponding to approximately 2 pages of screenplay and to approximately 20 storyboard shots).  

The evaluative analysis 

Learners must complete an evaluative analysis of their production of between1600 and 1800 words and make reference to all 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 will include:

• narrative structure of the short film – an analysis of how the narrative features and dramatic qualities of all short films studied are constructed, including through dialogue, highlighting key ideas 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.
• creating meaning and effect – an evaluative analysis of how their 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 may be illustrated with screen shots or screenplay extracts. Screenplay extracts used to illustrate the evaluative analysis are excluded from the word limit of 1600-1800 words. 

Learners may make use of material which is not the learner’s own under the following conditions:

• A soundtrack from existing sources (music or music from a film) may be used provided it is appropriately acknowledged on the relevant form and used for education purposes only
• If use outside education purposes is envisaged (e.g. uploading to YouTube or similar), normal copyright restrictions must be followed
• Up to ten seconds (maximum) of found visual material may be used if its use is integral to the genre-based film extract (which could either be a shot or shots which would be impossible to film or found footage such as a news extract)
• If found footage is used, it must be excluded from the specified length of the production. All use of material which is not the candidate’s own must be acknowledged on the relevant form accompanying the submission of work for assessment.

It is recommended that learners:

• Use copyright-free material where possible
• Plan genre-based extracts which do not rely on shots impossible to film or other examples of found footage.

The short film: filmmaking option

Learners are encouraged to put into practice an appropriate range of camera shots and editing techniques in their production, applying their knowledge and understanding of cinematography, mise-en-scène, editing and sound.

The short film: screenwriting option

Learners are required to use the conventions of a screenplay to produce their screenplay. The standard format for a screenplay is generally referred to as the ‘master scene script’ layout and consists of:

     Format features

• Single column with wide margins
• Sequential page numbering (top right)
• Mf (more follows) (bottom right)
• Dialogue centred, with speaker’s name in upper case
• Slug line and sound in upper case
• Character name in upper case on first appearance only
• Font – courier, 12 point

    Content

• each scene is numbered and accompanied with a slugline
• the slugline consists of:
• an indication of where the action takes place – interior or exterior (INT, or EXT or INT/EXT)
• location descriptor
• lighting descriptor – DAY or NIGHT or TIME
• scene/action descriptor (with succinct descriptor of character on her/his first appearance)
• essential camera instructions (in upper case within scene descriptor) or essential editing instructions (in upper case, range right), which will only be used in exceptional circumstances (e.g. where SLO-MO is vital)
• action written in present tense.

It should be noted that screenplays do not include camera directions.

Learners must complete the following authenticating stages:

• Stage 1: learners must post to their blog evidence of initial planning (taking the form of outline ideas and possible examples of work to inform the production)
• Stage 2: learners must post to their blog evidence of a plan for the film extract (for example, an outline storyboard) or a plan for the screenplay (for example, an outline draft and a draft storyboard of a key section of the screenplay)
• Stage 3: learners must post to their blog evidence of the progress of the production at a suitable point during the production (e.g. an initial edit or draft) so that the teacher can be assured of the work’s authenticity
• Stage 4: learners must confirm in a post within their blog that camerawork and editing, or the screenplay and its accompanying storyboard is the learner’s own unaided work.
• Stage 5: learners must post to their blog evidence of instructions to any unassessed assistants who provide independent sound or lighting for a film production. The unassessed learners as well as the teacher are also required to confirm on the relevant coversheet that their unassessed role was under the direction of the assessed learner. 

Note: performance is not assessed. Unassessed participants who act in, or appear in, in the production are not therefore required to confirm their role.