Silent Cinema: General Notes

Areas of study for silent cinema

Core:
- Key elements of film form
- Representation & Aesthetics
- Context

Specialist:
- Realist/ Expressive critical debate

This debate centres on whether film should be a ‘realist’ or an ‘expressive’ medium. In other words, should a filmmaker be concerned with representing the world as is, for example in the manner of a documentary, or should a filmmaker regard the medium as a creative one in which the everyday world is transformed? In film history this divide is traced all the way back to the period around 1895-1902 in France. The Lumiéres Brothers conceived of this new invention as one for recording found reality and in so doing encouraging the spectator to gaze freshly on a world that might otherwise be taken for granted. By contrast George Méliès made fantasy films of great imagination and creativity. 

In 40's, French film critic Andre Bazin set in motion a major debate as he argued both German Expressionist & Soviet Montage filmmaking went against what he saw as 'realist' calling of cinema
Opposition b/ween realist & expressive informed thinking about film from beginning of cinema

Sample Q's:
- Discuss how far your chosen film reflect aesthetic qualities associated with a particular film movement (20 marks)
- Discuss how far your chosen film reflect cultural contexts associated with a particular film movement (20 marks)

• Man with a Movie Camera and A Propos de Nice - Soviet Montage, Constructivism and
  Modernism
  
  
  

b)  Candidates may include the following: 

•   an understanding of characteristic features associated with the relevant film movement, including the cultural context of the film movement
  
•   depending on the film movement, discussion may involve a specific art movement (e.g. Expressionism, Constructivism) or a broader cultural shift (Modernism)
  
•   a consideration of the challenge and modernity represented by each film movement to varying degrees
  
•   some understanding of the relationship between cultural contexts and the chosen films.
  
•   Band 5 responses may recognise that cultural contexts are a determining factor in the style, form or ideology of the chosen film. 
  

Band	AO1 (10 marks) Demonstrate knowledge and understanding of elements of film	AO2 (10 marks) Apply knowledge and understanding of elements of film to analyse film
5	9-10 marks  Excellent demonstration of knowledge and understanding of the relevant cultural contexts of the chosen film(s).	9-10 marks   Excellent application of knowledge and understanding of the relevant cultural contexts of the chosen film to analyse it.   Uses excellent points to develop a sophisticated exploration of how far the chosen film(s) reflect(s) cultural contexts associated with a particular film movement.
4	7-8 marks  Good demonstration of knowledge and understanding of the relevant cultural contexts of the chosen film(s).	7-8 marks   Good application of knowledge and understanding of the relevant cultural contexts of the chosen film(s) to analyse it.   Uses good points to develop a detailed exploration of how far the chosen film(s) reflect(s) cultural contexts associated with a particular film movement.
3	5-6 marks  Satisfactory demonstration of knowledge and understanding of the relevant cultural contexts of the chosen film(s).	5-6 marks   Satisfactory application of knowledge and understanding of the relevant cultural contexts of the chosen film(s) to analyse it.   Uses satisfactory points to develop a reasonably coherent exploration of how far the chosen film(s) reflect(s) cultural contexts associated with a particular film movement.

a)

0. Candidates may include the following:
•   an understanding of characteristic aesthetic qualities associated with the relevant film movement, applying these to the chosen film
•   a discussion of aesthetic qualities which, depending on the film movement, may relate to cinematography, editing, mise-en-scène or performance or a combination of all four
•   a recognition that the aesthetic qualities of the relevant films are integral to the film movement associated with them
•   some discussion of the wider context of the film movement and its aesthetic characteristics.
•   Band 5 responses may recognise that aesthetic qualities associated with film movements are ideological. 

Band	AO1 (10 marks) Demonstrate knowledge and understanding of elements of film	AO2 (10 marks) Apply knowledge and understanding of elements of film to analyse films
5	9-10 marks  Excellent demonstration of knowledge and understanding of film as an aesthetic medium.	9-10 marks   Excellent application of knowledge and understanding of film as an aesthetic medium to analyse the chosen film(s).   Uses excellent points to develop a sophisticated exploration of how far the chosen film reflects aesthetic qualities associated with a specific film movement.
4	7-8 marks  Good demonstration of knowledge and understanding of elements of film as an aesthetic medium.	7-8 marks   Good application of knowledge and understanding of film as an aesthetic medium to analyse the chosen film(s).   Uses good points to develop a detailed exploration of how far the chosen film reflects aesthetic qualities associated with a specific film movement.
3	5-6 marks  Satisfactory demonstration of knowledge and understanding of film as an aesthetic medium.	5-6 marks   Satisfactory application of knowledge and understanding of film as an aesthetic medium to analyse the chosen film(s).   Uses satisfactory points to develop a reasonably coherent exploration of how far the chosen film reflects aesthetic qualities associated with a specific film movement.