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Eduqas A-Level Film Studies: Achieving A/A*

Course Code:


This course is designed for EDUQAS A-Level Film Studies Teachers who are seeking to ensure high-performing students fulfil their potential through the successful application of higher order skills to attain highest level grades. The course will demonstrate how to guide your most accomplished students to achieve Grades A*/A in future EDUQAS Film Studies examinations.

It will focus on a detailed analysis of what is expected at the top levels across both of the examination specification components and explore modalities to build your teaching practice around. The course will also provide guidance on effective revision strategies and examination techniques through which high achieving students can stand out and ensure that they succeed in the final examinations.

Led by experienced examiner and teacher, Chris Warrington, the course is designed for expert teachers of EDUQAS Film Studies.


  • Focused on identifying the demands of Grades A*/A and providing in-depth expertise to assist teachers in preparing students effectively
  • Emphasis on teaching approaches which are most effective with high-performing students
  • Focus on teaching approaches which stretch and challenge beyond A-Level, undergraduate level preparedness
  • A comprehensive assessment of the different demands and variety of questions
  • Sample answers at Grades A*/A will be scrutinized
  • Materials will be provided that will allow teachers to cover the course in innovative and student-friendly ways that push the highest ability students.


Grades A*/A: Key student behaviours for Component 1

10.00 – 10.45am
  • The structure of the specification and using it to plan for success for the top end students
  • 2019/20 Feedback: what does it tell us about the standards set for the top learners? How can we teach to this effectively? Key takeaways.
  • Grades A*/A: what are the subtle differences between these?
  • Defining attributes of Grade A*/A students in the classroom and how to build upon these – independence and interrogation.
  • Instilling students with the ability to link seemingly disparate content throughout the whole specification and inspiring the A* Film student.
  • Avoiding potential hazards: what can cost a top student their A grade? Misinterpretation of questions, imprecise film analysis, failure to include ideological or aesthetic influences.
  • Comp 1 key areas: Debating Spectatorship & Narrative

Discussion: coffee break

10.45 – 11.00am

Ideological and Aesthetic Influences – the key challenges for A*/A students in Component 2

11.00 – 12.00pm
  • Arranging your terms, where/when to do the NEA, show the short films, the order of the courses and times for mock assessments.
  • Understanding that each text studied can have a range of distinct ideological influences and readings – what are they, when are they useful and how to get our students to articulate them.
  • When and how do you introduce the ideologies and aesthetics? Briefly flipping the classroom.
  • Covering ground. Showing the examiner a well-read and knowledgeable student – how can you include it all? Should you include it all?
  • Strategies for the exam: Analysis, not description. Fewer sequences in greater depth.
  • Comp 2 key areas: Debating Digital v Analogue / Expressionism v Realism

Writing the Exam Essay – the key challenges for A*/A students

12.00 – 1.00pm
  • Introductions and the importance of decoding the question quickly and succinctly. The decoding quiz.
  • The central thrust, established at the start – key to a cohesive piece of writing.
  • The importance of accurate and precise film analysis. Sophisticated film language is essential.
  • Blending ideas in a cohesive and meaningful paragraph. What does the A-A* student include and how do they do it?
  • An effective balance in the weight of analysis between films.
  • ‘How far…’ ‘To what extent…’ providing counterpoint and alternative interpretation.
  • Iterative marking. Class-wide and individual. Once is not enough.

Lunch and informal discussion

1.00 – 2.00pm

Classroom Techniques and Going Beyond the Classroom. Supporting the A/A* learner

2.00 – 2.45pm
  • Accessing key texts. Do your students have access to key texts? Do they know how to enquire outside of the classroom? Quality searching and your library (visual, audio and written).
  • Societies, clubs, watching and conversing. The importance of valuing interaction.
  • Valuing the experts in the room. Elevating and celebrating the knowledge.
  • Scene Analysis – alternative methods, founding a basis for success in the essay.
  • Beyond the A-Level, a clear pathway from the A-Level and beyond – careers, courses and speakers.

Discussion: afternoon tea

2.45 – 2.50pm

Finishing Touches: The NEA for Grade A*/A Students

2.50 – 3.30pm
  • Planning for success, the team practice. No camera until the planning is done.
  • The earlier the better, the power of iterative feedback.
  • The group response, cultivating a positive critical arena.
  • Having clear influences, the power of homage.
  • A range of shots and a clear sense of sound.
  • Recording the process as a diary – how this helps with the evaluation.


3.30 – 3.45pm
  • Q&A and follow up to any raised questions


London | Wednesday 26 January 2022

Please select your preferred date

This course, tailored to suit, can be delivered in your school. Discuss this further with our CPD team on 01625 532974 or click below to make an enquiry.


Chris Warrington has extensive experience in the current and previous iterations of the WJEC/EDUQAS specifications for Film Studies and has also provided key resources and consultation for the EDUQAS Film Studies specification.

His school has been awarded a Certificate of Commendation for excellence in Production by the EDUQAS board. As a freelance film writer with over ten years’ experience, he has been published in The Guardian, Future Publishing, The Big Picture, Film Stories and more. He is currently a Secondary Head of Film Studies at leading school in Derbyshire.


  • Heads of English and Media departments with a Film Studies cohort.
  • Heads of Film Studies department
  • New/Current Teachers of A-Level Film Studies


  • A specially prepared folder of detailed notes, practical advice and guidance
  • Notes prepared by the educational experts leading the course
  • Expert produced PowerPoint presentations
  • CPD Certificate of attendance

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