ABOUT THIS COURSE

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.

BENEFITS OF ATTENDING

  • 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.

 

DATE & LOCATION Online | Wednesday 09 June 2021
WHO SHOULD ATTEND? 
  • Heads of English and Media departments with a Film Studies cohort.
  • Heads of Film Studies department
  • New/Current Teachers of A-Level Film Studies
COURSE CODE 8525
IN-SCHOOL You can also book this as an In-School Webinar
INCLUDED
  • You will receive a specially prepared file electronically containing detailed notes, and teaching materials and resources which will be of immediate practical benefit in the classroom.
  • Expert produced PowerPoint presentations
  • CPD Certificate of attendance

10.00 – 10.45am
Grades A*/A: Key student behaviours for Component 1

  • 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

10.45 – 11.00am: Discussion: coffee break


11.00 – 12.00pm
Ideological and Aesthetic Influences – the key challenges for A*/A students in Component 2

  • 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 Relaism

12.00 – 1.00pm
Writing the Exam Essay – the key challenges for A*/A students

  • 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.

1.00 – 2.00pm: Lunch and informal discussion


2.00 – 2.45pm
Classroom Techniques and Going Beyond the Classroom. Supporting the A/A* learner

  • 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.

2.45 – 2.50pm: Discussion: afternoon tea


2.50 – 3.30pm
Finishing Touches: The NEA for Grade A*/A Students

  • 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
Plenary

  • Q&A and follow up to any raised questions

Chris Warrington

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 for the EDUQAS GCSE key documents. 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.