OCR A-Level Film Studies critical approaches and theory overview quiz quiz

Box office takings and the weekend ticket sales of a film

Spectatorship

Marketing and the promotional campaign behind a release

Catering and the on-set food provided for the cast and crew

The moral and emotional bond we form with a character, which is properly called allegiance

The film's age certificate, which determines which audiences are permitted to watch it

Attaching us to a character's experience through narration and point of view

The order in which the opening and closing credits of the film are arranged on screen

Stuart Hall, known for preferred and oppositional readings

Todorov, known for equilibrium and narrative structure

Grierson, known for his work defining the documentary

Laura Mulvey

Ways spectators can accept, negotiate or reject the meaning a film offers

Two camera angles, namely a high-angle shot looking down and a low-angle shot looking up

Two types of editing, namely continuity editing and the discontinuous montage style

Two film genres that tend to be set in opposition, such as the western and the musical

They are entirely unrelated concepts that belong to two separate areas of film analysis

How a film represents a group is never neutral and carries values, so representation is a route into ideology

Ideology simply refers to the budget of a film and the money spent on its production

Representation is only about the casting of well-known actors and has nothing at all to do with a film's underlying values

They are the same thing, since both terms simply describe any recurring type of character found in a film

A countertype is just another word for a villain who opposes the hero of the film's story

A stereotype is a simplified, reductive representation; a countertype resists or complicates it

A stereotype is the hero of a film, whereas a countertype is any of the supporting characters

A product of the studio system alone, with no individual creative vision behind it

A random collection of shots assembled with no controlling style, theme or intention

A documentary record of real events, judged mainly on its accuracy and its evidence

The expression of its director, traced through a signature of style and theme

How a film organises and tells its story

The marketing campaign and the way the film is promoted to audiences before release

The cast salaries and the fees paid to the leading actors who appear in the film

The cinema's location and the geography of where the film is shown to its audience

Explained in the abstract, setting out the theory in general without applying it to the film

Through specific film form, then evaluated for how far it explains the film

Bolted on at the end without any supporting examples drawn from the film being discussed

Only named once in the introduction and then left aside for the rest of the essay

To fill space in the essay when there is little else of substance left to say about the film

It is never allowed, because each essay must rely on one single critical approach throughout

Because they can reinforce one reading (an auteur whose films carry ideology)

To avoid analysis altogether by listing several approaches in place of close study of the film