How do you choose and combine critical approaches in OCR Film Studies essays, and how do auteur and narrative work as critical tools across the course?
Auteur, narrative and choosing critical approaches. How auteur and narrative work as critical approaches, how to match an approach to the question and the set film, combining approaches, and reaching the judgement the higher-tariff levels-of-response essays reward.
An OCR A-Level Film Studies guide to using critical approaches in essays. Covers how auteur and narrative work as critical approaches, matching an approach to the question and the set film, combining approaches, and reaching the judgement the higher-tariff levels-of-response essays reward.
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What this dot point is asking
OCR rewards applying critical approaches in the higher-tariff essays. This dot point covers how auteur and narrative work as critical tools, how to match an approach to the question and the set film, combining approaches, and reaching the judgement the levels-of-response essays reward.
The answer
Auteur and narrative as critical tools
Both work as general tools across the course, beyond the sections that name them.
Matching the approach to the question and film
Use the approach the section names, or the one the film best supports, rather than forcing a theory onto a film it does not fit. The question often signals the approach (an essay on the director points to auteur; one on structure points to narrative).
Applying through specific form
Apply the approach through specific film form, not in the abstract:
- An auteur reading must trace the signature through actual choices.
- A narrative reading must analyse the actual structure.
Combining and evaluating
- Combine where it helps: an auteur whose films carry ideology, a narrative that positions the spectator.
- Evaluate the approach: show what it illuminates and where it has limits, since the highest-tariff essays often ask how useful or how far an approach explains a film.
All essays are marked by levels of response, so the top band goes to a sustained argument that applies and weighs the approach and reaches a clear judgement.
Examples in context
A strong answer applies, combines and evaluates the approach in a sustained argument.
Try this
Q1. Explain how to choose a critical approach for an essay. [5 marks]
- What the marker wants. Use the approach the section names or the one the film best supports, signalled by the question, rather than forcing a theory (AO1).
Q2. Explain why critical approaches must be applied through film form and evaluated. [10 marks]
- Cue. Approaches illuminate a film only when traced through specific choices, and the higher-tariff essays reward weighing how far an approach explains the film (AO1 and AO2).
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR H410/01 202220 marksDiscuss how far a critical approach helps you understand one film you have studied. [20]Show worked answer →
An extended essay (AO1 and AO2), shown at the 20-mark cap (true tariff up to around 35), marked by levels of response.
Method. Choose the approach that fits the film and question (auteur, ideology, spectatorship or narrative), apply it through specific film form, and weigh its strengths and limits.
Develop. Where useful, combine approaches (an auteur whose films carry ideology). The top band sustains an argument and reaches a judgement about how far the approach explains the film.
OCR H410/02 202320 marksEvaluate the usefulness of critical approaches for understanding the films you have studied. [20]Show worked answer →
An evaluation essay (AO1 and AO2), shown at the 20-mark cap (true tariff up to around 35), marked by levels of response.
For. Argue critical approaches illuminate the films (auteur reveals a signature, ideology reveals values, spectatorship reveals positioning, narrative reveals structure), applied to set films.
Against. Argue each approach has limits and can crowd out close analysis, so approaches are tools, not answers.
Judgement. Reach a view on how useful the approaches are, grounded in the set films. A clear judgement reaches the top band.
Related dot points
- The auteur approach. The director as the author of a film, the auteur theory and its origins (politique des auteurs, Sarris), recurring style and theme as a signature, and the critique that filmmaking is collaborative and industrial.
An OCR A-Level Film Studies guide to the auteur approach. Covers the director as the author of a film, the origins of auteur theory (politique des auteurs, Sarris), recurring style and theme as a signature, and the critique that filmmaking is collaborative and industrial, with how to apply it in the exam.
- The narrative approach. How films organise and tell stories (story and plot, range and depth of narration, structure and order, Todorov's equilibrium, binary oppositions, open and closed narratives), and applying narrative analysis to set films.
An OCR A-Level Film Studies guide to the narrative approach. Covers how films organise and tell stories (story and plot, range and depth of narration, structure and order, Todorov's equilibrium, binary oppositions, open and closed narratives), and applying narrative analysis to set films in the exam.
- Spectatorship theory. How films position and are received by audiences (alignment, allegiance, identification, the gaze, active and passive spectatorship, preferred and oppositional readings), and applying spectatorship as a critical approach across set films.
An OCR A-Level Film Studies guide to spectatorship theory. Covers how films position and are received by audiences (alignment, allegiance, identification, the gaze, active and passive spectatorship, preferred and oppositional readings), and applying spectatorship as a critical approach across set films.
- Ideology and representation in film. How films represent social groups (gender, ethnicity, class, nation), the values and ideology that representations carry, stereotypes and countertypes, and applying ideology and representation as critical approaches to set films.
An OCR A-Level Film Studies guide to ideology and representation. Covers how films represent social groups (gender, ethnicity, class, nation), the values and ideology representations carry, stereotypes and countertypes, and applying ideology and representation as critical approaches to set films.
- Applying auteur and narrative to experimental film. How the director's signature works in experimental film, how experimental narrative breaks classical norms (non-linearity, self-reflexivity, refusal of closure), and integrating both into the Section D essay.
An OCR A-Level Film Studies guide to applying auteur and narrative to experimental film. Covers how the director's signature works in experimental film, how experimental narrative breaks classical norms (non-linearity, self-reflexivity, refusal of closure), and integrating both into the Section D essay.
Sources & how we know this
- OCR A Level Film Studies (H410) specification — OCR (2023)