IBH/IBS Film IB Diploma Program 201214 DiGregorio/Lipkind

Course Description Through the study and textual analysis of selected films, time-based texts, and standard texts, students explore all aspects of filmmaking, including film genre, history, theory and production. The course will focus on developing critical thinking through focused analytical study, providing an understanding for a wide range of perspectives, representing international points of view. Film production work will be done in the Media Lab Classroom and Studio, as well as independently. A shared culture will be grown through peer critique and collaborative work.

Assessment The formal assessment of the student will be based upon three components, two of which will be externally assessed. For external assessment, students will produce a documentary film script of 810 pages (IBS) or 1215 pages (IBH) on an aspect of film theory and/or film history, using a minimum of two (IBS) or four (IBH) films, and incorporating film works originating from more than one country. Additionally, for external assessment, students will deliver an oral presentation (IBS max. length 10 min.; IBH max. length 15 min.), offering a detailed critical analysis of an extract from a prescribed film. For internal assessment, and comprising 50% of the evaluation, students will complete a production portfolio, made up of a completed film (45 minutes (IBS) or 67 minutes (IBH)) and written documentation, including a production journal (max. 1200 words (IBS) or max. 1750 words (IBH)) and a rationale. IBH students will include an associated trailer of 4060 seconds.

(See Resources on back.)

Resources The IB Film program will examine a number of genres and eras of filmmaking, drawing from a variety of films and texts, including: Selected texts Movies and Meaning (Prince); The Oxford History of World Cinema (Nowell-Smith); Understanding Movies (Gianetti); The Filmmakers Handbook: A comprehensive guide for the digital age (Ascher, Pincus); Closely Watched Films: An introduction to the Art of Narrative Film Technique (Fabe); Images: My life in film (Bergman); as well as various scripts. Selected films - Punch Drunk Love (Anderson); A Trip to the Moon (Mlis); Great Train Robbery (Porter); Intolerance (Griffith); The General (Keaton); La Regle du Jeu (Renoir); The Wizard of Oz (Fleming); Singin in the Rain (Kelly); La Jete (Marker); The Bicycle Thief (De Sica), Breathless (Godard), The Seventh Seal (Bergman); Midnight Cowboy (Schlesinger); The Shining (Kubrick); Decalogue (Kieslowski); Delusions of Modern Primitivism (Loflin); Following (Nolan); The Diving Bell and the Butterfly (Schnabel); American Movie (Smith); Coven (Borchardt); The Cutting Edge (Apple); Dog Day Afternoon (Lumet); Chinatown (Polanski); Burden of Dreams (Blank); Fitzcarraldo (Herzog); Andrei Rublev (Tarkovsky); Kurt and Courtney (Broomfield); Man with a Movie Camera (Vertov); Lost in La Mancha (Pepe); City of God (Meirelles); Temper Clay (Kim); No Country for Old Men (Coen); Touch of Evil (Welles); The Celebration (Vinterberg); Open Hearts (Bier); The Cabinet of Dr. Caligari (Wiene); M (Lang); The Outlaw Josey Wales (Eastwood); Dead Man (Jarmusch); Gomorrah (Garonne); The Master (Anderson), Le Quattro Volte (Frammartino); Radio Days (Allen); A Prairie Home Companion (Altman); Mr. Arkadin (Welles); Clo de 5 7 (Varda); 3-iron (Kim); Salaam Bombay (Nair); Sweetie (Campion); The Mirror (Panahi); The Conversation (Coppola)

Additionally, students will have access to the Media Lab Suite, including iMac computers, and digital cameras and audio recorders. Software will include GarageBand, iMovie, Final Cut, Logic.