Past Exam Questions

Spectatorship: Popular Film and Emotional Response

Summer 2012

Narrative is often assumed to be the most important factor in triggering emotional

response whereas style is often overlooked. How far do you agree with this? [35]
Level 4
A detailed and sophisticated knowledge and understanding of the films studied, particularly their principal
narrative and stylistic qualities.
A very good understanding of spectatorship issues.
An ability to develop an argument that explores the opposition, possibly arguing that narrative and stylistic
elements cannot be separated when considering spectatorship response.
(The very best candidates) will extend this argument, offering a very detailed response that generates
sophisticated and mature ideas about the spectatorship of popular film.
Style AB Lesters fantasy scenes awkward, complex response
Carolyn crying humour, sympathy
HN final scene hope
Narrative HN developing relationship between Mr D and D uncomfortable but we see how good they are
for each other
AB building up to climax- tension

Some spectators can laugh, others cry at the same sequence. Explore why spectators
may react very differently to the same sequences in the films you have studied for this
topic. [35]
Level 4
A detailed and sophisticated knowledge and understanding of the films studied, particularly their affective
characteristics.
A very good understanding of spectatorship issues.
An ability to develop an exploratory response that relates the macro and micro features of particular
sequences to spectator response. An additional element is likely to be the unpredictable nature of the
spectator response, linked to their personal characteristics.
(The very best candidates) will develop their exploration to a highly sophisticated level, considering the
subtle relationship between stimulus within the film and the response it generates in the spectator.
Carolyn crying humour or sympathy
Lester and his fantasies empathy at his desires or immoral
Frank think Frank is a bad influence or not
When Dre pretends to lose her key sympathy for the fact she doesnt want to be alone/worry that she
shouldnt be going back to his apartment

Winter 2012

How far do spectators respond to the emotional content of films in the way that the
filmmakers intended?
HN: Hope
HN: Sympathy for D, Awkwardness about D and Mr Ds relationship, Worry about their
spiralling into destructive behaviours
AB: Tension for climax

One of the ways spectators respond to the emotional content of American Beauty in the
way the filmmakers intended is by feeling tension towards the climax of the film. The final
third of the film begins with Lester stating that today is the day he will die. This sets a
narrative expectation through which the spectators view the following scenes and makes
them worry about how events will unfold. There is an escalation in tension when the
spectators see Carolyn sitting in her car, holding a gun and repeating a motivational
mantra. The filmmakers have juxtaposed this with scenes of Lester finally getting to kiss
Angela and then he starts to undress her. By using parallel editing here and including the
signifier of the gun, the filmmakers have encouraged the spectators to link the two
scenes; this creates tension and worry for the spectators as they are encouraged to
believe that it is Carolyn who kills Lester. It is particularly effective for the filmmakers to
elicit this emotional response because it then becomes more shocking and surprising for
the spectators when it is finally revealed to be Colonel Fitts who kills Lester.

AB: Conflicting response to Carolyn, Sympathy for Angela, Conflicting response to Lester,
revulsion/dislike Colonel Fitts, humour towards Lester

Level 4
A detailed knowledge and understanding of the spectator, particularly the ways in
which the spectator responds to the emotional content of popular films.
An appreciation and understanding of how the filmmaker attempts to manage
spectator response through the range of macro and micro techniques available.
An ability to develop an argument based on the above with excellent examples to
support the case.
(The very best candidates) ... will extend the discussion, possibly questioning the
relationship between a hypothetical spectator and actual audience members,
each with their own potentially idiosyncratic response.

How important is the soundtrack in influencing the spectators emotional response to a

film?
Level 4
A detailed and sophisticated knowledge and understanding of the films studied particularly the use of sound
track.
An appreciation of how sound can be used in film to create response.
An ability to develop a coherent discussion based on the above, focusing on precise film examples.
(The very best candidates) ... are likely to discuss the relationship between soundtrack and emotional
response, refusing to accept a simple cause-effect model.

Summer 2013

With reference to the films you have studied for this topic, explore in detail two of the key
elements that produce an emotional response in the spectator.
Level 4
An excellent knowledge and understanding of the films studied, especially key elements nominated for
discussion.
A very good understanding of spectatorship issues.
An ability to develop a direct response to the question, either demonstrating the significance of appropriate
key elements in determining response or considering a broader range of factors.
(The very best candidates) will offer a very detailed response that shows a sophisticated appreciation of the
nominated key elements and, more broadly, the spectatorship of popular film.
Popular film drives the spectator from one intense, dramatic situation to another, in a
way which is irresistible. How far do you agree with this statement?

Level 4

An excellent knowledge and understanding of the films studied, particularly their affective characteristics.

A very good understanding of spectatorship issues.

An ability to respond directly to the question with a detailed focus on well-chosen examples.
(The very best candidates) will demonstrate a highly sophisticated appreciation of spectatorship and
popular film, possibly considering the relationship between sequences and overall narrative trajectory.

Winter 2013

Explore some of the ways in which the spectators emotional response to popular films is
the result of visual elements such as cinematography, special effects or design.
Level 4
A detailed and very good knowledge and understanding of the films studied, especially some of the specific
cinematic techniques used
A very good understanding of spectatorship issues
An ability to develop a direct response to the question, either demonstrating the significance of cinematic
technique in determining response, or considering a broader range of factors
(The very best candidates) will offer a very detailed response that shows a sophisticated appreciation of
cinematic techniques and, more broadly, the spectatorship of popular film.

Spectators of popular film often bring to the viewing experience much prior knowledge as
fans and informed filmgoers. Discuss how far this prior knowledge influences a
spectators response. Refer to films you have studied for this topic.
Level 4
A very good knowledge and understanding of the films studied, and by the terms of the question
A very good understanding of spectatorship issues
An ability to develop a thoughtful discussion which is likely to consider how contextual knowledge can both
intensify and weaken emotional response
(The very best candidates) will demonstrate a highly sophisticated appreciation of spectatorship of the
issues involved and work toward a carefully considered response to the question

Summer 2014

How significant is the viewing situation in determining a spectators response to the films
you have studied for this topic?
Level 4
A very good understanding of the terms of the question, including the significance of viewing situation
A sound appreciation of a range of factors that impact on spectatorship, especially in relation to popular film
and emotional response.
An excellent knowledge and very good understanding of appropriate films that are used to exemplify the
argument constructed in response to the question.
(The very best candidates) will bring a sophisticated understanding and appreciation of spectator response
and this will be used to develop a complex response to the question.

With reference to the films you have studied for this topic, explore some of the
techniques that are particularly powerful in producing an emotional response in the
spectator. Pity, Sympathy, humour, reflective, encouraged, tension, hope, awkwardness
Level 4
A detailed and excellent knowledge and understanding of the films studied, particularly some of their
distinctive macro and / or micro features
A good appreciation of how particular film techniques can be used to trigger a response in the spectator
An ability to develop a coherent exploration which may be based on productive similarities and contrasts
between film examples and which is based on a sound understanding of both film techniques and spectatorship
issues.
(The very best candidates) may take issue with a formulaic approach, arguing that techniques sometimes
do, sometimes dont work in particular ways and that a broader set of factors needs to be taken into account in
considering how the spectator responds to the film material.

Winter 2014

However obvious the techniques used, the spectator will nearly always surrender to the
manipulation of their emotions by the filmmaker. Discuss how far this is true with
reference to the films you have studied for this topic.
Level 4
A detailed and very good knowledge and understanding of the films studied, particularly their genre
characteristics
A sound appreciation of the variety of ways in which emotional response in the spectator is generated and an
understanding of the particular pleasures afforded by popular film
An ability to develop an argument based on precise reference to detailed examples
(The very best candidates) are likely to have a sophisticated understanding of spectatorship, distinguishing
here between different and simultaneous reactions to popular emotional film, for example, knowing and yet
surrendering.

How important is performance in understanding the spectators emotional response to

popular films? Refer to the films you have studied for this topic.
Level 4
A detailed and sophisticated knowledge and understanding of the films studied, particularly their performance
characteristics
A sound appreciation of the significance of performance in relation to spectator response, including issues such
as credibility and identification
An ability to answer the question directly, making close reference to appropriate examples. It is possible that
having considered a range of examples the conclusion is drawn that performance is less important than other
factors
(The very best candidates) will demonstrate a sophisticated approach, possibly arguing that in many films
performance is a part of a broader stylistic set of features and that in some films with heightened emotional
content, performance may be characterised by particular generic as well as star features.

Summer 2015
15. Discuss some of the ways in which key dramatic sequences in your chosen films are
designed
to produce an emotional response in the spectator. [35]
Or,
16. Popular films are a combination of the predictable and the unexpected. Use this
statement as
the starting point for a discussion of some of the particular spectator pleasures offered by the
films you have studied for this topic. [35]

Summer 2016
15. Despite high levels of predictability, popular film can still generate intense emotional
responses
in the spectator. Discuss this statement with detailed reference to the films you have studied
for this topic. [35]
Or,
16. Explore some of the ways in which emotional response is generated through the
filmmakers
use of narrative techniques in the films you have studied for this topic. [35]