IB film first assessment 2019
Teacher selects the assessment-session prescribed film for textual analysis. Respect screening, image and music rights; practical production requires school approval and real role evidence.
No written examinations. SL textual analysis 30%, comparative study 30%, film portfolio 40%. HL textual analysis 20%, comparative study 20%, portfolio 25%, collaborative film project 35%.
Reading film; textual analysis · Film language and contextual interpretation
Cinematography concerns camera and image choices; editing organizes shots in time and relation. Mise-en-scène includes arranged elements within the frame.
Sound may be diegetic within the story world or non-diegetic, such as an added score.
Checked example
In an original shot plan, show an unopened letter, then a close-up of a hesitant hand and a delayed reaction.
Analyse how framing and timing withhold certainty rather than declaring the camera simply creates suspense.
Limits and practice
Textual analysis uses a prescribed film and an extract of at most five minutes, with a maximum 1750 words.
This original plan teaches analysis but does not replace the approved film, context research or required source list.
What does the delayed reaction shot most directly control?
Answer: When the audience gains information about the character's response.
Contextualizing film; comparative study · Comparative film inquiry
A comparative study links films to a chosen area of inquiry and contextual evidence.
Organize by argument, using selected moments and accurate credits rather than narrating whole plots.
Checked example
Compare how each film uses framing or sound during a journey to position the viewer. Connect the pattern to reliable research about production and reception.
Identify a counterexample that prevents the argument from becoming a stereotype about a culture.
Limits and practice
The recorded multimedia study is at most ten minutes under the current brief.
School verifies eligible films and session requirements; avoid unsupported historical claims or unlicensed redistribution of film clips.
What is the strongest comparative structure?
Answer: Topic-led analysis that relates choices in both films to context and a focused argument.
Exploring film production; portfolio · Production roles and reflective evidence
The film portfolio documents exploration, work and reflection in three roles.
Retain plans, trials, production records and a film reel showing the relationship between intention and result.
Checked example
For sound, compare room tone and dialogue recordings, explain the capture choices and demonstrate a revision that improves intelligibility.
For editing, retain a sequence before and after a purposeful change and analyse its effect.
Limits and practice
The brief caps pages at nine and reel at nine minutes, three per role, including one completed film.
School checks permissions, safety and individual authorship; an imagined production plan is insufficient.
What best evidences a sound-design contribution?
Answer: Actual recordings and a documented revision linked to the intended effect.
HL collaborative film project · Collaboration and individual accountability
The HL project combines a completed film and an individual project report.
Collaboration needs a shared intention, manageable schedule, permissions and decisions about technical resources.
Checked example
Choose a short achievable story and a specific role. Keep dated role decisions and examples of how feedback changed the work.
Compare the final film with the intended audience experience and analyse limitations of your contribution.
Limits and practice
The brief caps the completed film at seven minutes and report at 2000 words.
No written mock can substitute for production; teacher supervises the actual project and verifies authenticity.
Which record is most useful for an individual's report?
Answer: A documented role decision with practical evidence and evaluation of its effect.