Revision: Spiderman feedback

The extract, Superman Returns lent itself to some detailed and thorough answers. This extract produced a broad range of detail being picked out, with candidates choosing a wide variety of points in the clip to use as exemplification of the technical film techniques used.
It is well worth considering a recommendation to candidates that they approach writing about each of the technical aspects in turn, or in pairs, instead of in a chronological way. Whilst it must be stated that these technical aspects of moving image language have a combined effect, this might encourage the chronological approach, which often results in candidates leaving significant gaps. It is this factor in particular, which often leads to few top-level answers, as the mark scheme requires a near comprehensive response, without significant gaps, at the top level. It must be noted that many candidates covered all 5 aspects of the analysis for question one, and also answered on the whole extract rather than focusing on just the action sequence used in the second half of the extract.
More so than in previous sessions, examiners reported balance in candidates responses – they covered textual analysis of all five technical areas. The strongest candidates were able to deconstruct the sequence skilfully, using the technical areas as the starting point for an analysis of how meaning was created in the sequence. There were fewer very weak responses and fewer candidates producing purely descriptive answers than in previous sessions.
The concept of mise-en-scène was well addressed and candidates readily made comment on the contrast and variety of settings used – in the apartment, the use of outer space and the urban metropolis. Candidates were able to pick up on the contrast between locations and the action that took place, the use costumes and props in the film sequence were often discussed at length, for example, the use of a spacious home, Superman’s outfit and superhuman powers he holds or the combat dress of the police and the useless power they had against the protagonist in the extract. The sequence offered a plethora of opportunities for candidates to examine the issue of mise en scène and this technical aspect of the extract was addressed well by most candidates. Candidates were least able to comment on lighting and performance as part of mise en scène.
SFX eluded many candidates and tended to be treated less thoroughly, than other technical areas. As previously reported, many candidates seem to think that SFX refers only to CGI, for example ignoring stunts and models. The candidates were able to recognise the use of computer generated images, in particular: Superman flying, his suspension in space and when Superman is shot in slow motion in the eye. The extract certainly enabled candidates to develop a discussion of special effects, given the combat sequence used in the second half. Many candidates could recognize the use of pyrotechnics and CGI. There were some highly enterprising interpretations of the use of CGI/ slow motion action shots at the end of the extract, when Superman’s qualities are represented by the deflection of impenetrable bullets – he is untouchable. The most able candidates were able to discuss the function of the effects and the performance of Superman as having superpowers/ being superhuman. In the majority of cases, an explanation was given by candidates of how special effects were created and the different types that may have been used; rather than being analysed in terms of the meanings being produced.
Editing remains problematic in many students’ responses. Many comments on editing were confined to the pacing of the extract, however more candidates than previous sessions showed the ability to discuss action and graphic matching of shots, within the sequence, indicating that Centres are beginning to pay attention to the key editing functions of manipulating time (as opposed to pacing), controlling narrative information for the audience (creating suspense or surprise) and constructing perspective. For example there was plenty of evidence of analysis of the discussion in Lois Lane’ apartment at the beginning of the sequence. Candidates could analyse the conversation through the use of shot reverse shots and 180-degree rule of editing. Also, whilst the police were in combat with the protagonist, candidates would often make reference to matching of shots to provide continuity, likewise, with the flight of Superman and the journey he takes into space and his return to earth. In weaker responses editing was under represented and often appeared as a gap in candidates answers.
All candidates were able to select examples from the extract and at times provide detailed discussion of the variety of shots used. The most able candidates could link these to the other technical aspects of the sequence. The Superman Returns extract provided plenty of opportunities to examine camera shots, from long establishing shots to the use of close ups. In particular candidates correctly identified the panning rotation of the camera around Superman as he is suspended in space, and many candidates would discuss the use of the long shot as establishing shot or as creating perspective, for example, Superman flying to space and then the sequence illustrates his perspective of earth from space. Stronger candidates would select a sequence of shots to analyse and provide examples; weaker candidates were too descriptive and could only identify and describe shots. The use of camera movement was important in this extract, many candidates were able to discuss the movement of the camera in terms of the actions of the characters and more so than in previous sessions.
Sound was analysed much better during this session. However there was evidence of confusion between recognising the use of diegetic and non-diegetic sound. Many candidates were able to contrast the use of sound in the extract from the relaxed ambience of the apartment at the beginning of the extract, to the peacefulness of space, the voice of Superman’s father, to the chaotic sirens of police cars and the mayhem of the city. Candidates considered the use of sound effects, from the ‘swooshing’ of Superman’s flight to the roar of the use of the supergun. More able candidates would link the use of sound with the editing or use of mise en scène in the extract, or occasionally candidates would discuss the soundtrack as a means of conveying mood or atmosphere in the sequence. It is pleasing to note that sound is beginning to be integrated with wider aspects of technical analysis, for example, with character, mise en scène and at times special effects.