Film

1. What makes Film distinct?

A Film EE must:

• analyse how meaning is created through filmic elements

• focus on cinematography, editing, sound, mise en scène, performance or narrative structure

• engage with film theory, criticism or genre analysis

• draw on detailed evidence from specific scenes or sequences

• interpret creative choices in relation to intention, audience and context

• compare films or filmmakers where appropriate

• construct an argument grounded in the language and concepts of film studies

Your essay should feel like film analysis, not media studies or a plot summary.

2. What counts as a suitable Film topic?

A strong topic is:

• focused on specific films, filmmakers, stylistic techniques or cinematic movements

• supported by accessible films and critical sources

• centred on filmic analysis rather than general cultural themes

• narrow enough to examine technique, intention or effect in depth

• appropriate for analytical comparison or case study

Examples of suitable topic types

• analysis of a director’s stylistic signature across selected films

• investigation of how cinematography or sound shapes meaning in a sequence

• comparative study of genre conventions in two films

• analysis of representation or ideology in film form

• study of editing or performance as tools for emotional or narrative impact

Examples of unsuitable topics

• plot based or descriptive overviews

• biographies of actors or directors

• general film history with no focused analysis

• reviews or personal opinions without research

• topics relying on films that are inaccessible or uncitable

Film requires close analysis of cinematic techniques, not retelling or reviewing.

3. Using evidence in Film

Your essay should draw upon filmic evidence, such as:

• close analysis of specific scenes or sequences

• shot breakdowns or annotated stills

• director interviews or production notes

• critical reviews from reputable sources

• genre theory, film theory or scholarly criticism

Avoid

• summaries of plot or character

• informal review sites with no scholarly basis

• evidence not linked to cinematic technique

• unverified behind-the-scenes sources

Evidence must support interpretation of film form and meaning.

4. Research methods appropriate for Film

Your methods may include:

• sequence or scene analysis

• comparative analysis of films or filmmakers

• research into production context or artistic intention

• application of film theory or genre frameworks

• analysis of cinematography, editing, sound or performance

• interpretation of narrative and visual structure

Methods must be clearly explained and consistently applied.

5. What analysis looks like in Film

Film analysis should:

• interpret how filmic elements create meaning

• link technical choices to theme, emotion or audience response

• engage with theoretical perspectives on genre, authorship or representation

• compare stylistic approaches across films

• explain how narrative and visual structure influence interpretation

• stay focused on the research question, not storytelling

Analysis must interpret cinematic choices, not describe the plot.

6. What evaluation looks like in Film

Evaluation may include:

• limitations of available films or critical sources

• differences between theoretical and practical interpretations

• alternative readings or audience responses

• constraints of production context

• reflection on stylistic or cultural influences

• assessment of the extent to which evidence supports the argument

Evaluation should be integrated, not confined to the conclusion.

7. Common pitfalls in Film EEs

Avoid these issues, as they frequently lead to weak outcomes:

• topics too broad or thematic

• essays dominated by plot summary

• reliance on personal opinion instead of analysis

• lack of specific reference to scenes or techniques

• overly biographical or historical focus

• use of unreliable online sources

• topics based on inaccessible or uncitable films

8. Model research questions

Here are high quality examples of Film research questions:

1. How does Alfred Hitchcock use editing and point of view to create psychological tension in Rear Window?

2. To what extent does Wong Kar-wai’s use of colour and mise en scène construct emotional distance in In the Mood for Love?

3. How effectively does Jordan Peele employ genre blending to communicate social commentary in Get Out?

4. How far does Akira Kurosawa’s use of movement and framing shape narrative perspective in Rashomon?

5. To what extent does sound design in Denis Villeneuve’s Arrival contribute to the film’s portrayal of communication and alienation?

Each question is analytical, focused and directly grounded in film form.