Film scholars have argued that Vertigo is a film about cinema and about spectatorship. How far do you think this is true?

Level 4 Responses: Knowledge of some of the different critical responses provoked by the chosen film Understanding of the issues underlying its (possibly diverse) critical reception, including, for example, those relating to theme, style and structure. An appreciation of how one or more critical approaches applied by the candidate has been productive in enhancing understanding and appreciation of the chosen film.

Plan What I want to get in: Key scenes – cinematic technique Critical theory: feminist & auteur Comparisons with other Hitchcock films Detailed analysis

Introduction Show off! Ah! You’ve asked this, have you? Well, I could have written about other topics too. Hint- ensure that you set out what you are going to do – rephrase the question.

Main body 1 Examples. Ensure that cinematic technique is included: Spirals – theme, narrative structure, mise-en-scene, cinematography, use of non-diegetic music, performance Link to the question: how these examples relate to spectatorship. E.g. looking and illusion as key themes of film/cinema Refer back to the question.

Main body 2 Symbolism: Duality: Judy/Madeleine, Scottie/Elster, Carlotta/Madeleine, Midge/Carlotta, etc. Elster = Hitchcock? Performance! Refer back to the question.

Main body 2 Theory. Male gaze, scopophilia, etc. Evidence! Critical theory: Mulvey/Modleski Refer back to the question.

Main body 4 Further theory Auteur theory – if I have time, comparisons with other Hitchcock films, but only as a support to a reading of Vertigo Refer back to the question.

Conclusion I may be running out of time but a brief conclusion will give my essay structure. Again, go back to the question and state that it has been addressed.

Q.17 Explore some of the ways in which placing your chosen film within a broader critical framework has helped to develop your appreciation and understanding of specific sequences.

Level 4 An excellent, detailed and sophisticated knowledge and understanding of the chosen film A sound understanding and appreciation of the value of applying a critical framework (auteurism, etc.) to develop greater insight into the chosen film. An ability to explore the film productively based on the above, with excellent detail in relation to the specific sequences chosen. (The very best candidates) … will be characterised by a particular command of the critical framework and their work will reveal particular and striking insights into their chosen film.