IB Film SL cheat sheet

Mise-en-scène comprises setting, costume, lighting, staging, and figure behaviour within the frame; analyse each element as a deliberate choice, not decoration.

Cinematography terms: shot size (extreme wide to extreme close-up), camera angle (high, low, eye-level, Dutch), camera movement (pan, tilt, track, dolly, crane, handheld, steadicam), and lens choice (wide, normal, telephoto, depth of field).

Editing vocabulary: cut, dissolve, fade, wipe, match cut, jump cut, cross-cutting/parallel editing, montage, and continuity rules (180-degree rule, 30-degree rule, eyeline match, shot/reverse shot).

Sound categories: diegetic vs non-diegetic, synchronous vs asynchronous, sound bridge, voice-over, Foley, ambient sound, and silence as a constructed effect.

Narrative structure: three-act model (setup, confrontation, resolution), equilibrium–disequilibrium–new equilibrium (Todorov), Propp's character functions, and Barthes' enigma and action codes.

Genre analysis uses repertoire of elements (iconography, narrative conventions, style) and the idea of genre as a contract between text and audience; hybridity and genre evolution are examinable.

Auteur theory attributes a consistent style and thematic preoccupation to a director across films; counter-arguments stress industrial, collaborative, and star-system constraints.

Close sequence analysis method: identify the sequence's narrative function, then trace patterns in mise-en-scène, cinematography, editing, and sound, and link each pattern to meaning for the spectator.

The comparative study requires comparison of two films from different cultural contexts, supported by researched sources, with a focus on a chosen area such as film movement, genre, auteur, or theme.

Credible research sources include academic film journals, published monographs, director interviews, festival catalogues, and archival material; fan wikis and unsourced summaries are weak evidence.

Cultural context variables to research: production conditions (funding, censorship, studio vs independent), reception (box office, festival prizes, critical debate), and historical moment.

Theoretical frameworks commonly applied: auteurism, genre theory, psychoanalytic film theory, feminist film theory, Marxist/ideological critique, postcolonial theory, and cognitive film theory.

National cinema and film movement labels (e.g. Italian Neorealism, French New Wave, New German Cinema, Dogme 95) are critical constructions; test how well a film fits the movement's stated principles.

Cross-cultural comparison must avoid universalising one tradition as the norm; examine how the same formal device (e.g. long take, non-linear editing) carries different meanings in each context.

Comparative essays need a clear tertium quid - the specific point of comparison - rather than two separate descriptions placed side by side.

Referencing conventions: consistent citation style, page numbers for quotations, and distinction between primary sources (the films) and secondary sources (criticism and theory).

Portfolio work is organised around a stated creative intention, recorded before or at the start of production, and evaluated against the finished films.

Production roles to document: director, cinematographer, editor, sound designer, production designer, screenwriter, producer; each role carries specific responsibilities on set.

Pre-production documents include script, shot list, storyboard, floor plan, equipment list, schedule, location release, and risk assessment.

Technical fundamentals: exposure triangle (aperture, shutter, ISO), frame rates and shutter angle, white balance, three-point lighting, and audio recording levels with headroom.

Continuity practice: 180-degree rule, eyeline match, screen direction, match-on-action, and consistent props/costume across takes.

Post-production workflow: ingest and backup, logging, assembly edit, rough cut, fine cut, sound design and mix, colour grade, export settings.

Reflective process should cite specific decisions and evidence (footage, test shoots, feedback) and evaluate what changed between intention and outcome.

Collaboration records include role agreements, meeting notes, and peer feedback; assess individual contribution separately from group output.

Project planning tools: treatment, timeline with milestones, budget, call sheet, and contingency plan for weather, location, or cast loss.

Role clarity reduces conflict: written agreements on decision authority (final cut, casting, scheduling) should be set before shooting begins.

Research log practice: record source, date accessed, key claim, and how the source informs the film or essay; this supports academic honesty.

Film terminology for collaboration: call sheet, shooting ratio, coverage, pickups, wild track, room tone, ADR, and colour grading are shared vocabulary on set.

Ethical and legal requirements: informed consent for participants, location permissions, music licensing, and compliance with local filming regulations.

Feedback protocols: structured critique using specific criteria (clarity of story, sound quality, continuity) yields more actionable revision than open-ended comment.

Presentation of research should distinguish evidence, interpretation, and speculation, and should acknowledge counter-examples and limitations of sources.

Evaluation criteria often reward documented process and reflection as much as the finished film; keep dated records of drafts, tests, and revisions.