IB Film SL study plan

Annotate a 3-5 minute sequence shot by shot, labelling camera distance, angle, movement, lens choice, lighting direction, and colour palette for every cut.

Identify and define 25 film-language terms (mise-en-scène, depth of field, diegetic/non-diegetic sound, rack focus, match cut, off-screen space) with one original example each from a film you have watched.

Write a 400-word close reading of a single shot, arguing how its formal choices create meaning rather than merely describing what is visible.

Build a reusable analysis template with sections for image track, sound track, editing rhythm, and spectator effect.

Compare two sequences from the same director and list three recurring formal habits (framing, camera behaviour, sound strategy) with timestamped evidence.

Map the narrative structure of one feature film using a three-act or five-part model, marking the inciting incident, midpoint, and turning points with timecodes.

Distinguish genre conventions from genre innovations in one genre film, citing at least four specific scenes.

Draft a 500-word authorship argument that weighs director intent against collaborative contributions (cinematographer, editor, production designer).

Select two films from different national or cultural contexts and build a comparison grid across five axes: narrative structure, visual style, sound design, genre framing, and socio-historical context.

Research and summarise three credible sources on each film's production context, recording publication details for later citation.

Apply one theoretical framework (auteur theory, genre theory, or spectatorship) to both films and note where the framework strains or fails.

Write a 600-word comparative analysis that argues a thesis about similarity or difference rather than listing features.

Synthesise research notes into a 1,200-word comparative study draft with a clear thesis, three evidence-driven sections, and a conclusion.

Integrate at least five correctly formatted references and quote or paraphrase each source accurately.

Review the draft against close-analysis criteria and add two passages of detailed formal evidence drawn from your week 1-2 work.

Self-assess the draft against the comparative study criteria and log three specific weaknesses to fix in week 5.

Write a creative intention statement (150-200 words) that states the intended audience effect and names the formal techniques you will use to achieve it.

Produce a shooting script or storyboard for a 60-90 second film with at least 12 planned shots, marked shot size, movement, and sound.

Complete a one-day shoot of the sequence, logging takes and noting where reality diverged from the plan.

Edit a rough cut and record three deliberate editorial decisions with their intended effect on the viewer.

Revise the rough cut into a fine cut, addressing pacing, sound balance, and colour continuity, and record what changed and why.

Write a 500-word reflective report that connects each major production decision back to the creative intention.

Critique your own film against your week 1-2 analytical vocabulary, naming two strengths and two formal weaknesses.

Collect peer or mentor feedback on the finished film and summarise how you would act on it in a future project.

Draft a collaborative project plan with defined roles, a production schedule, and a decision-making protocol for disagreements.

Run one structured collaboration exercise (a 20-minute planning meeting or a shared edit review) and record who decided what and how consensus was reached.

Revise the comparative study using the week 4 self-assessment, tightening the thesis and adding one counter-argument.

Compile a personal glossary of 40 film terms with original definitions and one usage example each.

Sit a timed 90-minute mock exam: one unseen-sequence analysis and one comparative study question, written under exam conditions.

Mark the mock against the assessment criteria and identify the two criteria where you lost the most marks.

Revisit the weakest domain with two targeted practice tasks drawn from your earlier weeks' notes.

Consolidate a one-page revision sheet covering key terms, theoretical frameworks, and your strongest film examples.