By the end of the film course, SL or HL students should be able to demonstrate the following:
1. Demonstrate knowledge and understanding of specified contexts and processes:
a. Identify the film elements associated with conveying meaning in a variety of film texts.
b. Formulate personal intentions for work, which arise from both research and artistic endeavour.
c. Identify informative moments and examples from their own filmmaking work to support analysis.
d. Present ideas, discoveries and learning that arise from both research and practical engagement with films, filmmakers and techniques.
2. Demonstrate application and analysis of knowledge and understanding:
a. Analyse film from various cultural contexts and explain links between areas of film focus and film elements employed by filmmakers.
b. Demonstrate knowledge and understanding of films, filmmakers and their various cultural contexts in order to influence, inform and impact the creation of film work.
c. Explore and experiment with a variety of film-production roles in order to understand the associated skills, techniques and processes employed by filmmakers.
3. Demonstrate synthesis and evaluation:
a. Critically interpret various sources of information in order to support analysis.
b. Compare and contrast filmmakers, their films and their various cultural contexts in order to further understanding of particular areas of film focus.
c. Evaluate films created by themselves and others and articulate an informed personal response using appropriate cinematic language and vocabulary.
d. Reflect on the process of collaboration and on the successes and challenges encountered as a member of a core production team.
4. Select, use and apply a variety of appropriate skills and techniques:
a. Make appropriate choices in the selection of words, images, sounds and techniques when assembling their own work for presentation.
b. Experiment in a variety of film-production roles in order to produce film work that conveys meaning on screen.
c. Collaborate effectively with others in the creation of film work.
Assessment Objectives in Practice (Mapping)
The following notes summarize how AO1–AO4 are addressed across the core syllabus and assessment tasks (as illustrated by the mapping table in the transcript):
Core syllabus components include:
Exploring film-production roles
Reading film
Contextualizing film
Collaboratively producing film (HL only)
Assessment tasks include:
Film portfolio (SL and HL)
Textual analysis (SL and HL)
Comparative study (SL and HL)
Collaborative film project (HL only)
The table indicates where each AO (AO1, AO2, AO3, AO4) is addressed within these elements, and shows that HL includes the Collaborative film project as an HL-only task.
Approaches to Teaching and Learning in Film
The taught syllabus is designed to reflect the dynamic nature of film and filmmaking. Key aspects:
The syllabus provides core teaching requirements but allows for a variety of approaches and teaching styles.
Teachers have free choice in selecting films, filmmakers, production roles, film concepts and contexts.
Students should identify material for study based on personal interests and what inspires them in film.
Teachers are encouraged to interpret the taught syllabus creatively according to local circumstances and the school context.
This is an international film programme.
Teachers should not only teach content and production skills they are familiar with, but should also be risk-takers and expose students to unfamiliar concepts and contexts.
It is possible to run the DP film course with just one student; in this situation, teachers must find creative opportunities to meet the collaboration requirement (an HL assessment requirement).
The programme embodies many of the Approaches to Teaching and Learning (ATL) skills that empower learning experiences.
Planning should ensure teaching is focused on inquiry, conceptual understanding, local and global contexts, effective teamwork and collaboration, differentiated to meet all learners’ needs, and informed by assessment.
For more information, refer to the DP Approaches to Teaching and Learning subject website.
Approaches to Learning (ATL) in Film:
The DP film course is student-centred and relies on student exploration.
Learning relies on action and practical experience; collaboration is essential and students should reflect on its processes, benefits and challenges.
Approaches to Learning in Film (Skill Development)
The film course aims to develop cognitive, metacognitive and affective skills as outlined in the DP ATL guide:
Thinking skills
Communication skills
Social skills
Self-management skills
Research skills
Students learn through problem-solving and inquiry, and communicate learning through action, project planning, workshops, presentations and screenings, as well as oral, visual and written expression.
The course requires higher-order thinking skills, such as analysis and synthesis.
Students should learn what is relevant and useful for their own investigations and how to apply knowledge by transforming ideas into action.
For more information about ATL in the DP, consult the DP ATL subject website.
The Film Journal and Research and Materials Selection
The selection of materials for assessment is student-centred:
Teachers should encourage students to identify and select material that will best help fulfill assessment task requirements.
Task instructions and assessment criteria should be shared with students and used as a regular focus of interaction.
The Film Journal:
Students should maintain a film journal from the beginning of the course and at regular intervals.
The journal is the student’s record of development as a DP filmmaker and should include:
Reflections on challenges and achievements
Creative ideas
Completed work
Critical analyses and experiences of watching films
Detailed evaluations and feedback
All documentation related to practical filmmaking (scripts, storyboards, schedules)
Feedback from peers, teachers and others
Research into primary and secondary materials
Skills acquisition and development
Students should find the most appropriate ways of recording the development and have free choice in how the journal is kept.
The journal will likely contain many digital files and needs to be securely stored and backed up over the two-year course.
The content of the journal should focus on analysis of learning experiences, not just a simple chronicle of experiences.
Although the journal itself is not directly assessed or moderated, students may select and present large extracts for assessment.
The journal is a valuable activity for documenting research, planning, production and reflection processes.
Research in Film:
Students should consult a range of reliable primary and secondary sources.
Sources should be appropriate to the task; live experiences (workshops, lectures, correspondence with experts, screenings) are encouraged alongside traditional sources.
All sources must be cited using the school’s chosen referencing style, and an ongoing list of sources should be maintained.
Each assessment task requires a list of sources (in addition to in-text or on-screen citations).
Health and Safety and Ethics in Film Work
Health and Safety:
All schools must follow health and safety guidelines for film production and provide a safe and healthy working environment for students and staff.
Students must be supported in making safe choices during filming; teachers should guide risk assessment and risk avoidance.
When working with adults or community members, safeguarding measures must be in place to enable safe collaboration; teachers should carry out regular risk assessments and involve students in this process.
Ethics and Film Work:
The school must ensure ethical considerations are integrated into student work; content should be appropriate for the school context and the students’ ages.
Additional guidance on ethics and safety is provided in the film guide (the content references pages 19–20 for ethics and safety guidance).
Prohibited Content in Student Work (Examples)
Student work must not:
damage the environment
glamorize the taking of drugs
inappropriately reference socially taboo subjects
incite or condone intolerance or hatred of others
include excessive or gratuitous violence
make reference to, or represent, explicit sexual activity
Note: This list is illustrative and not exhaustive.
Summary of Key Points
The DP Film course emphasizes inquiry, collaboration, practical production, and critical analysis within a flexible, student-centred framework.
Assessment objectives are structured around knowledge and understanding (AO1), application and analysis (AO2), synthesis and evaluation (AO3), and selection/use of skills and techniques (AO4).
HL includes an additional collaborative film project task and HL-only components; SL covers core tasks: Film Portfolio and Textual Analysis; HL adds Collaborative Film Project.
A strong emphasis on research, documentation (film journal), and ethical/safety considerations guides practice throughout the two-year course.
Teachers are encouraged to tailor the syllabus to local contexts while maintaining alignment with IB DP principles and assessment criteria.
Note on Formulas or Equations
There are no mathematical formulas or equations in the provided transcript. All references to numbers are either enumerations of aims, assessment objectives, or task titles. If needed, any future content with mathematical content can be formatted in LaTeX, for example: E = mc^2 where relevant.