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Summary
A guide to planning, researching, and creating your Film Comparative Study
- Follow the directions for each step below
- Include for your work where it is required
Student Work
| HLBrad’s PostDexter’s PostSam’s PostJustin’s PostDylan’s PostNeil’s PostLaari’s PostSatchel’s PostJadee’s PostChet’s Post | SL (or not testing this year)Hunter’s PostAvian’s PostReece’s PostEthan’s PostCaleb’s PostNick’s Post |
Steps and Tasks
- Brainstorm possible films for the task. You must select TWO films from contrasting cultural contexts.
- Brainstorm and justify at least three different areas of FILM FOCUS for your two chosen films.
- Brainstorm and justify at least two different CULTURAL CONTEXTS for your two chosen films.
- Consolidate your ideas and develop at least three different RESEARCH QUESTION topics for your study.
- Finalize your choices and select your RESEARCH QUESTION. Choose two films for comparison.
- Develop the main arguments you will make about your topic.
- Collect evidence from the films that support your argument.
- Research secondary sources for information that supports your argument.
- Write your Narration and plan the audio-visual components of your video essay.
- Record, assemble, and edit your Comparative Study Video Essay.
- Create a Works Cited document (separately) once your Comparative Study is finished.
Guidance for Your Work
“Simple formative analysis of film elements, no matter how precise or insightful, won’t cut it which is why the research question needs to be crafted in such a way that it provides scope for theoretical and socio-historic exploration. It’s basically an EE in disguise but focusing on two very different textual sources.”
- Thoroughly read the Comparative Study requirements in IB Film Guide PDF (including rubrics)
- Watch Mr. Le Duc’s CS Overview Video
- Examine the CS Poster 1 (PDF)
- Examine the CS Poster 2 (PDF)
- Watch Garrett’s CS Example and Read Garrett’s Two Column Script
- Notice the color designating justified film language elements
- Watch another example about South Korean New Wave
- Explore Mr. Le Duc’s Film Resources Page for Video Essays
Comparative Study Task Components
For this assessment task, each student identifies, selects, and researches each of the following task components.
- TASK 1: One area of film focus.
- TASK 2: Two films for comparison from within the chosen area of film focus, one of which originates from a contrasting time (historical) or space (geographical) to the personal context of the student, and the other film identified for comparison must arise from a contrasting cultural context to the first film. Students are required to select films they have not previously studied in depth. The selected films cannot come from the prescribed list of film texts provided for the textual analysis assessment task and, once selected, the films cannot be used by the student in any other assessment task for the DP film course or the extended essay.
- TASK 3: A clearly defined topic for a recorded multimedia comparative study, which links both the selected films and the identified area of film focus. Each student should invest time in researching, developing, and honing their topic (which in most cases is likely to be expressed in the form of a research question) to ensure it is clear, focused and concise, in order to provide them with the maximum potential for success in this task. The topic should seek to enrich the student’s understanding of the chosen area of film focus and should avoid a plot-driven approach to the comparison.
The assessment criteria for this task requires students to provide a strong justification for the choice of task components as part of the recorded multimedia comparative study. This includes the student’s justification for how films arise from contrasting cultural contexts.
1. FILM Choices List
- Set a timer
- How much time did you spend: 10min
| Which films are you considering for your final Comparative Study? List as many as you wish below as part of an initial brainstorm. Remember that you must select TWO films from contrasting cultural contexts for this task.e.g. CITIZEN KANE | Year, Country, and Director of the film.e.g. 1941, USA, Dir: Orson Welles |
| Forrest Gump | 1994, USA, Dir: Robert Zemeckis |
| 1917 | 2019, USA, Dir: Sam Mendes |
| To Hell and Back | 1955, USA, Dir: Jesse Hibbs |
2. Areas of FILM FOCUS
- Set a timer
- How much time did you spend: 25
- Research Film Movements
- Research Film Genres
- Research Film Style (the difference between genre and film style defined)
- Research Film Theory
- See the Examples of Possible Task Components section further down this document
| Film Focus Possibility – identify the broad focus area and then add specifics (e.g. “THEORY – Auteur theory” or “GENRE – Horror”). Develop at least THREE options…you can create more by adding more rows. | Justification for this Film Focus. Be as specific as possible. |
| GENRE – Action | In all of the film options listed above in step 1, wars are the focal point of the story. |
| STYLE – Documentary | 1917 and To Hell and Back are both documentaries of WW1 and WW2. Forrest Gump is fiction but it still tells the story of the Vietnam War. |
| THEORY – New Historicism | All of the Films in Step 1 feature different perspectives on historical wars. |
3. Chosen CULTURAL CONTEXT
- Set a timer
- How much time did you spend: 5min
For this assessment task, “cultural context” involves consideration of some of the following factors, some of which may be blended (such as socioeconomic factors).
- Economic, Geographical, Historical, Institutional, Political, Social, Technological
| Identify at least TWO Cultural Context possibilities for your chosen films. | Justification for this Cultural Context. Be as specific as possible. |
| Historical | All of the films in Step 1 show historic wars and their impacts on the world. |
| Geographical | Since all of the films in Step 1 feature wars, they also feature they geography of those wars. |
4. RESEARCH QUESTION Possibilities
- Set a timer
- How much time did you spend: 15min
Consolidate your thoughts above and develop at least THREE different research question possibilities. More are possible by adding additional rows to the table below. FYI these will be shared with the full class for discussion of strengths and weaknesses.
| Your Chosen Area of Film Focus | Topic for Comparative Study (written as a research question) |
| Cultural Context – Geographical | How does the geographical location of the story effect the mood of the story? |
| Genre – Action | What challenges do the protagonists in these movies have to face and how do they grow by overcoming them? |
| Cultural Context – Historical | How do the historical time periods of the films affect the architecture, weaponry, and clothing of the films? |
5. Final Decisions
- Set a timer
- How much time did you spend: 20min
Using your topic options in the table above, select ONE to be your final topic for this Comparative Study task. NOTE: There are examples from the IB of what this should look like below this table.
| Your Chosen Area of Film Focus | Film 1 | Film 2 | Contrasting Cultural Context | Topic for Comparative Study practice task (written as a research question) |
| Genre – Action | 1917 | To Hell and Back | 1917 takes place during WW1 and features to British soldiers who cross over enemy lines in order to send a message that could save the lives of 1,600 fellow troops. To Hell and Back takes place during WW2 and features Audie Murphy, one of the most decorated American combat soldiers of WW2. | How do the protagonists in each of these movies follow the Hero’s Journey? |
6. Developing Your Topic
- Set a timer
- How much time did you spend: ?
| Develop 3-5 main arguments that can be made about your topic based on your research question and chosen film focus. | Brainstorm how you could support these arguments within your video essay. |
| The story begins with the protagonists leaving the familiar in order to accomplish a set goal. | In 1917, the protagonists leave the safety of their base in order to send a message that could potentially save 1600 fellow troops. In To Hell and Back, Audie Murphy leaves his small Texas hometown in order to support his family with his military earnings. |
| The protagonists in both movies must face the tragedies of war. | In 1917, the protagonists traverse barren, war-scarred battlefields, encounter the dead, and witness death. Lance Cpl. Schofield must witness the death of his fellow soldier, Lance Cpl. Blake. In To Hell and Back, Audie Murphy must face the death of his fellow soldiers. |
| The protagonists in both movies are quickly elevated in battle strength due to the grit they have gained and hardships they have dealt with. | In 1917, both Lance Cpl. Blake and Lance Cpl. Schofield gain sharper reflexes. After the death of Lance Cpl. Blake, Lance Cpl. Schofield gains a relentless spirit to deliver his message to the other soldiers. In To Hell and Back, Audie Murphy’s bravery and natural leadership place him in stressful and difficult situations where he proves his bravery. Since he is one of the younger captains, he compensates by becoming one of the best. |
| The protagonists return to a sense of familiarity and gain a sense of completion for their efforts. | In 1917, Lance Cpl. Schofield is able to save the lives of many men by sending his message. He is able to deliver the tragic news of Lance Cpl. Blake’s death to Blake’s brother. The movie ends with Schofield sitting against a large tree in a field of grass. These plant growths are a stark contrast to the death and barren battlefields that Schofield has traveled through throughout the film. |
7. Selecting Supporting Evidence (Primary)
- Set a timer
- How much time did you spend: 90min
| Identify at least 15 scenes from your chosen films that will help support the arguments you have outlined above. Screen clip a frame from each scene below. | Write notes about how this scene helps support your argument. (These notes will help form your voice-over narration.) |
| To Hell and Back: After calling the navy, Murphy uses a burning machine gun to wipe out the entire opposing force at that location. Murphy gets shot in the hip. | This is Murphy’s most heroic act in the story and the shot to his hip would end his career as a soldier and send him home to receive his awards for his service. |
| To Hell and Back: Murphy’s mother passes away. | This event causes Murphy to join the Army, leaving behind everything that he was familiar with. |
| To Hell and Back: Murphy stays behind to call in the positions of the enemy tanks in order for the american navy to fire at them. | This action sets Murphy apart from the other soldiers, putting him in a league of his own when it come to bravery. |
| To Hell and Back: Murphy is put in charge of a group of soldiers who are older than him. | This begins Murphy’s journey as a leader in the military. |
| To Hell and Back: Lt. Murphy is awarded three purple hearts, a bronze star metal with a bronze service arrowhead, a legion of merit, two silver star metals, the distinguished service cross, and from the French government the Chevalier of the Legion of Honor and two Croix de guerre medals. | This is the end of the story. Murphy is awarded for his heroism and bravery. He has accomplished what he set out to do at the beginning of the story and he has done above and beyond that as well. |
| To Hell and Back: Murphy shoots a mirror that shows a reflection of himself. | This action shows how tense Murphy has become and it also represents Murphy’s willingness to sacrifice himself in order to protect his fellow troops. |
| To Hell and Back: After the death of his fellow soldier, Murphy wipes out the entire opposing force at that location. | This is a great loss for Murphy and he uses his rage to strategically rush the opposing forces. Up until this point in the story, this is Murphy’s most heroic act. |
| 1917: Lance Cpl. Blake reluctantly agrees to go on the mission with Lance Cpl. Schofield. They are told that they are walking into a trap. | This is the beginning of the story and the protagonists’ departure from the familiarity of their base. They proceed despite the low odds of their survival. |
| 1917: Lance Cpl. Blake and Lance Cpl. Schofield set off trip mines. | This scene increases the protagonists’ awareness of their dangerous landscape and helps to prepare them for the journey ahead. Blake suffers a leg injury. |
| 1917: Lance Cpl. Schofield crosses a damaged bridge while being fired at by the Germans. | This scene is a great obstacle for Schofield because in order to cross the bridge he had be extremely courageous by potentially revealing himself to the enemy. |
| 1917: Lance Cpl. Schofield reaches a burning church. | This setting represents the damage and horrors that war causes and that Schofield has had to endure throughout his journey. The church represents peace, familiarity, and holiness. The ruined and burning state that it is left in shows the destruction of the war. |
| 1917: Lance cpl. Blake is killed by a wounded German who Both Lance cpl. Blake and Lance cpl. Schofield were trying to help. | This is a turning point for Lance cpl. Schofield because his trust is eroded after the betrayal of the German. He also must carry on the mission by himself. |
| 1917: Lance cpl. Schofield makes it to the other ally troops only to find out that Colonel Mackenzie is 300 yds down the tranch. Lance cpl. Schofield then heroically runs across the battlefield with men dying and shells going off all around him. | This scene is a great test of Lance cpl. Schofield because after all he has gone through and all of the times that he put his life on the line, he must risk his life once again and convince Colonel Mackenzie to call of the attack. |
| 1917: Scholfield delivers the sad news of the passing of Blake to Blake’s brother. | This scene shows Schofield relieving himself of the doubt that he may not be able to find Blake’s brother to tell of his brother’s death and return his brother’s belongings. |
| 1917: Lance cpl. Schofield rests against a large tree, knowing that he will get to see his significant other soon. | This is the end of the story and the completion of Schofield’s mission. He returns to the familiarity of a large tree in a grass field after having to march throughout barren, war torn landscapes for great periods of time. |
*Add more rows as needed.
8. Selecting Supporting Evidence (Secondary)
- Set a timer
- How much time did you spend: ?
| Identify at least 3-5 secondary sources (articles, books, websites, video essays, etc.) which provide information that help support your arguments being made. In this column include the specific source citations. | Summarize the detailed information from the secondary source that you can use in this column. (You can copy+paste if they are from online sources.) |
| New York Times article – ‘1917’ Turns a Horrific War Into an Uplifting Hero’s Journey https://www.nytimes.com/2020/02/08/opinion/1917-movie-world-war-I.html | This source argues that the British military authorities had little regard for the lives of their men and saw them as expendable. This is reflected in parts of 1917 and helps to explain many of the obstacles that stood in the protagonists’ way. |
| To Hell and Back, novel version | This source entails the heroic life and feats of Audie Murphy and is the source that the film To Hell and Back was adapted from. |
| USO Article – Audie Murphy: To Hell and Back https://www.uso.org/stories/183-audie-murphy-to-hell-and-back | This article entails the military career and heroic feats of Audie Murphy. |
*Add more rows as needed.
9. Writing Your Narration
- Set a timer
- How much time did you spend: ?
Using the information, scene choices, and external sources you have compiled in steps 6-8, you will now write your voiceover narration and match it up to your chosen visual examples.
Length (</= 10 Minutes)
- For the final Comparative Study, your narration should be no longer than 10 minutes in length.
Remember that you need to:
- COMPARE and CONTRAST your two chosen film using the arguments and evidence you identified in parts 6-8, above
- Begin your narration with a detailed justification for the chosen cultural contrast
- Use an equal balance of the two selected films.
- Write in a third-person voice to construct your argument (similar in tone to your Extended Essay and other
comparative analytical work you have written in Film class). - Identify where any WRITTEN TEXT will appear on the screen and highlight this (to reference during the
creation/editing stage)
| Which Visual Evidence/Scenes line up to this part of the narration? | Voiceover Narration Ideas |
Formatting Guidelines
- Watch the Formatting of an Audio/Video Script in Celtx
- Assemble in Two-Column AV Format in an option below
10. Assembling the Comparative Study
- Set a timer
- How much time did you spend: ?
Now you will collect all media resources needed for the task and construct your video essay.
REQUIRED STEPS
- Import the digital copy of your chosen films into editing software
- Identify and extract chosen scenes and clips
- Place and edit clips into a rough timeline for your video essay
- Record audio narration (both partners should participate in narrating this practice task)
into an audio file using recording equipment (Zoom recorders, iPhone, DSLR Rode video
mic, etc.) - Import your recorded narration audio file into your project timeline
- Assemble, edit and fine-tune clips and narration until your video essay takes shape
- Create and add any required textual information in the timeline (including black slate at the start)
- Audio mixing of narration and movie clips (adjust levels so that narration and movie sounds complement each other)
- Export the final video essay movie file
- Upload Unlisted draft to YouTube for peer review
11. Create Works Cited
- Set a timer
- How much time did you spend: ?
- Create Works Cited list separately (Google Doc)
Examples of Possible Task Components
| Area of film focus | Film 1 | Film 2 | A possible topic for comparative study |
| Film movement: German Expressionism | The Cabinet of Dr. Caligari (1920) | Edward Scissorhands (1990) | How and with what effect are specific film elements of German expressionism used within a chosen contemporary film? |
| Film movement: French New Wave | Breathless (1960) | Badlands (1973) | The influence of the French New Wave on New Hollywood’s use of innovative film elements in its representation of youth and violence. |
| Film genre and film style: Black comedy | No. 3 (1997) | The Big Lebowski (1998) | To what extent do “black comedy” films differ according to cultural context? |
| Film theory: Soviet Montage | Battleship Potemkin (1925) | Koyaanisqatsi (1982) | To what extent are specific features of Soviet montage theory faithfully employed in a contemporary experimental film? |
External Assessment Criteria SL and HL
Peer Review Checklist
| TASK COMPONENTS (ACTION) | Notes / Suggestions | |
| __ | Assemble Findings | |
| __ | Develop a personal and critically reflective perspective | |
| __ | Identify and gather appropriate audio-visual material to support the study | |
| SCREENPLAY | ||
| __ | Justify the chosen topic and selected films | |
| __ | Make sure that the text is in a formal academic register (can be in the 1st person) | |
| __ | The balance between visual and spoken elements | |
| __ | Make clear reference to your sources as on-screen citations (text on-screen) | |
| __ | Make sure the primary weight of evidence for the study from the two chosen films | |
| __ | Make sure each film is given equal consideration | |
| __ | Make sure film language information is communicated clearly throughout (avoid “to be” verbs – make statements like “blah is this.”) | |
| __ | Make sure information is communicated logically rooted in film language | |
| __ | Have another student highlight the WHAT WHY HOW in your draft screenplay | |
| VIDEO ESSAY | ||
| __ | Recorded voice and edited commentary numerous times until happy with the material | |
| __ | Make sure your name and the school’s name ARE NOT IN THE ESSAY | |
| __ | Make sure to have 10-second title card with:1. Area of film focus2. Titles of the two films for comparison3. The chosen topic | |
| __ | Include breaks in your recorded commentary to enable other audio-visual material included in the study to be clearly heard (if needed) | |
| __ | Make sure film clip length matches points being made | |
| __ | Make sure still images have citations on-screen if you have them | |
| __ | Make sure text on-screen is legible and spelled correctly | |
| __ | Make sure information is communicated audibly (levels are good for all sound) | |
| __ | Make sure information is communicated visually appropriate manner | |
| __ | Make sure background music is from Creative Commons and is cited | |
| __ | Make sure edits are clean | |
| __ | Make sure the presentation is 10 minutes maximum, including title card and credits | |
| __ | Make sure two films are listed in sources |