GCSE MIA Specification 3220

NOTE
CCEA will NOT be accepting entries

from English centres for GCSE courses
that begin in or after September 2012 CCEA GCSE Specification in
Moving Image Arts
For first teaching from September 2009
For first assessment from Summer 2010
For first award in Summer 2011
Subject Code: 5350
Version 5 17 August 2012

Version 5: 17 August 2012
Foreword
This booklet contains CCEA’s General Certificate of Secondary Education (GCSE)
Moving Image Arts for first teaching from September 2009. We have designed this
specification to meet the requirements of the following:
• GCSE Qualifications Criteria;
• Common Criteria for all Qualifications; and
• GCSE Controlled Assessment Generic Regulations.
We will make the first full award based on this specification in summer 2011.
This specification as a unitised course. This structure increases flexibility and choice
for teachers and learners.
The first assessment for the following unit will be available in summer 2010:
• Unit 1: Acquisition of Skills in Moving Image Production.
We will notify centres in writing of any major changes to this specification.

We will also publish changes on our website at www.ccea.org.uk
The version on our website is the most up-to-date version. Please note that the
web version may be different from printed versions.
Centres in England
CCEA will not be accepting entries from English centres for GCSE courses starting
September 2012 onwards.
Final awarding for English centres currently following this specification will be in
Summer 2013.
A final resit opportunity for candidates from English centres will be available in Summer
2014.

Subject Code 5350
QAN 600/6850/4
A CCEA Publication © 2008
You may download further copies of this publication from www.ccea.org.uk

*Please note the QAN for candidates completing this course in Summer 2013 is
500/4590/8

Contents
1 Introduction 3
1.1 Aims 3
1.2 Key features 3
1.3 Prior attainment 3
1.4 Classification codes and subject combinations 4
2 Specification at a Glance 5
3 Subject Content 7
3.1 Summary of the key areas of study 7
3.2 Unit 1: Acquisition of Skills in Moving Image Production 9
3.3 Unit 2: Planning and Making a Moving Image Product 11
3.4 Unit 3: Critical Response to Moving Image Products 13
4 Scheme of Assessment 14
4.1 Assessment opportunities 14
4.2 Assessment objectives 14
4.3 Assessment objective weightings 14
4.4 Quality of written communication 15
4.5 Reporting and grading 15
5 Grade Descriptions 16
6 Guidance on Controlled Assessment 17

6.1 Controlled assessment review 17
6.2 Skills assessed by controlled assessment 17
6.3 Level of control 17
6.4 Task setting for Unit 1 17
6.5 Task taking for Unit 1 18
6.6 Task setting for Unit 2 19
6.7 Task taking for Unit 2 19
6.8 Task marking 21
6.9 Supervision of candidates 21
6.10 Marking and internal standardisation 22
6.11 Moderation 22
7 Links 23
7.1 Support 23
7.2 Curriculum objectives 24
7.3 Key Skills 24
7.4 Examination entries 24
7.5 Equality and inclusion 25
7.6 Health and safety 25
7.7 Contact details 26
Appendices Overleaf

Appendix 1 27
Unit 1 Controlled Assessment Task Marking Grid
Appendix 2 29
Unit 2 ESA Marking Grid
Appendix 3 31
Glossary of Terms for Controlled Assessment Regulations
Summary of Changes since First Issue 33

CCEA GCSE Moving Image Arts from September 2009
1 Introduction
This specification sets out the content and assessment details for our Moving Image Arts
GCSE course. First teaching begins from September 2009, and we will make the first
award for this specification in 2011. You can view and download the latest version of
this specification on our website at www.ccea.org.uk
The specification builds on the broad objectives of the Northern Ireland curriculum.
It is also relevant to key curriculum concerns in Wales.
GCSE Moving Image Arts follows on from the new requirement to teach the moving
image at KS3 in English and Art and Design. Students work on a range of tasks at this
level, including planning and creating moving image products. This GCSE builds on this
basic introduction and bridges the gap to the existing GCE Moving Image Arts
specification.
1.1 Aims
This specification aims to help students:
• develop an understanding of film language in both theory and practice;
• develop ideas through investigating and experimenting with filmmaking techniques
and processes;
• develop the ability to manage resources and equipment in relation to film production
and to produce moving image artworks;
• develop technical competence in the use of filmmaking techniques; and
• evaluate the effectiveness of their own practice.
1.2 Key features

The key features of the specification appear below:
• This is a unitised specification. This means that students have the opportunity to sit
one unit in the first year of teaching.
• The course offers opportunities to build on the skills and capabilities developed
through the delivery of the Key Stage 3 curriculum in Northern Ireland.
• It helps the students’ development in audio-visual literacy and creativity through
hands-on learning in the craft of moving image arts.
• It encourages ownership, self-expression and independence in the students’
exploration of thoughts, ideas and creative practices.
• The course uses new digital technologies and the creative learning possibilities they
now offer, including online examination opportunities.
• The specification enables flexible, interdisciplinary learning, encouraging synergies
across multiple art forms and curricular areas.
• An e-portfolio is used for submission of controlled assessment tasks, which improves
support for both students and teachers.
1.3 Prior attainment

Students do not need to have previous knowledge or experience in the subject.
However, students do need to have basic keyboarding and word processing skills for the
online examination.
Version 5: 17 August 2012 3

1.4 Classification codes and subject combinations

Every specification is assigned a national classification code that indicates the subject area
to which it belongs. The classification code for this qualification is 5350.
Progression to another school/college

Should a student take two qualifications with the same classification code, schools and
colleges that they apply to may take the view that they have achieved only one of the two
GCSEs. The same view may be taken if students take two GCSE qualifications that have
different classification codes but have content that overlaps significantly. Students who
have any doubts about their subject combinations should check with the schools and
colleges that they wish to attend before embarking on their planned study.

2 Specification at a Glance
The table below summarises the structure of this GCSE course:
Content Assessment Weighting Availability
Unit 1: Compulsory controlled 20% Every Summer

Acquisition of assessment tasks (beginning 2010)
Skills in Moving
Image Production Students complete two tasks (10%
from the list of approved for each
tasks or centre-accredited task)
tasks under these four
headings:
• Thinking
• Planning
• Making
• Evaluating.
Tasks are internally marked

and externally moderated.
Tasks are submitted

electronically. by means of
an e-portfolio.
Unit 2: Compulsory controlled 40% Every Summer

Planning and assessment task (beginning 2011)
Making a Moving
Image Product Students produce work
based on a common theme
under these four headings:
• Thinking
• Planning
• Making
• Evaluating.
The task is internally marked

and externally moderated.
The task is submitted

electronically. by means of
an e-portfolio.
See overleaf for information on Unit 3: Critical Response to Moving Image Products.

Content Assessment Weighting Availability
Unit 3: Compulsory online 40% Summer

Critical Response examination
to Moving Image Terminal
Products 1 hour 30 minutes
The examination is divided

into three sections.
Each section features:

• a brief sequence from one
or more of the set films;
and
• questions that assess
knowledge and
understanding.
The examination is
externally set and externally
marked.
At least 40 percent of the assessment (based on unit weightings) must be taken at

the end of the course as terminal assessment.

3 Subject Content
We have divided the course into three units. The content of these units and their
respective learning outcomes appear below.
3.1 Summary of the key areas of study

There are two key moving image art forms, which underpin this specification:
• Film, which refers to live action fictional narrative films; and
• Animation, which refers to rostrum, stop motion and computer-generated imagery
(CGI) animated narrative films.
The study of the moving image should be informed by an understanding of these film
language areas:
• Camera
• Editing
• Lighting
• Sound
• Mise-en-scène.
Teachers should approach all film language areas through the study of genre. They
should provide students with the opportunity to explore how contemporary filmmakers
draw upon a rich history of genre conventions, styles and techniques.
We expect students to become familiar with a number of set films that form the basis of
the online examination. The set films change every three years. The following films
provide the initial focus for the study of genre and visual style:
Film Focus
Bride of Frankenstein A close study of the horror classic made by the

(James Whale, 1935) celebrated British director for Universal Studios
provides an introduction to the conventions of this
popular genre. These include setting, iconography,
narrative and style. The legacy and enduring influence
of the Universal Horror film on contemporary cinema
(as well as the scope for comic subversion) can be
explored through a scene-by-scene comparison with
Young Frankenstein (Mel Brooks, 1979).
Young Frankenstein Study of this film allows students to develop an

(Mel Brooks, 1979) understanding of how the conventions of the horror
genre can be parodied by a modern filmmaker.

Film Focus
Romeo and Juliet The revisiting, recycling and reinterpretation of classic

(Baz Luhrmann, 1996) genres by contemporary filmmakers is a major focus
of study. Romeo and Juliet broke new ground in its
approach to both Shakespearian tragedy and film
genre. The film provides a compelling case study of
the modern hybrid genre film, revealing how one of
contemporary cinema’s most exuberant visual stylists
has drawn upon a wide range of genres, including the
Spaghetti Western, the teen film, the crime genre and
the musical.
The Wrong Trousers (1993) The award-winning short films of Aardman

and Animation offer an alternative means of illustrating
A Close Shave (1995) the playfulness and parody of modern genre filming.
(both Oscar-winning short In The Wrong Trousers and A Close Shave,
films by Nick Park) director Nick Park has tapped into a rich vein of
generic influence spanning the world of silent film
comedy, the British war movie and the Hitchcockian
suspense thriller.

3.2 Unit 1: Acquisition of Skills in Moving Image Production

This unit aims to develop the student’s level of skill in two of seven defined film
language areas. These are:
• Camera technique
• Sound
• Mise-en-scène
• Lighting
• Editing
• Animation
• Post-production.
Each student must complete two controlled assessment tasks for submission. Submitted
tasks must be from two different film language areas.
Each task results in a 40–60 second exercise (accompanied by notes on the production
of the experiment) and an evaluation.
Controlled Assessment Task 1: (10%)

40–60 second experiment in one of the film language areas of moving image arts
(above).
Controlled Assessment Task 2: (10%)

40–60 second experiment in a film language other than the one explored in Task 1.
The tasks are designed to help students:

• develop their understanding of technical processes; and
• gain hands-on experience in at least two of the specification’s film language areas.
Tasks are available from the task bank on the Moving Image Arts microsite. Teachers
internally mark the tasks and we moderate them. We review the tasks every two years.
After an initial period of one year, teachers may submit their own tasks for Unit 1 if they
wish to do so. Their tasks must fit the defined film language areas and the scheme of
assessment. However, before a task is given to students, teachers/centres must submit it
to us for approval. Pending our approval, we may also make these tasks available for use
by other centres.
Work carried out under the headings: Thinking, Planning, Making and Evaluation must
be submitted to us in electronic formats. This is by means of a secure e-portfolio system,
which we will set up and maintain.

Content Learning Outcomes
Thinking Students should be able to:

• show understanding of filmmaking techniques;
• make connections with the work of others;
Planning • plan and manage resources and equipment in film

production;
• produce evidence for this in the form of pre-production

material;
• plan creatively within a framework of the seven film

language areas and the resources available to them;
Making • show technical competence in the use of filmmaking

techniques;
• show technical competence in the use of appropriate

software and equipment;
• produce moving image products that reflect their creative

intentions;
Evaluating • reflect upon and evaluate the effectiveness of their own

practice; and
• consider ways to improve working methods.
Each student at GCSE level must submit his or her own product. At a minimum, they
must develop and plan the moving image product, direct the production and edit or
construct the final product unassisted.

3.3 Unit 2: Planning and Making a Moving Image Product

This unit takes the form of an externally set assignment (ESA) and gives each student the
opportunity to produce their own moving image product.
Each student is responsible for all creative decisions during the assignment and the
production of their moving image product. In order to realise their final product,
students may need to collaborate with others.
Students use an initial idea or stimulus from the ESA as a starting point to create their
own complete narrative moving image product. They produce either a live action film or
an animation by working within the parameters and conventions of one or more of the
specification’s defined genres or film language areas.
Students must support their finished film or animation with:

• evidence of the creative processes and practices they used to realise it; and
• an evaluation of the technical successes and failures, the stylistic merit and the
emotional impact of the product.
Thinking, Planning, Making and Evaluation are submitted to us in electronic format.

This is by means of a secure e-portfolio system, which we maintain.
Thinking Students should be able to:

• show understanding of filmmaking techniques;
• make connections with the work of others;
Planning • plan and manage resources and equipment in relation to

film production;
• produce evidence for this in the form of pre-production

material;
• plan creatively within a framework of the seven film

language areas and the resources available to them;
Making • show technical competence in the use of filmmaking

techniques;
• show technical competence in the use of appropriate

software and equipment; and
• produce moving image products that reflect their creative

intentions.

Evaluating Students should be able to:

• reflect upon and evaluate the effectiveness of their own
practice; and
• consider ways to improve working methods.
Each student at GCSE level must submit his or her own unique product. At a minimum,
they must develop and plan the moving image product, direct the production and edit or
construct the final product unassisted.

3.4 Unit 3: Critical Response to Moving Image Products

In an online examination context, we expect students to respond critically to a series of
questions relating to the following set films*:
• Bride of Frankenstein
• Young Frankenstein
• Romeo and Juliet
• The Wrong Trousers
• A Close Shave.
The examination is divided into three sections. Each section features:

• a brief sequence from one or more of the set films; and
• questions that assess knowledge and understanding of film language, genre and visual
style.
Candidates analyse and evaluate moving image products. The duration of the online
examination is 1 hour 30 minutes.
Critical Response Students should be able to:

to a Number of
Unseen Moving • demonstrate knowledge and understanding of film language,
Image Sequences genre conventions and visual style;
from the Set Films
• analyse and evaluate a range of moving image texts; and
Camera
Editing • draw upon the knowledge and understanding they have
Lighting developed from their own study and practice.
Sound
Mise-en-scène
Genre Conventions
Styles
Techniques
* We will change the set films for first teaching from September 2012. The last
examination for the set texts shown here is summer 2013.

4 Scheme of Assessment
4.1 Assessment opportunities
The availability of examinations/controlled assessment appears in Section 2 of this
specification.
Candidates can choose to resit individual assessment units once. The better result for
each assessment unit counts towards the GCSE qualification. Results for individual
assessment units remain available to count towards a GCSE qualification until we
withdraw the specification.
4.2 Assessment objectives

The assessment objectives for this specification are set out below. Candidates must:
• demonstrate personal creative goals within a moving image context and make
connections with the work of others (AO1);
• demonstrate the ability to organise a range of resources to facilitate the realisation of a
moving image product (AO2);
• use creative and technical skills to construct a moving image product (AO3);
• analyse and evaluate moving image products (AO4); and
• demonstrate knowledge and understanding of film language, genre conventions and
visual style (AO5).
4.3 Assessment objective weightings

The table below sets out the assessment objective weightings for each examination
component and the overall GCSE qualification:
Assessment Component Weighting Overall

Objective Weighting
Unit 1 Unit 2 Unit 3
Set Tasks ESA Online Exam
AO1 2.5% 5% ___ 7.5%

5 marks 10 marks 15 marks
AO2 5% 10% ___ 15%

AO3 10% 20% ___ 30%

AO4 2.5% 5% 30% 37.5%

5 marks 10 marks 60 marks 75 marks
AO5 ___ ___ 10% 10%

20 marks 20 marks
Total % 20% 40% 40% 100%

Total Marks 40 marks 80 marks 80 marks 200 marks

4.4 Quality of written communication

In GCSE Moving Image Arts, candidates must demonstrate their quality of written
communication. In particular, candidates must:
• make sure that text is legible and that spelling, punctuation and grammar are accurate
so that meaning is clear;
• select and use a form and style of writing appropriate to their purpose and to complex
subject matter; and
• organise information clearly and coherently, using specialist vocabulary where
appropriate.
Examiners assess the quality of candidates’ written communication in their responses to

questions or tasks requiring extended writing. The examiners assess the quality of
written communication within assessment objectives AO1, AO4 and AO5.
4.5 Reporting and grading

We report the results of individual assessment units on a uniform mark scale that reflects
the assessment weighting of each unit. We determine the grades awarded by aggregating
the uniform marks obtained on individual assessment units.
We award GCSE qualifications on an eight grade scale from A*–G, with A* being the
highest. If candidates fail to attain a grade G or over, we report their results as
unclassified (U).
We award grades that match the grade descriptions published by the regulatory
authorities (see Section 5).

5 Grade Descriptions
Grade descriptions are provided to give a general indication of the standards of
achievement likely to have been shown by candidates awarded particular grades. The
descriptions must be interpreted in relation to the content in the specification; they are
not designed to define that content.
The grade awarded depends in practice upon the extent to which the candidate has met
the assessment objectives overall. Shortcomings in some aspects of candidates’
performance in the assessment may be balanced by better performances in others.
Grade Descriptions
A Candidates show confident use and understanding of film language. Their

personal creative goals are carefully considered and show well informed
connections with the work of others.
Their ability to plan for and organise their production is highly developed.
The candidate’s personal goals are realised in a confident and competent

manner, showing well-developed technical skill. The creative purpose is clear
throughout.
They evaluate their own practice in a confident and well-informed manner

reflecting on degrees of success in the technical and creative outcome of
their product.
C Candidates demonstrate a reasonable understanding of film language and

their personal creative goals are well developed. There are obvious
connections with the work of others.
Their ability to plan for and organise their production is appropriate and
sustained.
The candidate’s personal creative goals are realised with a competent

understanding of technique. Production values are uneven but show
adequate technical control, and there is a sense of creative purpose.
At this level, candidates demonstrate a sound ability to evaluate their own

practice and comment on their learning experience.
F Candidates demonstrate a basic or uneven ability to develop personal
creative goals and make connections with the work of others.
Their ability to plan for and organise their production is basic and uneven.
They are able to produce a moving image product, which displays a basic
understanding of filmmaking techniques.
At this level, candidates are able to demonstrate a basic but uneven ability to
reflect on their own practice.

6 Guidance on Controlled Assessment

6.1 Controlled assessment review
We review our controlled assessment tasks every two years to ensure that they continue
to set an appropriate challenge and remain valid, reliable and stimulating.
Moving Image Arts is interdisciplinary by nature. Therefore, we encourage teachers to

draw on their own areas of expertise when selecting controlled assessment tasks for
Unit 1. Teachers should discuss the tasks with their candidates, paying attention to
individual preferences and aptitudes that apply to Units 1 and 2.
The teacher’s role in completing and submitting controlled assessment tasks is that of a
facilitator or, in film making terms, a ‘producer’. It is their responsibility to:
• ensure that the candidates’ tasks for submission are appropriate and adhere to the
specification’s assessment objectives and requirements;
• ensure that candidates understand that the aims and assessment objectives of this
subject require both critical and creative responses to moving image products;
• advise on the feasibility and scope of proposed production work; and
• make candidates aware of the health and safety issues outlined in Section 7.
6.2 Skills assessed by controlled assessment

Teachers must assess the following skills through controlled assessment:
• aspects of moving image production;
• planning and making of moving image products; and
• candidates’ evaluation of their own practice.
In addition, elements of all these skills may be assessed externally.
6.3 Level of control

Rules for controlled assessment in GCSE Moving Image Arts are defined for the three
stages of the assessment:
• task setting;
• task taking; and
• task marking.
6.4 Task setting for Unit 1

The level of control for the setting of this task is high. This means that we set the task.
The tasks are available through the task bank on the Moving Image Arts microsite.
Candidates must complete two of these tasks to fulfil the Unit 1 requirements.
After an initial period of one year, teachers will have the opportunity to devise their own
tasks according to criteria we provide. These tasks must clearly fit within the defined
film language areas and the scheme of assessment. Before a task is given to candidates,
teachers/centres must submit it to us for approval.
The controlled assessment tasks provide opportunities for centres to contextualise the
tasks to better suit their specific circumstances. This includes the availability of and
access to resources.

6.5 Task taking for Unit 1

Unit 1 is comprised of two separate tasks. Each task has four elements of work, which
are as follows:
Thinking: (medium level control)
Candidates produce a 200 word written statement outlining their personal creative
intentions and making connections with the work of others.
Planning: (medium level control)

Candidates develop a range of planning materials to facilitate the making of their moving
image product. This must be 5 - 10 A4 pages in length and detail the production design
and planning for the 40–60 second moving image product.
The planning materials may include, for example:

• illustrations;
• a project plan;
• a screenplay; and
• storyboards.
Making: (medium level control overall)

Candidates produce a 40–60 second moving image product. The main processes
involved in this are:
• filming (low level control); and
• editing (high level control).
Evaluating: (medium level control)

Candidates produce a 200 word written evaluation of the finished moving image
product.
The table below specifies the controls that must be observed during Unit 1 task taking:
Areas of Control Detail of Control
Authenticity Candidates must complete the Thinking, Planning

and Evaluation stages of the tasks under the
teacher’s informal supervision.
Candidates may therefore undertake these aspects

of work both at home and in school. However,
this process should be supported by ongoing
discussions between teacher and candidate and a
sufficient quantity of the work undertaken must
take place within the classroom to enable the
teacher to make a confident judgement in relation
to the authenticity of the candidates work.

Authenticity (cont.) Filming may take place without formal teacher

supervision. We encourage candidates to do this
outside of the classroom to make best use of the
resources they have available to them. This part of
the controlled assessment has a low level of
control; however, teachers can ensure authenticity
through their scrutiny of the planning and editing
processes.
Editing must be completed under the teacher’s

formal supervision within the classroom.
Feedback Teachers should provide guidance and advice on

problems candidates may encounter in this unit.
However, candidates must make their own
judgements and reach their own conclusions.
Teachers must make clear in the E-Portfolio

marking commentary box the amount of help and
guidance they provided to each candidate. Detailed
or specific advice that sophisticates or enhances the
candidate’s work must be clearly noted.
Time Limit/Word Limit Task 1 – approx. 10 hours
Task 2 – approx. 10 hours
For each task, the 10 hours does not include

teaching and learning time.
Collaboration Candidates must direct their own work

independently on their controlled assessment tasks.
Resources Candidates’ access to resources is determined by

those available to the centre.
6.6 Task setting for Unit 2

The level of control for the setting of this task is high. Unit 2 takes the form of an ESA
(externally set assignment), which we set every year. The ESA will be made available
for download from the Moving Image Arts microsite on the first Monday in
September each year. All centres will be informed by circular of the confirmed annual
release date.
6.7 Task taking for Unit 2

Unit 2 is similar in structure to the Unit 1 controlled assessment tasks. Candidates must
produce work under these four headings:
Thinking: (medium level control)

Candidates produce a 400–600 word written statement outlining their personal creative
intentions and making connections with the work of others.
Planning: (medium level control)

Candidates develop a range of planning materials to facilitate the making of their moving
image product. This must be 10 – 20 A4 pages in length and detail the production
design and planning for the two minute moving image product.
The planning materials may include, for example:

• a visual studies book;
• a screenplay; and
• storyboards.
Making: (medium level control overall)

Candidates produce a finished two minute moving image product. The main processes
involved in this are:
• filming (low level control); and
• editing (high level control).
Evaluating: (medium level control)

Candidates produce a written 400–600 word evaluation of the finished moving image
product.
The table below specifies the controls that must be observed during Unit 2 task taking:
Authenticity Candidates must complete the Thinking, Planning

and Evaluation stages of the tasks under the
teacher’s informal supervision.
Candidates may therefore undertake these aspects

of work both at home and in school. However,
this process should be supported by ongoing
discussions between teacher and candidate and a
sufficient quantity of the work undertaken must
take place within the classroom to enable the
teacher to make a confident judgement in relation
to the authenticity of the candidates work.
Filming may take place without formal teacher

supervision. We encourage candidates to do this
outside of the classroom to make best use of the
resources they have available to them. This part of
the controlled assessment has a low level of
control; however, teachers can ensure authenticity
through their scrutiny of the planning and editing
processes.
Editing must be completed under the teacher’s

formal supervision within the classroom.

Feedback Teachers should provide guidance and advice on

problems candidates may encounter in this unit.
However, candidates must make their own
judgements and reach their own conclusions.
Teachers must make clear in the E-Portfolio

marking commentary box the amount of help and
guidance they provided to each candidate. Detailed
or specific advice that sophisticates or enhances the
candidate’s work must be clearly noted.
Time Limit/Word Limit Approx 40 hours

This does not included teaching and learning time.
Collaboration Candidates must direct their own work

independently on this controlled assessment task.
Resources Candidates’ access to resources is determined by

those available to the centre.
6.8 Task marking

The level of control for the marking of all tasks, Unit 1 and Unit 2, is medium. Teachers
mark all tasks using mark schemes that we provide. We provide guidance to aid teachers
in marking the controlled assessment, and external moderation is used to validate
teachers’ marks.
Teachers must ensure that the work they mark is the candidate’s own. For up-to-date
advice on plagiarism or any other incident in which candidate malpractice is suspected,
please refer to the Joint Council for Qualifications’ Suspected Malpractice in Examinations and
Assessments: Policies and Procedures on the JCQ website: www.jcq.org.uk
6.9 Supervision of candidates

In addition to the controls stipulated for task taking, teachers must:
• clarify current legislation in audio-visual release and location permission and make sure
candidates follow it in their work;
• advise candidates on access and feasibility of secondary resource material for research
and presentation purposes;
• give candidates clear guidance on intellectual property, copyright and the implications
of plagiarism;
• define referencing requirements, highlighting the importance of candidates’
acknowledgement, where appropriate, of the ideas, observations and work of others;
and
• sign a declaration to certify that, to the best of their knowledge, all the work the
candidate submits for assessment is their own work, which they produced following
their study and practice on the GCSE Moving Image Arts course.
Candidates must also sign a statement certifying that the work is their own.

6.10 Marking and internal standardisation

Teachers can contact us for advice, assistance or support on any aspect of internal
assessment. We assign moderators to support each centre and to discuss any issues
about the internally assessed component of GCSE Moving Image Arts. We conduct an
E-Portfolio clinic each spring. Teachers can use the E-Portfolio clinic to submit
controlled assessment tasks for consideration by a senior member of the moderation
team who will answer questions or concerns about the level and suitability of the work
and the accuracy of marking.
Centres must give teachers adequate time to undertake assessment of Units 1 and 2.
Where there is more than one teaching group in the subject, the centre must carry out
internal standardisation of assessments before submitting them to us. This is to make
sure, as far as possible, that each teacher has applied the assessment criteria consistently.
The centre might have to adjust the marking of individual teachers to bring their
assessments into line with other teachers’ assessments in the centre and the standards put
forward at the agreement trial. If teachers change marks, they must record the total or
final mark on the E-Portfolio marking sheet.
CCEA will provide access to an E-Portfolio system for submitting and marking
candidates’ controlled assessment tasks. Teachers must record formal assessment in the
appropriate places using this interface. Teachers may wish to keep detailed records.
Marking grids for Units 1 and 2 are available in Appendices 1 and 2.
6.11 Moderation
Our team of moderators carry out online moderation starting in May of each year.
We advise centres about the external moderation procedures before the candidates
submit their controlled assessment tasks.
We may adjust a centre’s marking. This is to bring the assessment of the candidates’
work into line with our agreed standards.
We issue full instructions about the details of the moderation procedures and the nature
of the sample we require well in advance of submission.
See Appendix 3 for a glossary of terms for controlled assessment.

7 Links
7.1 Support
We provide the following resources to support this specification:
• our website;
• a subject microsite within our website;
• specimen papers and mark schemes; and
• controlled assessment tasks.
Some support material originally developed for the GCE Moving Image Arts
specification may also be useful in the teaching of this GCSE course, in particular
documents that relate to the more technical aspects of the subject.
We intend to expand our range of support to include the following:

• past papers;
• mark schemes;
• support guidance material for teaching the text;
• Chief Examiner’s reports;
• Principal Moderator’s reports;
• guidance on progression from Key Stage 3;
• schemes of work;
• centre support visits;
• support days for teachers;
• training days;
• agreement trials;
• student guides;
• controlled assessment guidance for teachers;
• controlled assessment guidance for candidates;
• a resource list;
• exemplification of standards;
• a Unit 1 Task Bank;
• our Student’s Guide to the ESA; and
• guidance on:
− setting up your department;
− equipment requirements;
− submitting work;
− teacher submitted tasks for Unit 1; and
− our Online Examinations: Tips for Candidates.
You can find our Annual Support Programme of events and materials for Moving Image
Arts on our website at www.ccea.org.uk

7.2 Curriculum objectives

This specification addresses and builds on the broad curriculum objectives for Northern
Ireland and Wales. In particular, it enables students to understand, relate to and explore:
• spiritual, moral, social, and cultural issues through the specification’s set films;
• ethical, economic and legislative issues, including European copyright law (specific
issues relating to copyright material are outlined in the sub-heading Supervision of
candidates in Section 6);
• sustainable development and health and safety considerations (see the end of
Section 7);
• the skills agenda and employability; and
• the effective use of technology in film production and communication.
This GCSE Moving Image Arts specification provides opportunities for students to
engage with aspects of Learning for Life and Work as specified for Key Stage 4 in the
statutory order 2007 No. 46: The Education (Curriculum Minimum Content) Order (Northern
Ireland) 2007.
For further guidance on how this specification enables progression from the Northern
Ireland Curriculum at Key Stage 3, go to our subject microsite, which you can access at
www.ccea.org.uk
7.3 Key Skills

This specification gives students the opportunity to develop evidence to access the
following nationally recognised Key Skills:
• Application of Number
• Communication
• Improving Own Learning and Performance
• Information and Communication Technology
• Problem-Solving
• Working with Others.
You can find details of the current standards and guidance for each of these skills on the
CCEA website at www.ccea.org.uk
7.4 Examination entries

Entry codes for this subject and details on how to make entries are available on our
Examinations Administration Handbook microsite, which you can access at
www.ccea.org.uk
Alternatively, you can telephone our Examination Entries, Results and Certification team
using the contact details provided in this section.

7.5 Equality and inclusion

We have considered the requirements of equalities legislation in developing this
specification.
GCSE qualifications often require the assessment of a broad range of competences. This
is because they are general qualifications and, as such, prepare students for a wide range
of occupations and higher level courses.
The revised GCSE and qualification criteria were reviewed to identify whether any of the
competences required by the subject presented a potential barrier to any students with
disabilities. If this was the case, the situation was reviewed again to ensure that such
competences were included only where essential to the subject. The findings of this
process were discussed with disability and equality groups and with people with
disabilities.
During the development process, we carried out an equality impact assessment. This was
to ensure that we identified any additional potential barriers to equality and inclusion.
Where appropriate, we have given consideration to measures to support access and
mitigate against barriers.
Reasonable adjustments are made for students with disabilities in order to reduce barriers
to access assessments. For this reason, very few students will have a complete barrier to
any part of the assessment. However, students with visual and/or hearing impairments
may be restricted when required to demonstrate knowledge and understanding and to
analyse primary sources of information, such as video media.
Students with a disability may have difficulty accessing all available roles within a
production developed for the controlled assessment tasks.
Students may use practical assistants to hold, carry or manipulate equipment (if and when
necessary) during their work on the controlled assessment tasks.
It is important to note that where access arrangements are permitted, they must not be
used in any way that undermines the integrity of the assessment. You can find
information on reasonable adjustments in the Joint Council for Qualifications’
document Access Arrangements and Special Consideration: Regulations and
Guidance Relating to Candidates Who Are Eligible for Adjustments in
Examinations.
7.6 Health and safety

The nature of Units 1 and 2 may require students to use locations and equipment outside
the school grounds. All students should carefully consider the location and equipment
that they use and identify any risks that may be involved. If a shot is going to be too
dangerous to shoot, then they should think of creative ways to overcome these problems
safely.
Students should take due care with all electrical equipment. Particular regard should be
given to outdoor conditions, safe use of extension leads and adaptors, and the safe
positioning of power cables. Where possible, students should use battery powered
equipment, including cameras, lights (rechargeable torches work well) and audio
recording equipment.

Students should also wear appropriate safety equipment when required (for example,
students should wear safety gloves if they are working with hot studio lights, high
visibility vests if they are working outside or in low light conditions, safety glasses, and
gloves when making props or constructing sets).
Locations for films should be chosen with safety in mind. Actors and crew should be in a
safe environment away from any risk from falling objects, traffic, dust/fire/smoke, and
combustible products.
Candidates should not be exposed to computer screens for prolonged periods with out a
break and the volume levels of speakers and headphones should be set at safe levels.
7.7 Contact details

The following list provides contact details for relevant staff members and departments:
• Specification Support Officer: Nola McLarnon
(telephone: (028) 9026 1200, extension 2235, email: nmclarnon@ccea.org.uk)
• Officer with Subject Responsibility: Ingrid Arthurs

(telephone: (028) 9026 1200, email: iarthurs@ccea.org.uk)
• Examination Entries, Results and Certification

(telephone: (028) 9026 1262, email: entriesandresults@ccea.org.uk)
• Examiner Recruitment
(telephone: (028) 9026 1243, email: appointments@ccea.org.uk)
• Distribution (past papers and support materials)

(telephone: (028) 9026 1242, email: cceadistribution@ccea.org.uk)
• Support Events Administration

(telephone: (028) 9026 1401, email: events@ccea.org.uk)
• Information Section (including Freedom of Information requests)

(telephone: (028) 9026 1200, email: info@ccea.org.uk)
• Business Assurance (appeals)

(telephone: (028) 9026 1244, email: appealsmanager@ccea.org.uk).

Appendix 1
Unit 1 Controlled Assessment Task Marking Grid
Unit Total: 40 Marks
Assessment Criteria Total Marks 0 Mark Level 1 Level 2 Level 3 Level 4
AO1 5 No work has Shows a basic but Shows developing Shows consistent Shows confident use and
Demonstrate personal been submitted uneven ability to understanding understanding of film understanding of film
creative goals within a or the work is develop personal language and filmmaking language
moving image context not worthy of creative goals and make techniques
and make connections credit connections with the
with the work of others work of others Stated goals are coherent Personal goals are Personal creative goals are
(Thinking) and informed by obvious coherent and informed by carefully considered and
links with the work of subtle links to the work of show well informed
others others connections with the
work of others
QWC Written communication Written communication is Written communication is Written communication is

is limited and uneven basic with some satisfactory good
with a high proportion inaccuracies
of inaccuracies Film language terms are Film language is used
used accurately confidently and
appropriately
0 1–2 3 4 5
AO2 10 No work has Shows a basic and Uneven but sustained Competent development Confident and competent
Demonstrate the ability been submitted uneven ability to plan organisation of of ideas, with sound organisation of
to organise a range of or the work is for and organise their ideas/processes and organisation and ideas/processes and
resources to facilitate not worthy of production management of resources management of resources management of resources
the realisation of a credit
moving image product
(Planning)
0 1–3 4–6 7–8 9–10

AO3 20 No work has Displays a basic Shows a developing Production shows Production shows
Use creative and been submitted understanding of film understanding of competent technical confident technical
technical skills to or the work is making techniques technique control control
construct a moving not worthy of
image product credit Production values are Reasonably high There is clear evidence of
(Making) uneven and show production values are high production values
adequate technical control evident
Creative purpose is There is a sense of The creative purpose is The creative purpose is
unclear creative purpose clear clear throughout
0 1–5 6–10 11–15 16–20
AO4 5 No work has Demonstrates a basic Evaluation is uneven but Evaluation is sustained Evaluation is confident,
Analyse and evaluate been submitted but uneven ability to some attempt has been and issues are discussed in insightful, and reflects on
moving image or the work is reflect on own practice made to analyse own a well-informed manner degrees of success in the
products (Evaluating) not worthy of practice technical and creative
credit outcome of their product
QWC Written communication Written communication is Written communication is Written communication is

is limited and uneven basic with some satisfactory good
with a high proportion inaccuracies
of inaccuracies Film language terms are Film language is used
appropriately
0 1–2 3 4 5

Appendix 2
Unit 2 ESA Marking Grid
Unit Total: 80 Marks
AO1 10 No work has Shows a basic but uneven Shows developing Shows consistent Shows confident use and
Demonstrate personal been submitted ability to develop understanding understanding of film understanding of film
creative goals within a or the work is personal creative goals language and filmmaking language
moving image context not worthy of and make connections techniques
and make connections credit with the work of others
with the work of others Stated goals are coherent Personal goals are Personal creative goals
(Thinking) and informed by obvious coherent and informed by are carefully considered
links with the work of subtle links to the work and show well informed
others of others connections with the
work of others
QWC Written communication is Written communication is Written communication is Written communication is

limited and uneven with a basic with some satisfactory good
high proportion of inaccuracies
inaccuracies Film language terms are Film language is used
appropriately
0 1–2 3–4 5–7 8–10
AO2 20 No work has Shows a basic and uneven Uneven but sustained Competent development Confident and competent
Demonstrate the ability been submitted ability to plan for and organisation of of ideas, with sound organisation of
to organise a range of or the work is organise their production ideas/processes and organisation and ideas/processes and
resources to facilitate not worthy of management of resources management of resources management of resources
the realisation of a credit.
moving image product
(Planning)
1–5 6–10 11–15 16–20

AO3 40 No work has Displays a basic Shows a developing Production shows Production shows
Use creative and been submitted understanding of film understanding of competent technical confident technical
technical skills to or the work is making techniques techniques control control
construct a moving not worthy of
image product credit Production values are Reasonably high There is clear evidence of
(Making) uneven and show production values are high production values
adequate technical evident
control
Creative purpose is There is a sense of The creative purpose is The creative purpose is
unclear creative purpose clear clear throughout
0 1–10 11–20 21–30 31–40
AO4 10 No work has Demonstrates a basic but Evaluation is uneven but Evaluation is sustained Evaluation is confident,
Analyse and evaluate been submitted uneven ability to reflect some attempt has been and issues are discussed insightful, and reflects on
moving image products or the work is on own practice made to analyse own in a well-informed degrees of success in the
(Evaluating) not worthy of practice manner technical and creative
credit outcome of their product
QWC Written communication is Written communication is Written communication is Written communication is

limited and uneven with a basic with some satisfactory good
high proportion of inaccuracies
inaccuracies Film language terms are Film language is used
appropriately
0 1–2 3–4 5–7 8–10

Appendix 3
Glossary of Terms for Controlled Assessment Regulations
Term Definition
Component A discrete, assessable element within a controlled

assessment/qualification that is not itself formally
reported and for which the awarding body records the
marks
May contain one or more tasks

Controlled assessment A form of internal assessment where the control levels
are set for each stage of the assessment process: task
setting, task taking, and task marking
External assessment A form of independent assessment in which question

papers, assignments and tasks are set by the awarding
body, taken under specified conditions (including
detailed supervision and duration) and marked by the
awarding body
Formal supervision The candidate must be in direct sight of the supervisor

(High level of control) at all times. Use of resources and interaction with other
candidates is tightly prescribed.
Informal supervision Questions/tasks are outlined, the use of resources is not

(Medium level of control) tightly prescribed and assessable outcomes may be
informed by group work.
Supervision is confined to:

• ensuring that the contributions of individual
candidates are recorded accurately; and
• ensuring that plagiarism does not take place.
The supervisor may provide limited guidance to

candidates.
Limited supervision Requirements are clearly specified, but some work may
(Low level of control) be completed without direct supervision and will not
contribute directly to assessable outcomes.

Term Definition
Mark scheme A scheme detailing how credit is to be awarded in

relation to a particular unit, component or task
Normally characterises acceptable answers or levels of

response to questions/tasks or parts of questions/tasks
and identifies the amount of credit each attracts
May also include information about unacceptable

answers
Task A discrete element of external or controlled assessment

that may include examinations, assignments, practical
activities and projects
Task marking Specifies the way in which credit is awarded for

candidates’ outcomes
Involves the use of mark schemes and/or marking

criteria produced by the awarding body
Task setting The specification of the assessment requirements
Tasks may be set by awarding bodies and/or teachers, as

defined by subject-specific regulations.
Teacher-set tasks must be developed in line with

awarding body specified requirements.
Task taking The conditions for candidate support and supervision,
and the authentication of candidates’ work
Task taking may involve different parameters from

those used in traditional written examinations. For
example, candidates may be allowed supervised access
to sources such as the Internet.
Unit The smallest part of a qualification that is formally

reported and can be separately certificated
May comprise separately assessed components

Summary of Changes since First Issue
(Most recent changes are indicated in red on the latest version)
Revision History Date of Change Page Number Change Made

Number
Version 1 N/A N/A First issue
Version 1 19 May 2009 26 Change of contact details

for Officer with subject
responsibility
Version 1 2 July 2009 19 Under Time

Limit/Word Limit the
word included has been
changed to include
Version 2 20 November 2009 Contents Changed page number 22
Version 2 20 November 2009 19 The phrase ‘high level’

changed to ‘medium level’
throughout
Version 2 20 November 2009 19 Deletion and insertion of

text under the heading
‘Detail of Control’

throughout


throughout


‘Marking and internal
standardisation’
Version 3 7 June 2010 19 Amendments made to

section 6.6 Task setting
for Unit 2

Version 4 14 June 2010 19 The word ‘second’

changed to the word
‘first’.
Version 5 22 August 2012 Inner New QAN added for first

teaching September 2012
Foreword Statement added in

relation to entries from
English centres
Throughout Removal of references to

document England

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NOTE

CCEA will NOT be accepting entries

Version 5 17 August 2012

We will notify centres in writing of any major changes to this specification.

Version 5: 17 August 2012

A CCEA Publication © 2008

You may download further copies of this publication from www.ccea.org.uk

Version 5: 17 August 2012

6 Guidance on Controlled Assessment 17

Version 5: 17 August 2012

Summary of Changes since First Issue 33

Version 5: 17 August 2012

1.2 Key features

1.3 Prior attainment

Version 5: 17 August 2012 3

1.4 Classification codes and subject combinations

Progression to another school/college

Version 5: 17 August 2012 4

Content Assessment Weighting Availability

Unit 1: Compulsory controlled 20% Every Summer

Tasks are internally marked

Tasks are submitted

Unit 2: Compulsory controlled 40% Every Summer

The task is internally marked

The task is submitted

Version 5: 17 August 2012 5

Content Assessment Weighting Availability

Unit 3: Compulsory online 40% Summer

The examination is divided

Each section features:

At least 40 percent of the assessment (based on unit weightings) must be taken at

Version 5: 17 August 2012 6

3.1 Summary of the key areas of study

Bride of Frankenstein A close study of the horror classic made by the

Young Frankenstein Study of this film allows students to develop an

Version 5: 17 August 2012 7

Romeo and Juliet The revisiting, recycling and reinterpretation of classic

The Wrong Trousers (1993) The award-winning short films of Aardman

Version 5: 17 August 2012 8

3.2 Unit 1: Acquisition of Skills in Moving Image Production

Controlled Assessment Task 1: (10%)

Controlled Assessment Task 2: (10%)

The tasks are designed to help students:

Version 5: 17 August 2012 9

Content Learning Outcomes

Thinking Students should be able to:

• make connections with the work of others;

Planning • plan and manage resources and equipment in film

• produce evidence for this in the form of pre-production

• plan creatively within a framework of the seven film

Making • show technical competence in the use of filmmaking

• show technical competence in the use of appropriate

• produce moving image products that reflect their creative

Evaluating • reflect upon and evaluate the effectiveness of their own

• consider ways to improve working methods.

Version 5: 17 August 2012 10

3.3 Unit 2: Planning and Making a Moving Image Product

Students must support their finished film or animation with:

Thinking, Planning, Making and Evaluation are submitted to us in electronic format.

Content Learning Outcomes

Thinking Students should be able to:

• make connections with the work of others;

Planning • plan and manage resources and equipment in relation to

• produce evidence for this in the form of pre-production

AO5 _ _ 10% 10%