Timeline-Based Syllabus
A Personal Reflection by Mr. Pessôa
“Everything I learn, I learn through movies.” – Audrey Hepburn
That quote hits home. I relate to it so much that I’ve built my whole teaching philosophy around it. Whether it’s lighting, pacing, empathy, or history—I’ve learned it at 24 frames per second. So when I sat down to build my IB Film syllabus, I figured: why not take students on the same learning path I went through?
But full honesty? It didn’t come together easily.
Finding the Balance: Theory vs. Production
When I first taught IB Film, I leaned hard into theory. We were swimming in symbolism, Eisenstein, and auteur studies. My students could write about mise-en-scène like film scholars… but they couldn’t hold a camera.
Then I flipped: production all the way. Storyboards, shooting labs, sound design. And they loved it. But when it came time to write their Textual Analysis or Comparative Study? We hit a wall.
So I had to ask myself: how do I find a real balance?
Here’s what the IB Film Guide (2023) roughly reminds us:
At HL, students submit four assessments, with 60% of the grade weighted toward production (Film Portfolio 25% and Collaborative Film Project 35%), and 40% based on research, analysis, and reflection (Textual Analysis and Comparative Study being responsible for 20% each .
But even that 60% isn’t just ‘make something cool’. The guide stresses the importance ofunderstanding film elements, using accurate vocabulary, and making creative choices with intention.
Film Is a Baby Artform
Cinema is just over a century old. It’s younger than the Eiffel Tower (1889). Younger than the lightbulb. And those first filmmakers? They were like my students—starting from scratch, experimenting with a camera, and figuring it out as they went.
Compared to other artforms, film is a newborn.
Painting has existed for over 30,000 years—just look at the cave art in Lascaux, France.
Music? It dates back at least 40,000 years, with early flutes made from bone.
Sculpture, storytelling, and architecture have shaped civilizations for millennia.
And then there’s film—barely out of diapers in comparison. But like many kids, it grew fast. In just over a hundred years, we went from silent reels to CGI, from actualités to multiverse blockbusters. It’s arguably the most rapidly evolving artform in history.
That’s why I built my syllabus to mirror the timeline of cinema itself.
The Cycle Approach
I structure my class around 4-lesson cycles. Each cycle:
introduces a moment in history or film movement
connects it to cinematic techniques
includes practical labs
ends with summative assessments (quizzes, presentations or screenings)
Sometimes the theory and production aspects are tightly connected (e.g., German Expressionism + lighting workshops). Other times, the connection is looser (e.g., Chaplin-era films paired with scriptwriting). But there’s always intention, always a learning loop.
This format works especially well for me because it’s structured, visual, and day-by-day. It's perfect for students and for teachers like me who thrive on planning clarity (thank you, ADHD!). It’s especially important because when I discover something new, like the Netflix limited series Adolescence, for example, I often feel the urge to immediately create a lesson around it that connects with students and our cultural context. (see this lesson here). With this structure, I always know exactly which lesson gets postponed or what I can swap out, without losing the overall rhythm of the course.
Why Cycles Work
Built-in mix of analysis + creativity
Works with the IB’s inquiry → action → reflection model
Encourages growth across multiple roles (director, editor, cinematographer, sound designer)
Supports students whether they’re first-time filmmakers or soon-to-be auteurs
The IB Film course is structured around dynamic learning cycles where students explore knowledge through inquiry, apply it through hands-on production (action), and deepen their understanding through critical reflection. This approach not only strengthens film-specific skills but also fosters creativity, collaboration, and a reflective mindset—qualities central to both assessment and artistic development. - (Film Guide 2023, p. 24)
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