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100+ Free Wales GCSE Digital Media and Film Practice Questions

Prepare for the Made-for-Wales GCSE Digital Media and Film (WJEC) exam with instant access — no signup required.

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2026 Statistics

Key Facts: Wales GCSE Digital Media and Film Exam

30% / 30% / 40%

Unit 1 exam + Unit 2 NEA + Unit 3 NEA weightings

WJEC GCSE Digital Media and Film specification (teaching from 2026)

1h 30m

Unit 1 on-screen examination duration

WJEC specification summary of assessment

60 + 72 + 96

Marks for Units 1, 2 and 3

WJEC specification

A*–G

Wales GCSE grading scale

Qualifications Wales Made-for-Wales GCSE policy / WJEC specification

£46.80

2026/27 full single-award centre entry fee

WJEC Entry Fees 2026/27

3670QS

English-medium qualification entry code

WJEC subject page / specification

Sept 2026

First teaching (Wave 2 Made-for-Wales)

WJEC / Qualifications Wales

Summer 2028

First award opportunity

WJEC specification technical information

WJEC Made-for-Wales GCSE Digital Media and Film (qual 3670QS): Unit 1 on-screen exam 30% (1h 30m, 60 marks) + Unit 2 Wales industry NEA 30% (18h, 72 marks) + Unit 3 production NEA 40% (96 marks). Graded A*–G. Centre entry fee £46.80 (2026/27). Distinct from England 9–1 Media/Film. Free practice here is an MCQ study adaptation of analysis and production knowledge.

Sample Wales GCSE Digital Media and Film Practice Questions

Try these sample questions to test your Wales GCSE Digital Media and Film exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1A low-angle camera shot frames a character standing over another. How does this cinematography choice primarily construct meaning?
A.It presents the elevated character as dominant, powerful or intimidating relative to the other figure.
B.It always signals that the scene is a flashback or dream sequence.
C.It flattens depth of field so background detail disappears completely.
D.It guarantees the audience will identify only with the character on the ground.
Explanation: Low-angle framing places the camera below eye level looking up, visually exaggerating height and spatial power. In film language analysis this commonly codes dominance, threat or authority.
2Which statement best defines diegetic sound in a film or game scene?
A.Any music added only on the soundtrack for the audience and never motivated by the scene.
B.Sound that originates from within the story world and could theoretically be heard by characters.
C.Only dialogue recorded in post-production ADR sessions.
D.Sound that is always silent for characters but loud for the spectator.
Explanation: Diegetic sound belongs to the narrative world—dialogue, footsteps, radios, in-world music. Characters could plausibly hear it, which distinguishes it from non-diegetic score or voiceover.
3A dissolve transition between two shots is most likely used to suggest which relationship?
A.An abrupt jump that always confuses continuity deliberately.
B.A permanent freeze of the image with no progression.
C.A softer temporal or spatial link, often a passage of time or thematic connection between scenes.
D.A change that can only occur in documentary formats.
Explanation: Dissolves blend one image into another and conventionally signal elapsed time, memory, or a thematic bridge. They contrast with hard cuts that prioritise pace or continuity action.
4Low-key lighting with strong contrast between light and shadow is typically associated with which effect?
A.Making every set detail equally bright and cheerful for comedy only.
B.Removing all shadows so faces cannot be read.
C.Ensuring outdoor daylight scenes look overexposed.
D.Creating tension, mystery or moral ambiguity through chiaroscuro contrast.
Explanation: Low-key lighting uses high contrast and deep shadows. It is a common code in thriller, horror and noir-influenced styles to build unease or moral complexity.
5Which elements are included within mise-en-scène analysis for film?
A.Setting/location, props, costume, hair and make-up, colour, positioning, body language and facial expression.
B.Only the non-diegetic musical score and foley tracks.
C.Only the export codec and bitrate of the final file.
D.Only the box-office chart position in the opening weekend.
Explanation: Mise-en-scène refers to everything placed before the camera and staged for the frame. WJEC content emphasises body language, setting/props, positioning, colour, and costume/hair/make-up as meaning-making tools.
6Fast-paced editing with many short shots in an action sequence primarily affects audience experience by:
A.Always making the narrative harder to follow with no stylistic purpose.
B.Increasing urgency, energy and intensity as information arrives rapidly.
C.Converting the film automatically into a documentary.
D.Removing the need for sound design entirely.
Explanation: Editing pace shapes rhythm and emotion. Rapid cutting is a conventional code for excitement, chaos or urgency in action and thriller sequences.
7A tracking shot that follows a character through a corridor most directly contributes meaning by:
A.Proving the film was shot only on a locked-off tripod with no camera movement.
B.Guaranteeing the scene is non-diegetic.
C.Creating spatial continuity and often aligning the spectator’s movement with the character’s journey.
D.Replacing the need for costume and performance.
Explanation: Camera movement is part of cinematography. A tracking/follow shot can immerse the audience, map space and create identification or suspense depending on context.
8Non-diegetic music under a silent emotional close-up is best analysed as:
A.Evidence that the characters can always hear the orchestra on set.
B.Proof that mise-en-scène has failed.
C.A distribution strategy for cinema release windows.
D.A soundtrack code guiding mood and interpretation that characters in the scene do not hear.
Explanation: Non-diegetic music exists for the audience, not the characters. It is a core sound code for shaping emotion, genre expectation and emphasis during performance moments.
9In video-game analysis, world-building primarily refers to:
A.How the game constructs a coherent fictional environment through setting, rules, lore, visuals and systems.
B.Only the real-world manufacturing of console hardware.
C.Only the legal copyright filing date of the engine.
D.Deleting all narrative so only pure score remains.
Explanation: World-building is a narrative/design device: environments, systems, aesthetics and backstory that make the game world believable and meaningful for players.
10A close-up on a character’s eyes during a moral decision is most useful for:
A.Showing the full geography of a city skyline simultaneously.
B.Emphasising interior emotion, reaction and psychological focus for the audience.
C.Replacing editing so no cuts are ever needed again.
D.Proving the film is only interested in product placement.
Explanation: Shot scale codes intimacy and emphasis. Close-ups direct attention to facial detail and performance, supporting psychological reading of character.

About the Wales GCSE Digital Media and Film Exam

Made-for-Wales GCSE Digital Media and Film is the WJEC qualification designed for the Curriculum for Wales (first teaching September 2026, Wave 2). It is regulated by Qualifications Wales and is not the same as England GCSE Media Studies or Film Studies (9–1). Assessment is linear: Unit 1 Exploring key concepts and issues (on-screen exam, 30%), Unit 2 Distribution and exhibition strategies of digital media and film industries in Wales (NEA, 30%), and Unit 3 Creating digital media and film content (NEA marketing campaign, 40%). Grades use the Wales A*–G scale. Assessments are available in English and Welsh. DISCLOSURE: Official papers mix objective, short and extended responses with substantial analysis and production evidence NEAs — this free bank is an English-language MCQ study adaptation for revision, not a past-paper clone or portfolio substitute.

Assessment

Linear, untiered single-award GCSE. Unit 1 on-screen exam 30% (60 marks, 1h 30m); Unit 2 NEA 30% (18 hours, 72 marks, centre-marked, WJEC-moderated); Unit 3 NEA 40% (96 marks, no time restriction, centre-marked, WJEC-moderated). Qual codes 3670QS (English) / 3670CS (Welsh). Qualification Approval Number C00/5167/0. First teaching September 2026; first award summer 2028.

Time Limit

Unit 1: 1 hour 30 minutes; Unit 2 NEA: 18 hours; Unit 3 NEA: no time restriction

Passing Score

A*–G overall grade (Wales GCSE scale)

Exam Fee

£46.80 centre entry fee for the full single-award Made-for-Wales GCSE (WJEC 2026/27 fees). Paid by the school/centre — learners do not typically pay a separate public exam fee. (WJEC (regulated by Qualifications Wales))

Wales GCSE Digital Media and Film Exam Content Outline

30%

Unit 1: Exploring key concepts and issues

Film language (mise-en-scène, editing, sound, cinematography); contexts; representations of identity and place; narrative devices; comparative film study; video-game meaning, context, representation and impact; online news and social media (influence, regulation, ethics, AI/bots, mental wellbeing)

30%

Unit 2: Distribution and exhibition strategies (Wales industries)

Investigate Wales-based production companies; production, distribution and exhibition processes; genre codes and target audiences; job roles; create distribution and exhibition strategies for a new product

40%

Unit 3: Creating digital media and film content

Respond to a WJEC marketing brief (film, video game or streaming series): pre-production planning, audio-visual/audio and digital/online products, form/genre conventions, representations, narrative devices, post-production editing, and reflective evaluation

How to Pass the Wales GCSE Digital Media and Film Exam

What You Need to Know

  • Passing score: A*–G overall grade (Wales GCSE scale)
  • Assessment: Linear, untiered single-award GCSE. Unit 1 on-screen exam 30% (60 marks, 1h 30m); Unit 2 NEA 30% (18 hours, 72 marks, centre-marked, WJEC-moderated); Unit 3 NEA 40% (96 marks, no time restriction, centre-marked, WJEC-moderated). Qual codes 3670QS (English) / 3670CS (Welsh). Qualification Approval Number C00/5167/0. First teaching September 2026; first award summer 2028.
  • Time limit: Unit 1: 1 hour 30 minutes; Unit 2 NEA: 18 hours; Unit 3 NEA: no time restriction
  • Exam fee: £46.80 centre entry fee for the full single-award Made-for-Wales GCSE (WJEC 2026/27 fees). Paid by the school/centre — learners do not typically pay a separate public exam fee.

Keys to Passing

  • Complete 500+ practice questions
  • Score 80%+ consistently before scheduling
  • Focus on highest-weighted sections
  • Use our AI tutor for tough concepts

Wales GCSE Digital Media and Film Study Tips from Top Performers

1Master film and game media language first — mise-en-scène, cinematography, editing, sound and narrative devices underpin Unit 1 and your Unit 3 products
2Practise writing concise analysis of how codes construct representation and appeal to audiences using set films and your studied game extract
3For Unit 2, research a real Wales production company early: financing, job roles, release strategies, trailers, social media and exhibition platforms
4Keep a reflective log habit during Unit 3 — evaluate creative choices at pre-production, production and post-production against form, genre and audience
5Link social media regulation and ethics (Online Safety Act 2023, ASA, Data Protection Act 2018) to contemporary examples for Unit 1.3
6Use official WJEC Guidance for Teaching and Sample Assessment Materials when published — match command words and mark schemes for analysis and evaluation

Frequently Asked Questions

Is Made-for-Wales GCSE Digital Media and Film the same as England GCSE Media or Film Studies?

No. This is a WJEC qualification regulated by Qualifications Wales for centres in Wales (not available to centres in England). It uses the A*–G grade scale and a three-unit structure combining an on-screen exam with two NEAs focused on Wales industries and a marketing campaign. England GCSEs use different boards and the 9–1 scale.

How is Made-for-Wales GCSE Digital Media and Film assessed?

Unit 1 Exploring key concepts and issues is a 1 hour 30 minute on-screen examination (30%, 60 marks) with objective, short and extended answers on set films, a studied video game and unseen media. Unit 2 is an 18-hour NEA on distribution and exhibition strategies in Wales (30%, 72 marks). Unit 3 is an NEA creating marketing content for a film, video game or streaming series plus a reflective log (40%, 96 marks). The qualification is linear and not tiered.

Does this free practice test match the official exam format?

No. The official assessment mixes response types in Unit 1 and requires substantial analysis and production evidence in Units 2 and 3. This bank is an English-language MCQ study adaptation to build media language, representation, audience, production workflow, codes and conventions, and evaluation knowledge — use it alongside SAMs, set products and NEA practice.

What is Unit 3 about?

Learners respond to a WJEC stimulus (changed every three years) and choose one brief for a marketing campaign for a new film, video game or series for a streaming site. They produce two pieces (one audio-visual/audio and one digital/online) and a reflective log. The unit is centre-marked and moderated by WJEC (96 marks, 40%).

How much does the exam cost?

WJEC’s 2026/27 centre entry fee for a full single-award Made-for-Wales GCSE (including Digital Media and Film) is £46.80. This is paid by the school or centre. Learners in typical school provision do not pay a separate public candidate fee for entry.

What languages is the qualification available in?

Entry codes support English medium (3670QS) and Welsh medium (3670CS), consistent with other Made-for-Wales GCSEs offered by WJEC.

When was first teaching and when is first award?

First teaching is September 2026. The first award of the qualification is summer 2028. Unit 1 must be assessed in the final year of the course; Units 2 and 3 can be completed earlier but are submitted in the final year.

What production companies might learners study for Unit 2?

The specification expects awareness of Wales-based companies such as Bad Wolf, BBC Cymru Wales, Boom Cymru, Cardiff Productions, Chwarel, ITV Cymru Wales, Little Bird Films, S4C, Severn Screen, Triongl and Wales Interactive, among others centres may select.