As level tv drama 2

Verisimilitude
The ‘truth’ of the Scene and its
‘reality’

G322 Media Exam
• Textual Analysis and Representation:
– Camera shots
– Camera Angle
– Movement and Composition
– Editing
– Sound
– Mise-en-Scene
Discover

7 KEY AREAS FOR TOPIC
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
Discover

How do we Analyse a TV Drama
– Mise-en-Scene
– Camera shots / Camera Angle / Movement and
Composition
– Editing
– Sound
Discover

The second level of realism…………..
Camera angle, shot, movement
and composition..
Question – how many types of shot
can you remember?

Extreme Wide Shot (EWS)
• In the extreme wide shot, the
view is so far from the subject
that she isn't even visible. The
point of this shot is to show the
subject's surroundings.
• The EWS is often used as an
"establishing shot" - the first
shot of a new scene, designed
to show the audience where the
action is taking place.The EWS
is also known as an extra long
shot or extreme long shot
(XLS).

Very Wide Shot (VWS)
• The very wide shot is much
closer to the subject than an
extreme wide shot, but still
much further away than a wide
shot.
• The subject is (just) visible
here, but the emphasis is very
much on placing her in her
environment.This often works
as an establishing shot, in which
the audience is shown the
whole setting so they can orient
themselves.

Wide Shot (WS)
• Also known as a LONG SHOT.
• As with most shot types, the
wide shot means different things
to different people. However the
wide shot seems to suffer more
from varying interpretations than
other types. Many people take
the WS to mean something
much wider than my
example, i.e. what I would call a
very wide shot.

Mid Shot (MS)
• The MS is appropriate when the
subject is speaking without too
much emotion or intense
concentration. It also works well
when the intent is to deliver
information, which is why it is
frequently used by television news
presenters. You will often see a
story begin with a MS of the reporter
(providing information), followed by
closer shots of interview subjects
(providing reactions and
emotion).As well as being a
comfortable, emotionally neutral
shot, the mid shot allows room for
hand gestures and a bit of
movement.

Medium Close Up (MCU)
• The medium
closeup is half way
between a mid shot
and a close up.
This shot shows the
face more
clearly, without
getting
uncomfortably close.

Close Up (CU)
• In the closeup shot, a certain
feature or part of the subject takes
up most of the frame. A close up of
a person usually means a close up
of their face (unless specified
otherwise).Close-ups are obviously
useful for showing detail and can
also be used as a Insert Shot ( or
Cut In). A close-up of a person
emphasizes their emotional state.
Whereas a mid-shot or wide-shot is
more appropriate for delivering facts
and general information, a close-up
exaggerates facial expressions
which convey emotion. The viewer
is drawn into the subject's personal
space and shares their feelings.

Extreme Close Up (ECU)
• The ECU gets right in
and shows extreme
detail.You would
normally need a specific
reason to get this close.
It is too close to show
general reactions or
emotion except in very
dramatic scenes.

Cutaway (CA)
• A cutaway is a shot that's
usually of something other
than the current action. It
could be a different subject
(eg. this cat when the main
subject is its owner), a close
up of a different part of the
subject (eg. the subject's
hands), or just about
anything else.The cutaway is
used as a "buffer" between
shots (to help the editing
process), or to add
interest/information.

Two Shot
• Two-shots are good for
establishing a relationship
between subjects. If you see
two sports presenters standing
side by side facing the
camera, you get the idea that
these people are going to be the
show's co-hosts. As they have
equal prominence in the
frame, the implication is that
they will provide equal input.A
two-shot could also involve
movement or action. It is a good
way to follow the interaction
between two people without
getting distracted by their
surroundings.

Over the Shoulder Shot
(OSS)
• Looking from behind a
person at the subject, cutting
off the frame just behind the
ear. The person facing the
subject should occupy about
1/3 of the frame.This shot
helps to establish the
positions of each
person, and get the feel of
looking at one person from
the other's point of view. A
variation of this shot can be
a bit wider and include the
shoulder of the person facing
the subject.

Point-of-View Shot (POV)
• Shows a view from
the subject's
perspective. This
shot is usually
edited in such a way
that it is obvious
whose POV it is.

High Angle
 a high angle shot is
usually when the camera
is located above the
eyeline.
 With this type of
angle, the camera looks
down on the subject and
the point of focus often
get "swallowed up" by
the setting.
 High angle shots also
make the figure or object
seem vulnerable or
powerless

Low Angle
• a low angle shot is
usually when the
camera is located
below the eyeline.
• With this type of
angle, the camera
looks up towards
the subject
• Low angle shots
also make the figure
or object seem
powerful

Birds Eye View
 The scene is shown from
directly above. This is a
completely different and
somewhat unnatural point
of view which can be used
for dramatic effect or for
showing a different spatial
perspective.
 In drama it can be used to
show the positions and
motions of different
characters and objects,
enabling the viewer to see
things the characters can't.

Worms Eye View
• The scene is shown
from directly below.
This is a completely
different and somewhat
unnatural point of view
which can be used for
dramatic effect or for
showing a different
spatial perspective.

Slanted
• Also known as a
dutch tilt, this is
where the camera is
purposely tilted to
one side so the
horizon is on an
angle. This creates
an interesting and
dramatic effect.

Zoom
• An adjustment to the focal length of the
camera making the it seem that we are
getting closer to the subject
• Zoom

Dolly
• The camera is mounted on a trolly which
travels on tracks. This allows for a very
smooth movement and is mainly used for
tracking shots or zooms
• Dolly

Pan
• A horizontal movement of the
camera, either left of right
• Pan

Tilt
• Pointing the camera up and down (not
moving the camera up and down)
• Tilt

Pedestal
• The camera moves up and down but
remains level, making it different to a tilt
• Pedestal

Tracking
• Movement that stays a constant distance
from the subject – can be used on a crane
as well
• Tracking

Composition
 Composition is how we create the shot we
want in the frame
 There are 5 key rules to composing a great
shot:
• Simplicity
• Rule of Thirds
• Framing
• Leading Lines
• Balance

Simplicity
• Don't place your primary subject against a
busy or congested background. Each
scene should have a single story to tell. To
simplify your shot, you may need to alter
the camera position, alter the size of the
image, or select the right background.

Rule of Thirds
• Mentally divide your viewfinder into thirds horizontally and vertically.
• Lines of interest should occur at 1/3 or 2/3 of the way up (or across)
the frame, rather than at the center.
• In shots of people, the main line of interest is the imaginary line
going through the subject's eyes. So try to place the eyes about 1/3
from the top of the screen.

Framing
• Look for natural "frames" within your scene.
• Also, beware of horizontal and vertical lines in the frame (edges of
buildings, counter tops, picture frames, and so forth). Make sure the
horizontal lines are level and the vertical lines are straight up and
down.

Leading Lines
• Direct the viewers' eyes with leading lines. Use leading lines to direct them
to focus on the main subject of your shot.
• The direction of the dominant lines in a picture has psychological
connotations.
– Horizontal - serenity and inactivity.
– Vertical - strength and dignity.
– Diagonal - action, imbalance, insecurity.
– Curved - softness or movement.

Balance
• There are two main forms of balance:
• Symmetrical balance creates a formal appearance.
• Asymmetrical balance creates a feeling of movement and suggests
a creative and dynamic mood.
• Use the form of balance that is most appropriate for your subject.

Cinematography Analysis
• Watch the following sequence and analyse
the cinematography of the scene. Pay
close attention to the shot type, the
camera angle, the camera movement and
what the shot makes us feel
• Luther - Cinematography

Editing Techniques
• Editing is how individual shots are combined
in sequence to convey certain meanings. The
relationships between shots themselves
convey certain meanings
• Editing also serves to portray lived time in
terms of film-time so that actual events that
would take longer to occur in real time are
truncated or reduced to fit into the film time of
the typical two-hour film

Editing Techniques
• Key Terminology:
– Shot Duration – How long each shot lasts
– Continuity Editing - In continuity editing everything is filmed so that
the viewer thinks they are seeing continuous action. You will need to
ensure that characters’ appearance, the set and the lighting (colour
and direction) remain consistent from shot to shot.
– Transitions - Fades and dissolves (or ‘cross-fades’) can add to the
meaning of a sequence.
– Montage - Not all editing is continuity editing. Title sequences often
use ‘montage’, where the combination of contrasting images builds
up meaning.

Transitions
• Dissolves can be used to provide a slow, relaxed way of
linking shots - eg in a ‘montage’ of different shots within
an opening sequence. They can also be used in
continuity editing to show that we have moved forward in
time and/or space.
• Fades to black and back are usually used to show that a
more significant period of time has elapsed between two
sequences.
• Wipes and other unusual transitions are best avoided!

Editing Techniques
• Match on Action – A technique used in
continuity editing to convey a sense of
continuity between shots
• Match Cut – objects or images on the
screen are matched to another similar
object to show a connection between both
objects

• Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is
noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic
effect.
• Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
• Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action
(scene, sequence or event) with another – usually in different locations or places, thus combining the two: this
editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically
build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or
parallel editing.
• Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action.
Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original
shot.
• Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
• Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
• Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the
film’s narrative.
• Shot Reverse-Shot— Edits which switch back and forth between two characters interacting with eachother

Sound
• Although film and television largely effect the audience
because of what they see, sound also has a big impact
on the audience.
• The music used in film is known as the soundtrack.
• It can be broken down into the following categories...

Diagetic Sound:
Sound or music that is recorded on set as it happens. This will
include dialogue and sounds which take place within the film e.g. a
door closing, gun being fired, police siren.
Non-Diagetic Sound:
Music or sound which is added to the film during the editing process.
Most often, non-diagetic sound is music, which is used to create
atmosphere or emotion.

SOUND
• Score – The musical component of a programme’s
soundtrack, usually composed specifically for the scene.
• Sound Effects – sounds that are added to a film during the
post-production stage. Sound Motif- A sound effect or
combination of sound effects that are associated with a
particular character, setting, situation or idea.
• Sound Bridge— Can lead in or out of a scene. They can
occur at the beginning of one scene when the sound from
the previous scene carries over briefly before the sound
from the new scene begins.

• Dialogue— Words spoken by the characters Incidental music— non-diegetic sounds which add
atmosphere to an action or revelation.
• Ambient sound—the background sounds which are present in a scene or location. Common
ambient sounds include wind, water, birds, crowds, office noises, traffic, etc. It performs a number
of functions including: Providing audio continuity between shots, reventing an unnatural silence
when no other sound is present and establishing or reinforcing the mood.
• Sound Perspectives—The sense of a sound's position in space, yielded by volume and pitch. Used
to create a more realistic sense of space, with events happening (that is, coming from) closer or
further away.
• Voiceover—When a voice, often that of a character in the film, is heard while we see an image of a
space and time in which that character is not actually speaking. The voice over is often used to give
a sense of a character's subjectivity or to narrate an event told in flashback.
• Contrapuntal Sound – When the score juxtaposes the action in the scene for dramatic effect

Representation
An image+ a point of view =
representation

In exploring representation you need
to establish....
• What view of people or issues is being
conveyed to audiences?
• How far is that view conveyed?
• How far are audiences positioned to take up a
preferred view?
• How far do the representations challenge or
conform to dominant representations and
ideologies?

Representation
• Representation refers to the construction
in any medium of aspects of ‘reality’ such
as people, places, objects, events, cultural
identities and other abstract concepts.
Such representations may be in speech or
writing as well as still or moving pictures.
• A key aspect in the study of representation
concern is with the way in which
representations are made to seem
‘natural’.

Representation
• Media is all about taking reality (real life) and
re-presenting it to an audience in a different
way. This might be a re-presentation of real
life e.g. BBC news, a manipulation of real life
e.g. The Only Way is Essex or Made in
Chelsea, or a fictional account e.g.
Eastenders or Coronation Street.
• All Media has a base in reality and the way
we see different events or characters can
have a real impact on the way we feel about
a group of people or a major issue.

Representation
• Representation plays a major role in our
enjoyment of a Media text. The audience
reads and decodes information in a number
of ways, and this helps them to understand
who a character is or what they might be
feeling.
• The audience is also influenced by what they
see represented on screen
• Look at the following TV characters – how do
they make you feel about them?

Stereotypes
• The easiest way for the audience to relate
to a character or characters is to use
Stereotypes
• Stereotypes are when a character is
created using a common set of ideas
about a group of people. These ideas can
be both positive and negative and can
influence the way we view groups of
people

Stereotypes
• Whenever we look at a character on screen
we need to work out who they are
representing. The easiest way to do this to
use the letters C.A.G.E. This stands for:
• Class
• Age
• Gender
• Ethnicity

Gender
• What are the most
common
representations of
Gender in the Media?
• Can you draw 2 figures
in your book and then
label each with the
most common
representations you’d
expect
Develop

Common Gender Representations
Typical Male Representations Typical Female Representations

Female Representations
• Representations of women across all
media tend to highlight the following:
– beauty (within narrow conventions)
– size/physique (again, within narrow
conventions)
– sexuality (as expressed by the above)
– emotional (as opposed to intellectual)
dealings
– relationships (as opposed to
independence/freedom)
• Women are often represented as
being part of a context
(family, friends, colleagues) and
working/thinking as part of a team. In
drama, they tend to take the role of
helper or object, passive rather than
active (Propp).

Male Representations
• 'Masculinity' is a concept that is made up of
more rigid stereotypes than femininity.
Representations of men across all media
tend to focus on the following:
– Strength - physical and intellectual
– Power
– Sexual attractiveness (which may be based on
the above)
– Physique
– Independence (of thought, action)
• Male characters are often represented as
isolated, as not needing to rely on others
(the lone hero). If they capitulate to being
part of a family, it is often part of the
resolution of a narrative, rather than an
integral factor in the initial equilibrium.
• It is interesting to note that the male
physique is becoming more important a part
of representations of masculinity.

Textual Analysis
• In pairs, watch the following extract
• Can you identify what the representation is?
• Is it a positive or negative
• Casulty - Gender

Exam Practice
MES CW ED S
Point
Evidence
Analysis
• What is the Representation
• Is it positive or negative?

Practice Pieces
• Hustle - Jan 2011 Exam
• Dr Who - Jan 2009 Exam
• Primevil - June 2010 Exam
• Fat Friends

As level tv drama 2

Empfohlen

Empfohlen

Weitere ähnliche Inhalte

Was ist angesagt?

Was ist angesagt? (18)

Andere mochten auch

Andere mochten auch (7)

Ähnlich wie As level tv drama 2

Ähnlich wie As level tv drama 2 (20)

Mehr von harrisdulwichgirls

Mehr von harrisdulwichgirls (20)

Kürzlich hochgeladen

Kürzlich hochgeladen (20)

As level tv drama 2

Hinweis der Redaktion