Tuesday, 16 December 2014
Wednesday, 3 December 2014
Tuesday, 18 November 2014
http://www.slideshare.net/kscraps88/editing-techniques-15915736
Glossary of EDITING terms
Cutting: the point at which one camera shot moves instantly to another
• Shot/reverse shot – this is an editing pattern that cuts to the view in the opposite direction. It is most commonly used in dialogue, cutting from one speaker to the other, following a master shot that has shown us where the speakers are standing.
• Eyeline match – part of continuity editing, where we see a character look in a particular direction then the next cut gives a shot of what they see
• Graphic match – is when we cut (or more often transition, such as a cross fade) to a shot showing an object of a very similar shape in the same place on the screen. For example, a shot of a round traffic light crossfades into a shot of the rising sun where the round sun emerges through the circle formed by the traffic light.
• Action match – this is part of continuity editing where a shot of a character making an action is followed by a cut to a shot of the next (or a subsequent) logical action. For example, we see a character reach for a door handle and open the door by 30 cm. We then cut to the other side to see the door swing open and the same character walk through. Here, after the cut, the door must be open by at least 30 cm for the continuity to look right.
• Jump cut – unusual edit pattern and not to be used when we actually mean ‘cut’. A jump cut is where a few frames have been removed from a continuous action, giving a jerky, unnaturalistic feel to the presentation of the action. It is an arty device to make the drama look more edgy and is unusual in verisimilitude TV drama styles although drama aimed at a teen or 20 something target audience eg BBC Three might use it – Being Human, for example and the work of film director Jean-Luc Godard in the film Breathless.
• Crosscutting – a cut to a piece of action that is happening at the same time (concurrently), or, perhaps, in and out of a series of flashbacks (which show the past but are memories happening concurrently inside a character’s head).
• Parallel editing – running two or more sequences of action that are happening at the same time and we cross cut between them – see episode 1 of Criminal Justice (2009) where Joe Miller is trying to phone his wife and we see what he is doing and what is wife is doing at the same time but in different places.
• Insert – a cut from a wide shot or a master shot to a closer shot of detail that is already within the first shot. A good example of this is football coverage where we can see much of the pitch but when something interesting happens we cut down to the 2 or 3 players involved seen from a similar angle. An insert must not be confused with a zoom because we go from the master shot to the insert in one cut: an insert is an edit whereas a zoom is a form of camera movement (even though it is technically possible in post production using digital editing software!).
• Cutaway – a cut from the main action to a piece of related action somewhere elsewhere or just outside the frame. Eg a group of people talking inside a house cut to someone coming up the drive (to join or challenge the group).
• Long take – ‘take’ refers to the length of time the camera is running between edits (cuts or transitions). A long take means that we do not see an edit fro a long period of time. They can be used effectively to slow time or to create the impression of a busy place. A great example of the long take slowing everything down is at the end of the 1967 film The Graduate where Dustin Hoffman's character, Ben, has driven across California to stop his sweetheart's wedding: his car runs out of petrol half a mile from the church and he finishes the journey on foot. A busy place might be a pub in a soap opera where a character enters, the camera zooms out and pans to follow them to the bar, they buy a drink and the camera follows them to their seat, creating a master shot of the group they are with before we cut to close ups and shot reverse shot of the conversation.
• Short take – the opposite of a long take. This is used in montage and means we have rapid edits from shot to shot.
Visible/Invisible editing – constructing the narrative style
• Invisible editing – is a style of editing where the joining of shots is discreet and does not draw attention to itself. It is visible to a media student but unlikely to be noticed by the average member of the audience. This is also known as Classical editing and has grown out of the Hollywood tradition of ‘recreating reality’ on the screen. Verisimilitude style drama will tend to use invisible editing so that we forget that what we see is being manipulated by the editor or director.
• Visible editing – is a more arty style, used increasingly often to mark out a new or different style to the programme. Its origins are in early Russian cinema, as opposed to Hollywood, where directors experimented with bizarre editing to make particular points and effects. Visible editing is meant to remind us we are watching an artefact, a construct or filmed version of real life, not real itself. Jump cuts, weird transitions, Eisenstinain montage, crash zooms and speeded up action characterise visible editing.
Editing the passage of time – controlling the pace and revealing the narrative
• Slow motion – slows the action down from real time speed. This is editing because it is achieved digitally in post-production and cannot be created while the camera is rolling.
• Ellipsis – is where a cut does not go to the next instant of drama but leaves a gap, which could be seconds, minutes, hours, months or even years. Sometimes an ellipsis is denoted by a caption “Six months later…” or a reference within the shot – eg Paradox extract, DI Flint leaves her car in the car park, cut to OS shot in the lift where we can see from the display that she has already reached floor 2. Ellipsis can be indicated by changes in the ambient sound – eg The Street where cuts take us to the middle of the night (no juke box music just a car passing in the distance) then to the morning (no single cars but traffic and the sound of buses).
• Montage – compresses time and gives a series of short takes (see above) indicating the events in between one narrative point and another, often accompanied by non-diegetic music to heighten the dramatic quality of the events. They often fade out at the end. Examples include The Street where the working day and getting ready for a beer is compressed into a series of shots underscored by a soundbridge of bluesy dramatic music and, of course, ‘I need a montage’ in Team America.
• Expansion of time – is the opposite of ellipsis and montage. It is usually achieved by slow motion or using long takes. We are so used to reading editing and short takes that editing choices to include long takes slow time down. In ‘Paradox,’ after the ellipsis to get DI Flint into the lift, we see the display click each floor up to number 7; although this does not take long, the fact that we are now in real time appears to slow the action and heighten the tension we feel about what she will meet when the lift doors open. See also example from The Graduate above. Another example using a ticking clock would be where we see the clock at, say, 010 but cut to a montage giving extra information that takes 10 seconds in real time; when we cut back to the clock it reads 005 – time has been expanded by the editing (thanks to Mas del Vecchio for this example).
Transitions other than cuts – determining pace and editing style
• Dissolve – where the image appears gradually to break into tiny particles, usually leaving the next shot to emerge from behind
• Crossfade – where the current shot fades out at the same rate as the next shot fades in. Pausing halfway through should show both shots mixed together. The speed of crossfades can influence the pace of the drama.
• Fade out – the current shot fades – usually to black.
• Fade in – the opposite of a fade out. A pattern of fade out followed by fade in suggests a conclusion to the previous unit of drama and the beginning of a new one, or could separate out a flashback sequence. By comparison, a crossfade suggests the unit of drama is continuing.
• Wipe – one of many digitally created effects where the new shot appears to cross the screen, pushing the current shot out of the way. This can appear from any side or corner of the screen. There are many variations of this made possible by digital editing – the effect of the ‘film’ catching fire and burning away the current shot is an extreme example. This kind of effect is rare in TV Drama as it belongs to visible editing style, which destroys verisimilitude. You are more likely to find these effects in sports programmes or pop videos.
Special Effects/Visual Effects
• CGI – Computer Generated Imaging all digitally created effects are covered by the editing section – eg the dragon in Merlin
• Superimposition – where two or more pieces of film are blended so that they appear at the same time. This can be achieved by blue or green screen techniques where an actor is filmed against a background of a consistent blue or green. This colour can then be digitally extracted and the film of the person layered on to another piece of film so the person appears against a different background. Eg Merlin talking to the dragon.
• Post-production – this refers to anything that is brought in at the editing stage
Tuesday, 11 November 2014
Reading
http://m.huffpost.com/us/entry/6102060
An interesting read - especially after our rather heated debate last week : )
Tuesday, 4 November 2014
Representation
Today, a number of you seemed a little unsure as to what I meant when I refered to representation. If this applies to you then I suggest you read this link which should help to clarify what is meant by the term representation.
http://mediaknowall.com/gcse/keyconceptsgcse/keycon.php?pageID=represent
http://www.slideshare.net/mobile/tcasman/media-studies-gcse-representation
Mrs W
November 4th 2014
Example mini analysis – TV drama:
Hollyoaks – 3 minute analysis…
Title sequence:
Hollyoaks has a fast paced guitar tune as its theme song and this would be a feature that would be instantly recognisable to fans of the show. Hearing the theme tune may encourage those out of the room to return and watch the show! The opening shot is an extreme close up of a blue eye. The long eyelashes and make up suggest that this is a female eye and the blue is enhanced to draw the audience in. It also suggests that this teen drama contains lots of ‘looking on’ or seeing behind the surface of characters (voyeurism). It also connotes glamour and draws you in. The fast paced editing helps to contribute to its appeal for a younger target audience (with perhaps lower attention spans who therefore require fast paced action to stay hooked). The narrative structure of Hollyoaks also supports this idea as storylines are often on-going however they are edited together with no scene lasting more than 2/3 minutes before switching to a contrasting storyline. Light storylines are juxtaposed with heavy or intense storylines so that it does become too serious for the audience.
The costume and actions of the characters in the title sequence, despite being brief, help to suggest aspects of their character. Cheryl blows a kiss into the camera and laughs. She looks directly at the audience, therefore making a connection with them and the shot zooms from a long shot to a close up as she laughs helping to show her emotions. All of this connotes that she is a fun loving girl. All of the characters are shot singularly which also adds to the younger audience appeal; they may prefer characters with individualism as opposed to close knit family communities. This is a community and the rapid editing suggests that these characters are linked and have strong friendships but are also individuals with unique personalities. They are in the same surroundings but the other elements of the mise-en-scene contribute to the representation of character. Mercedes wears a very figure hugging dress and pouts at the camera which shows her sexy and confident image.
Initial opening sequence:
The opening shot is a montage of extreme close ups of various ordinary objects. This makes the audience focus on these items and builds intrigue as you don’t know who these objects belong to…yet. The items fill the frame. The objects are everyday items such as a toothbrush, bowl of cereal and glass of orange juice being poured. This helps the audience to immediately identify with the programme as these are part of a normal morning routine of an ordinary person. The audience will acknowledge that this programme may potentially contain characters that they can relate to, ensuring that they stay on the sofa!
Scroll to the next page for some questions…
Write your answers underneath the questions; put your name at the bottom and post it on you blog.
1. Does this analysis discuss the four key areas? How?
• Camera shots, Angle, Movement and Composition
• Editing
• Sound
• Mise-en-Scene
2. What does ‘juxtaposed’ mean?
3. This essay is very focused and detailed about a few elements – is that a good thing? Why?
4. Is any specific form of representation discussed? Should you copy this is the exam? Why?
Tuesday, 14 October 2014
Starter 14th October 2014:
Basic camera angles revision: TV Drama.
Which is the most suitable camera angle to use in the following situations?
• To make the character seem small and powerless:
• To make the audience feel they are part of the action:
• To show a characters body language:
• To make the audience feel over-powered and oppressed:
• To show a characters emotions:
• To show exact detail of an important object:
• To show the setting/environment:
• To show dialogue between two characters:
• To place the character within the setting:
Copy and paste the following glossary to a word document. Watch the first 20mins of the first episode of 'Grantchester'. Using the glossary below, try to identify an examples of each from the glossary.
TV – technical terms glossary
CAMERA SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphasize this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot where the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilizing mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
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.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasizes continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
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.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Basic camera angles revision: TV Drama.
Which is the most suitable camera angle to use in the following situations?
• To make the character seem small and powerless:
• To make the audience feel they are part of the action:
• To show a characters body language:
• To make the audience feel over-powered and oppressed:
• To show a characters emotions:
• To show exact detail of an important object:
• To show the setting/environment:
• To show dialogue between two characters:
• To place the character within the setting:
Copy and paste the following glossary to a word document. Watch the first 20mins of the first episode of 'Grantchester'. Using the glossary below, try to identify an examples of each from the glossary.
TV – technical terms glossary
CAMERA SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphasize this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot where the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilizing mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
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.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasizes continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
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.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Hello Year 12,
Please could you ensure that YOUR NAME features in your blog title so I don't have to play 'guess the blog author' when I check you blogs!!
Secondly, could you all check that there is a link to your blog on my page. If not, could you e-mail the link to me at SWeston@richmondschool.net
Finally, please follow me on Twitter - and look at who I follow. You will learn a lot about the media by participating in online debate and reading articles etc. You can also find out about open days and career opportunities @SWeston09
Many thanks.
Mrs W
Please could you ensure that YOUR NAME features in your blog title so I don't have to play 'guess the blog author' when I check you blogs!!
Secondly, could you all check that there is a link to your blog on my page. If not, could you e-mail the link to me at SWeston@richmondschool.net
Finally, please follow me on Twitter - and look at who I follow. You will learn a lot about the media by participating in online debate and reading articles etc. You can also find out about open days and career opportunities @SWeston09
Many thanks.
Mrs W
Friday, 3 October 2014
Course Content: Television Drama
http://www.ocr.org.uk/Images/81037-specification.pdf
Set Topic Content
The content below represents what candidates should learn and is also provided as the source of the questions in the examination papers.
Section A: Textual Analysis and Representation
Candidates should be prepared to analyse and discuss the following: technical aspects of the language and conventions of the moving image medium, in relation to the unseen moving image extract, as appropriate to the genre and extract specified, in order to discuss the sequence’s representation of individuals, groups, events or places:
Camera Shots, Angle, Movement and Composition
• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
Editing
• Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.
Sound
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.
• Soundtrack: score, incidental music, themes and stings, ambient sound.
Mise-en-Scène
• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance.
Particular areas of representation that may be chosen are:
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
Set Topic Content
The content below represents what candidates should learn and is also provided as the source of the questions in the examination papers.
Section A: Textual Analysis and Representation
Candidates should be prepared to analyse and discuss the following: technical aspects of the language and conventions of the moving image medium, in relation to the unseen moving image extract, as appropriate to the genre and extract specified, in order to discuss the sequence’s representation of individuals, groups, events or places:
Camera Shots, Angle, Movement and Composition
• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
Editing
• Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.
Sound
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.
• Soundtrack: score, incidental music, themes and stings, ambient sound.
Mise-en-Scène
• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance.
Particular areas of representation that may be chosen are:
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
Tuesday, 30 September 2014
Downton Abbey Task
Task to be completed for OCTOBER 1st 2014
Write a detailed analysis of the opening of Downton Abbey.
Comment on the following:
Camera techniques,
Mise en scene,
Representation of gender and class.
Wednesday, 24 September 2014
Welcome to our Year 12, Media Studies Blog.
I will use this blog to record homework tasks and post links to useful resources to aid with your studies. Can you please check that I have the correct link posted to the blog page and if I haven't, could you please send me the correct link to SWeston@richmondschool.net
Most of your blogs are looking great but I have noticed that some students have a number of blog posts missing already. Could you all please ensure that your blogs are up to date by the end of the week please.
Mrs W
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