2. Background
What is the purpose of the unit?
To assess candidates media textual analysis skills
To assess understanding of the concept of representation using a
short unseen moving image extract (AO1, AO2)
How long is the exam?
This part of the examination includes 30 minutes for viewing and
making notes on the moving image extract and candidates are
required to answer one compulsory questions in 45 mins. The
question is marked out of 50.
What is the exam?
An unseen moving image extract with one compulsory question dealing
with textual analysis of various technical aspects of the languages
and conventions of moving image media. Candidates will be asked to
link this analysis with a discussion of some aspect of
representation within the sequence.
The moving image extract will be provided by OCR in DVD format,
with full instructions for the administration of the examination,
viewing conditions and note-making time.
The unseen moving image extract will be four to five minutes
long.
The sequence will be taken from a contemporary British one-off or
series or serial drama programme.
3. How will I be marked?
Explanation, Analysis and Argument (20 Marks)
Use of Examples (20 Marks)
Use of Terminology (10 Marks)
You cannot achieve full marks for examples unless you write about
all 4 technical aspects (see next slide).
4. Technical aspects of language and conventions of moving
image
Camera Angle, Shot, Movement and Composition
Mise-en-Scne
Editing
Sound
The focus of study for Section A is the use of technical aspects of
the moving image medium to create meaning for an audience,
focussing on the creation of representations of specific social
types, groups, events or places within the extract.
5. Camera Shots and Angles
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 relationshipPoint-Of-View Shot
(POV) Shows a view from the subjects perspective. This shot is
usually edited so that the viewer is aware whos point of view it
is.Over the Shoulder Shot looking from behind a characters
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 emphaise 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 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.
6. 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 whjere 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 stabilising 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.
Give a wide range of examples of shot sizes and camera
movementmaking sure you reference them in relation to the
sequence's representations.
7. 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.
8. Editing
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 films 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.
9. Editing
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 emphasises 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 characters hand turning a door
handle)
Address the type of transitions used and comment on the pace of the
editing. Link editing to representation by, for example, showing
how editing could create particular viewpoints which we are
encouraged to identify with or how screen time indicates the
shifting relationship between protagonists and antagonists in a
sequence.
10. 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.
DiegeticSound 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 programmes soundtrack,
usually composed specifically for the scene.Sound Effects sounds
that are added to a film during the post-production stage.
Make reference to how sound assists in the understanding of the
construction of the representation. Consider more carefully the
role that sound effects have in the construction of meaning,
particularly in relation to the diegetic reality of the
drama.
11. Mise-en-Scne
Production design: location, studio, set design, costume and
make-up, properties.
Lighting; colour design.
Contrast the gender representation of different characters through
the mise en scne. Move beyond description and use the technical
features of mise en scne in order to discuss the signification of
the 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.
12. 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 films narrative.Enigma the question
or mystery that is posed within a films narrative.Equilibrium a
state of peace and calm, which often exists at the beginning of a
films 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 meaningsIntertextuality 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.
13. Particular areas of representation
Gender
Age
Ethnicity
Sexuality
Class and status
Physical ability/disability
Regional identity
14. Examiners advice from June 2009 exam
address the concept of representation in the extract and discuss
the representational differences between charactersand address the
technical areas one by one
OR for a higher grade
provide an integrated analysis of the extract through analysis of
key examples identified. E.g. how the technical features could be
applied using a combination of the technical features, for example,
in discussion of the argument that takes place between the Master
and Martha. Stronger candidates could then place this sequence of
conflict in its mise en scne (the spaceship, with reference to
cross cutting to the flashback sequence on Earth), through the use
of shot reverse shot (and editing) between Martha and the Master,
camera types used and through the analysis of sound also discuss
the Masters emasculation of power and authority.
Dont include a long and lengthy introduction about what you are
going to answer, or give theoretical introductions and/or
historical contexts to television drama. Question one does not
require a discussion of the generic qualities of the television
drama.
It is also important that you move from description of key
technical areas to analysis of how representations are constructed.
This will enable you to achieve higher notional marks foryour
responses and avoid sets of basic answers.
15. Task
Watch the Waterloo Road clip on my blog 4 times. Dont make notes
the 1st time.
Structure your note making around the micro concepts (mise en
scene, camera, editing, sound) OR choose 3 or 4 key moments and
note how the micro features are used in these sections.
Remember to consider the representational area.
Answer the following question:
Discuss the ways in which class and status are constructed in the
clip from Waterloo Road.
