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.
Monday 17 May 2010
Hotel Babylon - examiner's report
These extracts enabled differentiation through the examination of the key concept of the representation of ethnicity and social class and status respectively.
The candidates appeared to have enjoyed responding to the TV drama extract, however at times there was evidence of candidates failing to address the key issue of ethnicity, which is a concern given the specification clearly indicates that this address, is one focus of the concept of representation. Indeed, examiners noted candidates’ responses were at times very good on gender and class and status, but lacked an understanding of ethnicity.
For question one, the majority of candidates addressed the technical features of camera shot, angle and composition and mise en scène well, with some fluency at times. There was also plenty of evidence of students being able to reach the higher end of the marks available. However, the address of the technical features of sound and editing needs to be developed further by candidates. Only a handful of centres had really prepared candidates to address these technical features of television drama.
Finally, as indicated by the mark scheme for this exam paper, the use of media vocabulary is a very important part of the exam at AS level. The mark scheme and syllabi clearly stipulate that a number of marks are available for the use of terminology. Good practice suggests that candidates should be keeping a vocabulary list of technical language for both questions.
There was plenty of evidence that the question set on ethnicity and representation and the extract Hotel Babylon achieved the desired differentiation of candidate responses. The extract was approximately five minutes in length and enabled the candidates to engage with the key skill of textual analysis of the four technical features: Camera shot, angle and composition, mise en scène, editing and sound. Examiners appeared in agreement that this was an excellent extract because it provided candidates with the opportunity to negotiate their own reading which they could justify through analysis of the four technical codes. There were a number of different interpretations provided by candidates; most of these were entirely valid. There was a wealth of technical examples for candidates to analyse.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher notional marks for their responses. Of these technical areas, camera work and mise en scène were by far the most comfortable concepts the candidates addressed, with editing and sound the least, despite improved attempts to address these technical features. Candidate responses which did not link technical analysis to representation often lacked focus in their answers on how ethnicity was constructed through the technical features of the extract.
Candidates structured their responses in a one of two ways for question one. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between the white authority of the police in contrast to the representation of the ethnicity and status of the illegal migrant workers.
Candidates would then analyse chosen examples of representation in a chronological address of the extract, whilst integrating different technical aspects, for example, combining the analysis of camera composition with sound.
On the other hand, and a slightly more popular approach, would see the candidates address the technical areas one by one. Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features. Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of ethnicity.
Both of these approaches to the structure of question 1 are valid and centres need to plan and help structure candidate responses in the classroom. It is advised against preparing candidates to word a long and lengthy introduction about what they are going to answer, or give theoretical introductions and/ or historical contexts to television drama. It is good advice for centres to practice with candidates to start the written response with analysis. On occasion in this series, candidates offered quite general textual analysis and these candidates’ responses lacked a focused discussion of ethnicity and thus penalized themselves from gaining a level three or four mark for EAA.
The mark scheme enables credit to be awarded to students at three different levels: Explanation, Analysis and Argument (20 Marks); Use of Examples (20 Marks) and; Use of Terminology (10 Marks). Under the use of examples, the mark scheme does not credit a notional level four (16-20) when only three technical areas are discussed, therefore making it less likely that a candidate can be awarded the highest possible marks.
On the whole the use of media vocabulary was very good, but could centres please note that there are up to 10 marks available for the use of media terminology – hence the previous recommendation that students should be encouraged to use the appropriate media terminology and good advice for centres is to encourage candidates to keep vocabulary lists.
There were a significant number of candidates who still adopted an overly simplistic approach in terms of media vocabulary. Centres need to encourage students to use appropriate technical language for precision in analysis and to make sure that they avoid superficial terms like cameras 'switching' or 'jumping', know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'.
Finally it is important that candidates address a balance in their responses to all the technical features used in the extract to construct meaning, at times some candidates would focus too much on specific ‘micro’ aspect of the television drama, for example writing a whole side on the use of mise en scène.
Comments on the ‘micro’ aspects of Question one on Television Drama
Representation
The sequence offered plenty of opportunities to discuss the representations of ethnicity. Most candidates were able to discuss differences in the status of various ethnicities within the sequence, though only a very small number of candidates were able to develop their answer further by showing how the audience were positioned in relation to these representations. For example, the police clearly have more status than the immigrant workers, but the audience are encouraged to identify with the workers by putting more emphasis on their points of view.
More confident candidates were able to analyse the ways in which the extract attempted to position the audience in relation to the immigration officials and the immigrants. Many identified the construction of the lead immigration officer as antagonist and argued that the extract positioned the audience to be sympathetic to the plight of the immigrants. A smaller number of more able candidates went further by exploring either the apparent contradiction of an antagonist acting within the law or commenting on the way that the extract challenged typical representations of illegal immigrants in the media.
The majority of candidates attempted to formulate an argument about the representation of ethnicity in the extract with the vast majority moving beyond the minimal descriptor for EAA. Candidates that scored less well tended to make points about the representation of ethnicity in an isolated fashion rather than linking their points as part of a coherent analysis or argument.
Camera Shot, Angle and Composition
This technical feature was overall, well addressed by the candidates. Most candidates had a media vocabulary, which addressed the technical features of television drama. Where candidates used the correct terminology and could describe shot composition, this on the whole, was well done. Stronger responses considered a wide range of shots as well as camera movement and the use of framing and composition to further reinforce representation, for example, the framing of all the characters together in hiding and later through panning in the canteen creating a sense of community. Some candidates confuse the meaning of low and high angles and are reminded to be careful when discussing the connotations of these shot types.
Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of ethnicity. These candidates would also tend to focus on just identifying the narrative flow of the extract through the naming of the shots. As with the past two exam series, please be aware that ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary used by candidates.
It would be useful to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations, for example very few candidates were able to recognise the focus pull, for example, when Ibrahim was arrested, or could recognise how it reflected his sudden awareness of danger.
Mise en scène
The majority of candidates discussed this area with confidence. The extract itself was rich in mise en scène that contributed to representation. The contrast of the luxury hotel with the cramped storage room in which the immigrants were hiding was mentioned by many candidates, as were the costume of suits for some characters and cleaners and maid uniforms for others. It was pleasing to see many students making reference to lighting with more able candidates confident in using terms such as high key, artificial and low key. The use of colour with the white suit of the receptionist juxtaposed with the dark suit of other the female character was also well linked to representation. Most candidates were able to talk about the contrasting uniforms and the messages and values implied. Most candidates focused on the clothing as denoting power and where they fitted into the hierarchy.
More able candidates would be able to contrast the ethnic representation of different characters through the mise en scène and how power and status is defined by ethnic relations, the most able could reflect on the cleaner who used to be a doctor and explore the nuances of ethnicity and status through the use of the character of Jackie as a supervisor and carer of the immigrant workers. Candidates are also advised to look for the range of representations within the extract with more able candidates commenting on the characters of ethnic minority that held some status within the scene, for example the well dressed black male employee Ben and in the final scenes the wealthy African couple with the female in traditional dress at the reception.
Weaker candidates are still wedded to simplistic colour analysis and ignore all contradictory evidence to claim that characters dressed in white must be 'pure and innocent' while characters dressed in red are either 'passionate' or 'in danger'. This ‘binary’ approach needs refining by centres in relation to debating how meaning is constructed in an extract and it is suggested that to compare and contrast different elements of representation does involve more examination in the classroom. In addition, too many candidates are still being encouraged to consider the acting/body language/non-verbal communication as part of the mise-en-scène. This leads to candidates spending far too long discussing the acting at the expense of the technical elements, which are constructing representations. Weaker candidates’ responses could identify key aspects of the mise en scène but not always explicitly link this to ethnicity and tended to ‘demonise’ the white characters and over simplify the portrayal of the immigrants.
Sound
The analysis of sound in analysis of the TV drama was satisfactory. Those candidates that could offer a balanced approach to the analysis of the extract did so with a degree of proficiency in relation to identifying the use of diegetic and non-diegetic sound (as opposed to televisual terminology of synchronous and asynchronous sound). Again the analysis of sound was used in contrast to the characters’ different roles in the drama, with more candidates steering away from a reliance of an examination of the dialogue used in the drama; centres seem to be heeding the advice that an analysis of the dialogue in the drama is not sufficient technical analysis.
Most candidates were able to use terminology confidently and could describe the tempo and use of music in relation to the representation of characters. Most made reference to the use of foreign languages and accents to reinforce representation of the characters as different or other. Key dialogue was also referred to such as the line 'I wasn’t always a cleaner' and many candidates examined the significance of this statement.
Often weaker candidates showed confusion with technical terminology, referring to ambient sound where there was none in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker candidate responses may interpret the soundtrack/ use of music in too general analysis.
Editing
As with the January and June 2009 series, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidates’ answers.
Many candidates ignored editing altogether and only a few of those that did cover it were able to make meaningful links to representations by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between characters in the sequence, for example through the discussion of the rule of thirds.
Most candidates made reference to the pace of editing to reflect the frantic situation and emotions of the immigrant characters. The use of shot reverse shot and cuts to aid continuity were mentioned by many candidates, as was the use of cross cutting between the two situations to enhance tension. More able candidates demonstrated the ability to link the use of editing to the representation of characters, such as the use of long and short takes to represent power and the use of eye line matches to reinforce a sense of dominance. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. There was evidence on occasion where students engaged with the rule of thirds and juxtaposition of characters in the narrative using editing devices, which is very encouraging.
The candidates appeared to have enjoyed responding to the TV drama extract, however at times there was evidence of candidates failing to address the key issue of ethnicity, which is a concern given the specification clearly indicates that this address, is one focus of the concept of representation. Indeed, examiners noted candidates’ responses were at times very good on gender and class and status, but lacked an understanding of ethnicity.
For question one, the majority of candidates addressed the technical features of camera shot, angle and composition and mise en scène well, with some fluency at times. There was also plenty of evidence of students being able to reach the higher end of the marks available. However, the address of the technical features of sound and editing needs to be developed further by candidates. Only a handful of centres had really prepared candidates to address these technical features of television drama.
Finally, as indicated by the mark scheme for this exam paper, the use of media vocabulary is a very important part of the exam at AS level. The mark scheme and syllabi clearly stipulate that a number of marks are available for the use of terminology. Good practice suggests that candidates should be keeping a vocabulary list of technical language for both questions.
There was plenty of evidence that the question set on ethnicity and representation and the extract Hotel Babylon achieved the desired differentiation of candidate responses. The extract was approximately five minutes in length and enabled the candidates to engage with the key skill of textual analysis of the four technical features: Camera shot, angle and composition, mise en scène, editing and sound. Examiners appeared in agreement that this was an excellent extract because it provided candidates with the opportunity to negotiate their own reading which they could justify through analysis of the four technical codes. There were a number of different interpretations provided by candidates; most of these were entirely valid. There was a wealth of technical examples for candidates to analyse.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher notional marks for their responses. Of these technical areas, camera work and mise en scène were by far the most comfortable concepts the candidates addressed, with editing and sound the least, despite improved attempts to address these technical features. Candidate responses which did not link technical analysis to representation often lacked focus in their answers on how ethnicity was constructed through the technical features of the extract.
Candidates structured their responses in a one of two ways for question one. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between the white authority of the police in contrast to the representation of the ethnicity and status of the illegal migrant workers.
Candidates would then analyse chosen examples of representation in a chronological address of the extract, whilst integrating different technical aspects, for example, combining the analysis of camera composition with sound.
On the other hand, and a slightly more popular approach, would see the candidates address the technical areas one by one. Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features. Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of ethnicity.
Both of these approaches to the structure of question 1 are valid and centres need to plan and help structure candidate responses in the classroom. It is advised against preparing candidates to word a long and lengthy introduction about what they are going to answer, or give theoretical introductions and/ or historical contexts to television drama. It is good advice for centres to practice with candidates to start the written response with analysis. On occasion in this series, candidates offered quite general textual analysis and these candidates’ responses lacked a focused discussion of ethnicity and thus penalized themselves from gaining a level three or four mark for EAA.
The mark scheme enables credit to be awarded to students at three different levels: Explanation, Analysis and Argument (20 Marks); Use of Examples (20 Marks) and; Use of Terminology (10 Marks). Under the use of examples, the mark scheme does not credit a notional level four (16-20) when only three technical areas are discussed, therefore making it less likely that a candidate can be awarded the highest possible marks.
On the whole the use of media vocabulary was very good, but could centres please note that there are up to 10 marks available for the use of media terminology – hence the previous recommendation that students should be encouraged to use the appropriate media terminology and good advice for centres is to encourage candidates to keep vocabulary lists.
There were a significant number of candidates who still adopted an overly simplistic approach in terms of media vocabulary. Centres need to encourage students to use appropriate technical language for precision in analysis and to make sure that they avoid superficial terms like cameras 'switching' or 'jumping', know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'.
Finally it is important that candidates address a balance in their responses to all the technical features used in the extract to construct meaning, at times some candidates would focus too much on specific ‘micro’ aspect of the television drama, for example writing a whole side on the use of mise en scène.
Comments on the ‘micro’ aspects of Question one on Television Drama
Representation
The sequence offered plenty of opportunities to discuss the representations of ethnicity. Most candidates were able to discuss differences in the status of various ethnicities within the sequence, though only a very small number of candidates were able to develop their answer further by showing how the audience were positioned in relation to these representations. For example, the police clearly have more status than the immigrant workers, but the audience are encouraged to identify with the workers by putting more emphasis on their points of view.
More confident candidates were able to analyse the ways in which the extract attempted to position the audience in relation to the immigration officials and the immigrants. Many identified the construction of the lead immigration officer as antagonist and argued that the extract positioned the audience to be sympathetic to the plight of the immigrants. A smaller number of more able candidates went further by exploring either the apparent contradiction of an antagonist acting within the law or commenting on the way that the extract challenged typical representations of illegal immigrants in the media.
The majority of candidates attempted to formulate an argument about the representation of ethnicity in the extract with the vast majority moving beyond the minimal descriptor for EAA. Candidates that scored less well tended to make points about the representation of ethnicity in an isolated fashion rather than linking their points as part of a coherent analysis or argument.
Camera Shot, Angle and Composition
This technical feature was overall, well addressed by the candidates. Most candidates had a media vocabulary, which addressed the technical features of television drama. Where candidates used the correct terminology and could describe shot composition, this on the whole, was well done. Stronger responses considered a wide range of shots as well as camera movement and the use of framing and composition to further reinforce representation, for example, the framing of all the characters together in hiding and later through panning in the canteen creating a sense of community. Some candidates confuse the meaning of low and high angles and are reminded to be careful when discussing the connotations of these shot types.
Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of ethnicity. These candidates would also tend to focus on just identifying the narrative flow of the extract through the naming of the shots. As with the past two exam series, please be aware that ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary used by candidates.
It would be useful to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations, for example very few candidates were able to recognise the focus pull, for example, when Ibrahim was arrested, or could recognise how it reflected his sudden awareness of danger.
Mise en scène
The majority of candidates discussed this area with confidence. The extract itself was rich in mise en scène that contributed to representation. The contrast of the luxury hotel with the cramped storage room in which the immigrants were hiding was mentioned by many candidates, as were the costume of suits for some characters and cleaners and maid uniforms for others. It was pleasing to see many students making reference to lighting with more able candidates confident in using terms such as high key, artificial and low key. The use of colour with the white suit of the receptionist juxtaposed with the dark suit of other the female character was also well linked to representation. Most candidates were able to talk about the contrasting uniforms and the messages and values implied. Most candidates focused on the clothing as denoting power and where they fitted into the hierarchy.
More able candidates would be able to contrast the ethnic representation of different characters through the mise en scène and how power and status is defined by ethnic relations, the most able could reflect on the cleaner who used to be a doctor and explore the nuances of ethnicity and status through the use of the character of Jackie as a supervisor and carer of the immigrant workers. Candidates are also advised to look for the range of representations within the extract with more able candidates commenting on the characters of ethnic minority that held some status within the scene, for example the well dressed black male employee Ben and in the final scenes the wealthy African couple with the female in traditional dress at the reception.
Weaker candidates are still wedded to simplistic colour analysis and ignore all contradictory evidence to claim that characters dressed in white must be 'pure and innocent' while characters dressed in red are either 'passionate' or 'in danger'. This ‘binary’ approach needs refining by centres in relation to debating how meaning is constructed in an extract and it is suggested that to compare and contrast different elements of representation does involve more examination in the classroom. In addition, too many candidates are still being encouraged to consider the acting/body language/non-verbal communication as part of the mise-en-scène. This leads to candidates spending far too long discussing the acting at the expense of the technical elements, which are constructing representations. Weaker candidates’ responses could identify key aspects of the mise en scène but not always explicitly link this to ethnicity and tended to ‘demonise’ the white characters and over simplify the portrayal of the immigrants.
Sound
The analysis of sound in analysis of the TV drama was satisfactory. Those candidates that could offer a balanced approach to the analysis of the extract did so with a degree of proficiency in relation to identifying the use of diegetic and non-diegetic sound (as opposed to televisual terminology of synchronous and asynchronous sound). Again the analysis of sound was used in contrast to the characters’ different roles in the drama, with more candidates steering away from a reliance of an examination of the dialogue used in the drama; centres seem to be heeding the advice that an analysis of the dialogue in the drama is not sufficient technical analysis.
Most candidates were able to use terminology confidently and could describe the tempo and use of music in relation to the representation of characters. Most made reference to the use of foreign languages and accents to reinforce representation of the characters as different or other. Key dialogue was also referred to such as the line 'I wasn’t always a cleaner' and many candidates examined the significance of this statement.
Often weaker candidates showed confusion with technical terminology, referring to ambient sound where there was none in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker candidate responses may interpret the soundtrack/ use of music in too general analysis.
Editing
As with the January and June 2009 series, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidates’ answers.
Many candidates ignored editing altogether and only a few of those that did cover it were able to make meaningful links to representations by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between characters in the sequence, for example through the discussion of the rule of thirds.
Most candidates made reference to the pace of editing to reflect the frantic situation and emotions of the immigrant characters. The use of shot reverse shot and cuts to aid continuity were mentioned by many candidates, as was the use of cross cutting between the two situations to enhance tension. More able candidates demonstrated the ability to link the use of editing to the representation of characters, such as the use of long and short takes to represent power and the use of eye line matches to reinforce a sense of dominance. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. There was evidence on occasion where students engaged with the rule of thirds and juxtaposition of characters in the narrative using editing devices, which is very encouraging.
Wednesday 6 January 2010
Representation
A great link to lots on representation!
http://blackpoolmedia.wordpress.com/category/representation/
http://blackpoolmedia.wordpress.com/category/representation/
Thursday 19 November 2009
Wednesday 28 October 2009
TV Drama - technical terms
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 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 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 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.
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 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 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.
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 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 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 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.
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 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 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.
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