Doc Martin - Regional Identity

If you want to send practice essays, you know the email address

Footballers Wives - Class

Footballers Wives - Representation of class.

Footballers Wives - Gender

Gender Representation in Footballers Wives

Fat Friends

Fat Friends

Representation - Gender

Shared Conventions of TV Drama

Shared Conventions of TV Drama

Characters who offer shorthand representations of real types of people or stereotypes.

Narrative which is visually presented and demands high levels of audience understanding (of what is assumed to happen in between edits – the different between plot and story)

Mise En Scene, all the elements which add up to an instantly recognisable atmosphere, which is “authentic” for the events, themes and people for the events, themes and people that are being represented in the Drama.

Camerawork and Editing that ensures continuity and creates drama through visual conventions.

Dialogue Sound and Music which create a balance between verisimilitude (the logic of the text’s world which appears real) and drama (dialogue which might be less polished” in the real world, music which tells the audience the motion they should feel)

Red Riding - Regional Identity

Regional Identity in Red Riding

Adrian Horner's Evaluation

Anne Frank Age Clip

Homework - Bullet point the essay "Discuss the ways in which the extract constructs representations of age using the following: camera, editing, mise en scene and sound."

Sound

Types of Sound

Studio sound - Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound.

Selective sound - The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic.

Live Sound - May sound 'fresher' in that it includes natural background noise (e.g. including cars and birdsong in an outside shot)

Sound perspective/aural perspective - The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants.

Parallel (synchronous) sound - Sound 'caused' by some event on screen, and which matches the action.

Commentary/voice-over - Commentary spoken off-screen over the shots shown. The voice-over can be used to: introduce; add extra information not evidence; to interpret the images for the audience from a particular point of view; to link parts of a sequence or programme together. A commentary confers authority on a particular interpretatio. It may be the voice of one of the characters, unheard by the others.

Sound effects - Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.

Music - Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood although it is not normally intended to be noticeable. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events. It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra would probably be bizarre in a teen drama).

Silence - The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

Time and How To Do It

Time Manipulation

Screen time: a period of time represented by events within a programme.

Subjective time. The time experienced or felt by a character, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged).

Compressed time. The compression of time between sequences or scenes, and within scenes. Achieved with cuts and editing. (E.g. it is logical for one shot of a guy putting his foot on the bottom stair and cutting to to him entering the room at the top or long journeys can be compressed into seconds). The use of dissolves and fades can sometimes be used to signifiy a long passing of time.

Long take. A single shot which lasts for a relatively lengthy period of time it can give an 'authentic' feel since it is not inherently dramatic.

Simultaneous time. Events presented as occurring at the same time, either by parallel editing or cross-cutting, or sometimes split-screen - often alternating.

Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. It usually emphasises an action.

Accelerated motion. This is used usually for humour or to speed up a slow action.

Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect.

Replay. An action sequence repeated, (sometimes in slow motion).

Freeze-frame. This gives the image the appearance of a still photograph.

Flashback/Flashforward. A break in the chronology of a narrative in which events from the past (sometime future - more sci-fi drama) are disclosed to the viewer. Used to be signalled by defocus or ripple dissolves.

Extended or expanded time/overlapping action. Where the action is filmed from several angles and repeated to expand the time - sometimes used to give a different viewpoint.

Editing Techniques

Editing Techniques

Cut. Sudden change of shot from one viewpoint or location to another. Cutting may:

• change the scene;
• compress time;
• vary the point of view; or
• build up an image or idea.

There is always a reason for a cut, so ALWAYS ask what what the reason is.

Matched cut. In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:

• continuity of direction;
• completed action;*
• a similar centre of attention in the frame;
• a one-step change of shot size (e.g. long to medium);
• a change of angle (usually at least 30 degrees).

*The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself. Used in most TV Dramas as is 'realistic'.

Jump cut. Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.Used in most TV Dramas to signal change of scene

Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (we can accept compression of time). Like the 180 degree rule - we expect to see people speaking. Editing and camera work appear to be determined by the action. Popular in all TV Drama due to the 'realistic' nature of it.

Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize. Lots of quick cuts most likely to be used by crime dramas or thriller dramas - although popular all over and longer cuts most likely to be historical

Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer. Lots of quick cuts most likely to be used by crime/thriller/medicaldramas - although popular all over due to ease of building tension.

Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts.Often used with two storylines coming together - look for the speed of the cross-cuts

Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time. Used in most TV Dramas to make the time realistic - most often in Drama's where collapsing of time is necessary - popular in historical drama.

Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred. Extensively used in TV Drama as it represents real life - look for these reaction shots in clips as it can often reveal a lot about representation and highlight key props.

Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.) Can be used in all TV Dramas usually with an extreme close up (E.g. A Medium Shot (MS) of a cirme scene, then cut to an ECU of a gun or bag of drugs, then returning to the MS)

Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction; a slow fade-out is a peaceful ending. Time lapses are often suggested fades. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place.

Superimpositions. Two of more images placed directly over each other (e.g. someone writing over someone reading) Most likely to be used in historical or sci-fi

Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen. The wipe is a technique which draws attention to itself and acts as a clear marker of change - can also show passage of time or move to a different place. Most likely to be used in sci-fi/fantasy dramas

Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes uses for two people on the phone). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer. Most likely to be used in Hollyoaks or Skins.

Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed.Generally docu-drama but can be used in TV Drama to place it in context (e.g. showing stock footage of Martin Luther King/Barack Obama before cutting to a young black boy watching it in his bedroom can enhance a representaiton of ethnicity)

Editing Part 2 - Time and How to Do It coming soon ^_^

Life on Mars Gender

Revision of Representation and Technical Analysis.

Being Human

This clip is taken from episode 1 of Being Human, a BBC Three Drama. From looking at this clip decide

1. Who is the target audience and how can you tell?
2. What representations are covered here?
3. Of our magical 4 (Camera, Editing, Mise En Scene, Sound) which technological feature is the most prominent here?
4. This is technically a sci-fi drama, what do you find interesting about how it's presented for a sci-fi drama.

Mise En Scene

Mise En Scene

Mise en scène is everything that appears before the camera, namely:
• the setting
• the costume and make-up
• the use of figure, expression and movement by actors
• the lighting/filters

The style scale

At one end we have:
Form over content - how things are shown is most important, and beyond a usual representation of reality. Expressionist films are highly stylised, and are characterised by oblique camera angles, distorted shapes, bizarre settings, high contrast lighting and the surreal and subjective.

At the other we have:
Content over form - looks like real life - the intent is to make us forget it is a representation. This is the dominant style of most films, and is sometimes referred to as "the style of no style."

Setting
Setting gives a sense of place and time. You should always analyse the set because it provides important clues about the nature of the film, such as:
• where the action takes place
• when the action takes place
• the mood
• the characters
• the genre of the film.

Costume and make-up
Costume and make-up can be considered as part of the set, because they indicate:
• the period
• the state of society
• social class
• cultural backgrounds
• character traits.
Changes in costume indicate changes in character, e.g.:
• rich to poor
• taking off clothes as lowering defences.
Clothing might also be a trademark.

Figure, expression and movement
• Body language
• appearance
• facial expressions (very significant in close-ups)
• sound elements.
The way a character stands and moves is important.
• If they are the foreground they might be considered more important.
• If they move against a stationary background attention is drawn to them.
• Even distribution of characters makes for a balanced shot, whereas uneven distribution is unsettling to the eye.
• Positioning of characters within the frame may even indicate emotional distance.

Props
What is being used in the scene is key as it can tell you everything about the charcter and also be key to representation. It is also an element to shaping our opinions about character. For example:
• Having a character use an old fashioned phone as opposed to an ipod touch
• A can of Stella Artois in a teen drama
• A cigarette

Look for objects in hands, having extreme close ups, given to other characters, being drawn attention to.You MUST talk about the SIGNS and SIGNIFIERS of the Mise En Scene, e.g. "This signifies to the audience that ..."

Checklists

Things a good evaluation has (not everything in the list obviously otherwise we'll be here all day!):

- Recce shots
- Props shots
- Test films (So Chris, Clarice and Sofie's first shot of the letters)
- Storyboards
- Screenshots of work in progress
- Links to earlier entries in blog of problems encountered (sneaky way to get around the word count!)
- Clips from your video
- Screenshots from garageband
- Links to clip research
- Screenshots from films you have watched for research
- Rejected shots and sound
- Equipment used including lighting (Before and after shots might be nice like Orren, Leanne, Suzy and Nathan)
- Photos of costumes
- Nice diagrams of brainstorms and inspirations
-

Things Not so Good
- Vast Blocks of Text(TM) is a no-no - remember it's not an essay
- Youtube Link after Youtube Link ....
- Three word comments and nineteen screenshots - think balance
- Badmouthing equipment, exam board and teachers
- Going wildly off the questions - try and stick to them
- Copying and pasting text from other authors and sources

Inserting Video

In the blog entry box there is a small picture that looks like a film reel and the following screenshot will appear:



You then select your a video and try to upload it.

If this doesn't happen then link to a youtube film instead.

Go to youtube and you should have a screen like this:



Copy and paste the embedding code and paste it into your blog and shiny things like this will happen:

Screenshots in a Mac

To take a screenshot with our macs you can either:

• Command-Shift-3: Take a screenshot of the screen, and save it as a file on the desktop
• Command-Shift-4, then select an area: Take a screenshot of an area and save it as a file on the desktop
• Command-Shift-4, then space, then click a window: Take a screenshot of a window and save it as a file on the desktop
• Command-Control-Shift-3: Take a screenshot of the screen, and save it to the clipboard
• Command-Control-Shift-4, then select an area: Take a screenshot of an area and save it to the clipboard
• Command-Control-Shift-4, then space, then click a window: Take a screenshot of a window and save it to the clipboard