Monday, 26 January 2015

Representation of Age - Assessment Point

Discuss the ways in which the extract below constructs the representation of age using the following:
  • camera shots, angle, movement and composition
  • editing
  • sound
  • mise-en-scene

Here is an exemplar opening to this essay. Your task is to write the next section of the essay, focussing on the representation of age as constructed through the character of the maths teacher. 

Read my opening first before then continuing the essay. Begin with the sentence highlighted at the end of my opening and move forward from there. 

Exemplar Opening

This extract constructs representations of differing age groups.

At the very beginning of the extract a representation of middle-age is constructed through the character of the strict teacher. This representation is that of middle-age as possessing authority and power, with the character having control over other characters who are both teenaged and young adult.


A sense of enigma is created on this character's first appearance as we see a tracking shot of feet walking through tables from a low level. The absence of non-diegetic sound allows us to focus clearly on the noise of the character's footsteps. A cut to two teenage boys clearly shows them as behaving in a suspicious manner before we cut back to the feet steadily approaching. This juxtaposition constructs meaning for the audience as it becomes clear that the boys are keen to hide from the approaching adult, suggesting that he has authority over them. 


A series of quick cuts adds pace to the scene before we see the middle aged teacher's face for the first time in close-up. The use of a close-up allows us to see an expression that has connotations of enjoyment as he passes judgement over the boys. He puts the boys under pressure by asking where they were as everyone else was 'suffering the screening'. This dialogue, an aspect of diegetic sound, helps to further construct his character as being a somewhat disillusioned and cynical representation of middle age. The composition of the shot where he questions the boys gives him power as he is anchored in the centre of the shot with the boys either side of him. 


His character is developed through his use of sarcasm in the delivery of lines of dialogue such as when he finishes the first boy's sentence by saying 'holding his hair..' The actor's tone of voice, an element of mise en scene, is patronising and this character is developing into a very negative representation of his age group. His use of non-verbal commands, such as the clicking of fingers, and commands using the imperative tense, 'Give it!', ensure that the audience are aware of his authority, a fact supported through the character's costume with his suit, shirt and tie having connotations of power. Further interactions between the character and a young adult teacher reinforce his representation as middle aged authority.


A different representation of middle age can be seen at the end of the extract through the character of the maths teacher. He comes across as an easily manipulated character by the fact that he put on some 'teenager's clothes' in order to impress a girl after being told to. We know when this isn't a good idea when two girls are seen laughing at him from across the corridor. 

The addition of diagetic sound of the rap music as the maths teacher steps out of the room shows that he is supposed to be acting cool and collected but from his embarrassed facial expression we can see that he his well out of his comfort zone. We can also see his is not used to this look when he asks the other girl about his jeans and says "Are these meant to be like this?". This gives us further knowledge that he isn't entirely comfortable. 

He finally decides the clothes are a bad idea when the two girls laugh at him and he lets out an awkward, forced grin to hide his embarrassment. This happens again when the teacher he is trying to impress tells him he looks ridiculous and walks off. This gives off the impression that he is socially awkward and, unlike the strict teacher, is looked down upon by both the staff and kids.

A second teacher picks up on his which is the man in the grey shirt. He points out his clothes that aren't typically worn by a middle-aged man and at this point the maths teacher knows he doesn't suit because he even admits himself that he looks 'ridiculous'. 

Thursday, 15 January 2015

Television Drama Terminology

Camera shots

Establishing shot
sets up/establishes the context for a scene by showing the relationship between its important figures and objects.

Master shot
film recording of a dramatised scene from start to finish from an angle that keeps all the players in view. 

Close-up
Where the camera tightly frames a person or objects features

Mid-shotA shot taken at a medium distance

Long shot
shows the entire object or human figure

Wide shot
Camera is positioned to observe the most action in the performance

Two-shot
two people can be seen together

Aerial shot
shot taken from a height such as a plane,helicopter or a person on top of a building

Point of view shot
Shows what the character can see

Over the shoulder shot 
shot of someone or something taken from the perspective or camera angle from the shoulder of another person.   

Angle

High angle

When the camera looks down on the subject

Low angle
camera is positioned low on the vertical axis, a low angle is anywhere below eye line looking up.

Canted angle
A camera angle that is deliberately slanted to one side.


Movement

Pan
When the camera is being moved on a vertical or horizontal axis. Usually to film a panorama.

Tilt
When a camera is stationary and rotates in a vertical or 'tilting' plane. This camera movement is similar in a way of someone nodding their head.

Track
When a camera is following a character or object. Such as the camera following a moving car. It can be moved with a camera dolly, handheld camera operator or on a tripod.

Dolly
A dolly is a wheeled platform that pushed along rails for a smooth camera movement.

Crane
When a shot is being taken while the camera is mounted on a crane or jib. This allows for a shot from above to view a whole scene.

Steadicam
A steadicam is a type of camera stabiliser which helps for a smooth shot even when moving quickly or over an uneven surfaces.

Hand-held
When a camera is shooting while being operated by a cameraman as he is holding it in his hands as apposed to being on a tripod or any other base. This allows for a greater freedom of motion.

Zoom
When the zoom effect is used on a camera to get a clearer view of a target in the distance.

Reverse zoom
A reverse zoom is when the camera is zoomed out to get a clearer view of an object.

Composition

Framing
Framing is the presentation of visual elements in an image. This is to make a target the centre of attention to the audience.

Rule of thirds
This is a guideline which applies to the process of composing visual images. This helps to place objects in the right place for a tidy and ordered shot.

Depth of field
Depth of field is a characteristic of a camera that can be used to enhance the image composition of the photo. Depth of field means the sharp area surrounding the point of focus.


Editing
(Includes transition of image and sound - continuity and non-continuity systems)

Shot/Reverse Shot
Shot/Reverse Shot is a film technique where one character is shown looking at another character and then the other character is shown looking back at the first character.

Eyeline Match
An eyeline match is a film editing technique associated with the continuity editing system, it is based on the premise that the audience will want to see what the character on screen is seeing.

Graphic Match
A graphic match is a cut in film editing between either two different objects, two different space or two different compositions in  which objects in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically.

Action Match
An action match (match on action) refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action.

Jump Cut
A cut in movie editing that represents a momentary omission in a continuous shot, creating and effect of discontinuity or acceleration.

Crosscutting
Crosscutting is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a crosscut the camera will cut away from one action to another action which can suggest the simultaneity of these two actions but this is no always the case.

Parallel Editing
Parallel editing is a technique whereby cutting occurs between two or more related actions occurring at the same time i two separate locations or different points in time.

Cutaway
A cutaway shot is the interruption of a continuously filmed action by inserting a view of something else. It is usually followed by a cut back to the first shot, when the cutaway avoids a jump cut.

Insert

An insert shot is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts core action already covered from the master shot but emphasise a different aspect of that action due to the different framing.

Other transitions 

Dissolve
an act or instance of moving gradually from one image or scene in a film to another.

Fade-in

an image is made to appear gradually.

Fade-out

an image is made to disappear gradually.

Wipe

which an existing picture seems to be wiped out by a new one.

Superimposition 

to put one image on top of another so that both can be seen

Long take 

an uninterrupted shot in a film which lasts much longer than the conventional editing pace, usually lasting several minutes 

Camera shots

Establishing shot
sets up/establishes the context for a scene by showing the relationship between its important figures and objects.

Master shot
film recording of a dramatised scene from start to finish from an angle that keeps all the players in view. 

Close-up
Where the camera tightly frames a person or objects features

Mid-shot
A shot taken at a medium distance

Long shot
Shows the entire object or human figure

Wide shot
Camera is positioned to observe the most action in the performance

Two-shot
Two people can be seen together

Aerial shot
Shot taken from a height such as a plane,helicopter or a person on top of a building

Point of view shot
Shows what the character can see

Over the shoulder shot 
Shot of someone or something taken from the perspective or camera angle from the shoulder of another person.   

Angle

High angle

When the camera looks down on the subject

Low angle
Camera is positioned low on the vertical axis, a low angle is anywhere below eye line looking up.

Canted angle
A camera angle that is deliberately slanted to one side.

Sound

Diegetic and Non-Diegetic sound
Diegetic is the sound that is heard in the scene and non-diegetic is the opposite.

Synchronous/asynchronous sound
Synchronous is occurring or existing at the same time and asynchronous is the opposite.

Sound effects
A sound other than speech or music made artificially for use in a play, film, or other broadcast production.

Sound Motif
Is a short musical idea.

Sound Bridge
Sound bridges are one of the most common transitions in the continuity editing style, one that stresses the connection between both scenes since their mood (suggested by the music) is still the same.

Dialogue 
The words that are being said from the people in the scene

Voiceover
A voice that tells you what is going on in the scene.

Mode of address/ direct address
Modes of address can be defined as the ways in which relations between addresser and addressee are constructed in a text.

Sound Mixing
In sound recording and reproduction, audio mixing or mixdown is the process by which multiple recorded sounds are combined into one or more channels, for instance 2-channel stereo.

Sound perspective
Sound perspective refers to the apparent distance of a sound. Clues to the distance of the source include the volume of the sound and the balance with other sounds, the frequency range (high frequencies may be lost at a distance), and the amount of echo and reverberation.

Soundtrack
The music accompanies a film.

Score
Notation used by musicians.

Incidental Music
Incidental music is music in a play, television program, radio program, video game, film or some other form not primarily musical.

Themes and Stings
sting is a short musical phrase, primarily used in broadcasting and films as a form of punctuation. Theme music is a piece that is often written specifically for a radio programtelevision programvideo game or movie, and usually played during the intro, during title sequence and/or ending credits.

Ambient Sound
Ambient music is a genre of music and includes forms of music that put an emphasis on tone and atmosphere over traditional musical structure or rhythm.

Mise-en-Scene


Product Design
Overall look of a filmed event and it is one of the key creative roles in the creation if motion pictures and television. 

Location
In media, the locations are the areas in which filming goes on and film sets are shot.

Studio
The studio is an alternative name for a film or television production company.

Set costume Design
The setting of a scene and the objects (props) visible in a scene. Set design can be used to amplify character emotion or the dominant mood, which has physical, social, psychological, emotional, economic and cultural significance in film.

Costume and Make up
Costume simply refers to the clothes that characters wear. Using certain colors or designs, costumes in narrative cinema are used to signify characters or to make clear distinctions between characters. And the Make up establishes the time period, reveal character traits and signal changes in character.

Properties

Lighting
The intensity, direction, and quality of lighting can influence an audience’s understanding of characters, actions, themes and mood.

Colour Design
Early films were shot in black and white but the cinema soon included color images. These images were initially painted or stencilled onto the film but by the 1930s filmmakers were able to include colour sequences in their films. Apart from the added realism or glamor that a color image could provide, colour is also used to create aesthetic patterns and to establish character or emotion in narrative cinema.

Monday, 12 January 2015

Year 12 Media Studies Exam

50% of your final AS grade will come from a single examination in summer 2012. 


There are two sections to this paper:

Section A: Textual Analysis and Representation (50 marks)
Section B: Institutions and Audiences (50 marks) 

The purpose of this exam is two-fold:

first to assess your media textual analysis skills and your understanding of the concept of representation using a short unseen moving image extract (AO1, AO2);

second to assess your knowledge and understanding of media institutions and their production processes, distribution strategies, use of technologies and related issues concerning audience reception and consumption of media texts (AO1, AO2):

The examination is two hours long(including 30 minutes for viewing and making notes on the moving image extract) and you will have to answer two compulsory questions. 

The unit is marked out of a total of 100, with each question marked out of 50


Section A: Textual Analysis and Representation 


You will be shown 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. You will be asked to link this analysis with a discussion of some aspect of representation within the sequence.


We will start preparing for this part of the examination in January using a range of examples from British television drama. We will learn how to undertake a textual analysis of the following technical areas of moving image language and conventions in relation to the unseen extract you will get in the exam: 
  1. Camera Angle, Shot, Movement and Composition

  • Mise-en-Scène 
  • Editing 
  • Sound
  •  Section B: Institutions and Audiences

    One compulsory question to be answered by candidates based upon a case study of the film industry.

    The exam board explanation of what should be covered are in italics below:

    Through specific case studies of the centre’s choice, candidates should be prepared to demonstrate understanding of contemporary institutional processes of production, distribution, marketing and exchange/exhibition at a local, national or international level as well as British audiences’ reception and consumption. There should also be some emphasis on the students’ own experiences of being audiences of a particular medium. 
    Some of you seemed a little unclear about what you have to learn in preparation for this part of the exam. Here is a breakdown:


    In the exam, you need to understand and be able to discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions in the film industry. 

    You also need to understand and be able to discuss the nature of audience consumption and the relationship between audiences and institutions in the film industry.
    You have to show knowledge of:


    • the issues raised by media ownership the importance of cross media convergence and synergy, in production, distribution and marketing of films
    • the technologies that have been introduced in recent years at the levels of production, marketing and exchange in the film industry
    • the significance of proliferation in hardware and content for institutions and audiences
    • the importance of technological convergence for institutions and audiences
    • the issues raised in the targeting of national and local audiences (specifically, British) by international and global institutions
    • the ways in which your own experiences of media consumption illustrate wider patterns and trends of audience behaviour.