The Basics
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 the 2 sections of the exam is:
Section A
to assess your media textual analysis skills and your understanding of the concept of representation using a short unseen moving image extract (AO1, AO2);
Section B
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 (including 30 minutes for viewing and making notes on the moving image extract) and you will be required to answer two compulsory questions.
The unit is marked out of a total of 100, with each question marked out of 50.
Section A
You will be asked to link this analysis with a discussion of some aspect of representation within the sequence.
The unseen moving image extract will be four to five minutes long and will be from a television drama.
The sequence will be taken from a contemporary one-off drama or series or serial drama programme scheduled on British television stations including some sourced from other countries.
You will be prepared for this part of the examination using a range of examples from texts from the genre stated above.
You will be expected to analyse the extract through an exploration of how the 4 codes below are used
- Camerawork (Camera Angle, Shot, Movement and Composition)
- Mise-en-Scène
- Editing
- Sound
Media Terminology
In order to be able to analyse the extract effectively you must have a clear understanding of what the following terms mean in relation to each of the codes:
Camera Shots, Angle, Movement and Composition
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)
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 Angle (or oblique)
Camera angle that makes what is shot appear to be skewed or tilted.
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.
Steadicam
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
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 continuous 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.
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.
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. (see Cross Cutting)
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.
Mise-en-scene
All of the elements placed in front of the camera to be photographed; the settings and props, lighting, costume, make-up and figure behaviour.
Location
The particular place and time created in the frame.
Set
The surroundings where the action will unfold; usually the stage, including integral design features.
Studio/set design
The overall design concept present in the frame, relating to the set.
Costume
A style or fashion of dress, especially that of a particular place, time or class. Also hair and make-up.
Properties - (props)
Movable objects used in the construction of the mise-en-scene.
Positioning
Of characters and objects within the frame.
Body language
How characters behave physically including their facial expressions.
Production Design
Utilised to create characteristics within a mise-en-scene reflective of a certain historical period.
Colour design
The style and combination of colours used in generating the mise-en-scene.
Lighting
High key lighting: illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light.
Low key lighting: illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light.
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