G322 TV Drama - GLOSSARY

CAMERAWORK

Shots Establishing shot/ Extreme Long shot Establishes the location of the action Long Shot A shot that captures most, if not all, of the object; e.g. a whole person. Mid shot A medium length shot Two shot 2 people in the frame – shows the proximity of one character to the next. Close up Close up of the object – one use is to show full face of character for emotions Extreme close up Very close to the object; e.g. a person’s eyes Over shoulder shot A shot taken from over a character’s shoulder so the viewer sees what the character sees; used a lot in conversation. Wide shot Using a wide lens

Framing Viewpoint The position of the camera, this is an important point for representation: our view of something is mediated by the location of the camera. Point of view The gaze of the audience mediated through the camera. In other words, we see what the character sees. This is another important point for representation: our view of the action is seen as though through the eyes of another. Depth of field/ selective focus Depth of field relates to which aspects of the scene are sharp and in focus and which aren’t. This is especially important for foregrounding and back-grounding particular people or elements of the scene. In terms of representation, what is the view being made to think is important? Rule of thirds In film-making, imagine the frame is split into 9 equal sections (3 lines vertically and 3 lines horizontally). Important elements of the frame should be placed where the lines meet or along these lines. Focus PullsAdjusting the focus without breaking the cut; this draws the viewers’ attention from one aspect of the frame to another.

Angles Bird’s eye As though you are looking down directly from above at roof tops and peoples’ heads. Not to be confused with high angle. High angle A shot taken from a high location looking down onto the action or characters. The view has the effect of making the characters seem smaller and often weaker.

Eye level A camera angle at eye level of the characters – shows equality between the characters. It can expresses tension, love, intimacy etc if combined with close ups. Low angle Opposite to high angle, the camera is in a low position and makes the objects in the frame look imposing and powerful. Worm’s eye A shot that looks as though the camera is in the ground. Reverse angle A shot that views the action from the other side of the previous shot, as though the cameras are facing each other. This breaks the 180 degree rule which requires the camera to stay on one side of an imagined line and view the action as though it was on stage. Tilted angle What is says on the tin: the camera is tilted to show a lack of balance.

Camera movements Zoom Zooming in so the objects becoming bigger in size. Reverse zoom Otherwise called zooming out, the object becomes smaller in size. Follow The camera literally follows the subject Pan The camera, in a static location, moves left and right. TiltThe camera moves from horizontal to vertical, as if the ground is moving.CrabAt the same height, the camera moves left and right like a crab. Tracking (dollying) The camera is mounted on tracks on which it moves; this provides a very steady shot as the camera moves.

EDITING Bridging shot A shot (cut) used to cover a break in time, or other break in continuity. Continuity of motion The flow of action from one shot to the next as it is placed on the screen at the cut point. Placing the significant action at the end of a shot in the same area of the screen where the significant action will begin in the next shot. Cross-cut/ Parallel action The intercutting of shots from two or more scenes so the fragments of each scene will be presented to the viewer’s attention alternately. Dissolve A gradual scene transition: the editor overlaps the end of one shot with the beginning of the next one. Dissolves often signify the end of one event and the beginning of another. Eye-line match The matching of eye-lines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity. Fade A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. It is often used to indicate a change in time and place. Cross fade Where the new image fades over the previous image before the previous image disappears completely. Used to show the transition of place and sometimes time. Iris Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films. Jump cut - A cut which breaks the continuity of time by jumping forward from one part of an action to another. Leaves out part of the action Matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action. Montage 1) the juxtaposition of seemingly unrelated shots or scenes which, when combined, achieve meaning 2) a series of related shots which lead the viewer to a desired conclusion. Relational editing Editing of shots to suggest association of ideas between them. Sequence A series of shots or scenes which has a beginning, middle and end (like a chapter in a book).Sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing. Shot reverse shot cutting Usually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking. Wipe Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.

MISE-EN-SCENE Bascially, mise-en-scene is anything that you can see on the screen. The mise-en-scene is, of course, mediated and manipulated by camera angles, editing and sound.

Setting On location Sequences that are filmed at a particular location as opposed to in the studio. This perhaps adds to authenticity but does not mean that the representation is authentic – the scenes on location are mediated by camera angles, lighting etc. Studio Filmed in a studio. In terms of representation, the world has had to be created for recording. You need to ask yourself, whose perception and image is it of what the world in the studio should be like?

Colour Colours are very important in the location and in mise-en-scene as a whole. What colours are used, what are their connotations?

Codes and conventions Does the location and the mise-en-scene meet or challenge the expected ideals?

Symbolism Things in the scene which has a greater significance or importance; e.g. a large knife used by a character, a crucifix etc

Ideology Does the setting construct or, in fact, reconstruct a set of dominant values? For example, Little Britain reflects a dominant ideology in society when it reconstructs its reality surrounding the “chav” Vicky Pollard by meeting society’s expectations. She is presented in parks drinking cider, having many children and hanging around in undesirable locations. Ask yourself whether the ideology here is in some way reflective of society or critical of it.

Actors, costume and make-up Image What representations are being constructed by the image of the actors, consider their clothing, status, behaviour, job etc Colour An important aspect of costume, what colours are the characters being associated with and why? Actors Who are the actors? Do they have any appeal outside of the film? Are they presented as belonging to the setting or contrasted against it?

Lighting Light and shadow You need to ask yourself what is presented in the light and is clearly visible and what is in the shadows. The significance here might be that those things in the shadows are not supposed to be revealed immediately or it may be that those people in the shadows are representations of marginalised members of society. Think of The Merchant of Venice, Antonio would be in the light whereas Shylock (the marginalised Jew) would be in the shadows. Ambient light/Available light This refers to the light that is available to the film maker as opposed to artificial light. Filter A filter may be used to give the light a particular tint. Look at the film Nosferatu for an early example of a light filter being used (in this case, blue).

SOUND Diegetic sound This is sound which belongs to the world of the film; this is the sound the characters in the film would be able to hear. For example, a dripping tap, a conversation, music in a dance hall etc. Non-diegetic sound This is sound which exists outside of the film. For example, a voice over, an orchestra playing at the moment 2 lovers eyes meet across a table, a narrator or voice over etc Parallel Parallel sound matches the image on the screen. For example, the Friends theme tune which is up-beat and lively matches the image on the screen of young people. Contrapuntal This is sound which acts in contrast to the image on the screen. An exaggerated example would be a slow romantic tune at the point of a murder on screen. This is used to challenge the audience’s expectations. Music Music is very important, both diegetic and non-diegetic for creating atmosphere. Consider the tone, pace, pitch etc of the music and its relation to what you showing on screen. Sound effects Manipulated sounds – are any sound effects used? Language Consider the language of the actors in the scene. Do they speak formally or informally? Do they have an accent? Do they swear? Are they loud or quiet? Silence Silence can be used to create a heightened sense of tension or even to create moments of intimacy. How silence is used depends very much with what is on screen. If silence is used, ask yourself why.