Here's the Spooks clip with the shot types marked on. Beware, they're my interpretation so my high angle reaction shot may be anothers crane POV. Also a shot counter shot has been included but this is more an editing technique. So soz.
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Learning and knowing all these terms is the minimum preparation you should be doing - the minimum!
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.
Sonic flashback - Sound from one diegetic time is heard over images from a later time
Sound bridge - Sound bridges can lead in or out of a scene. They can occur at the beginning of one scene when the sound from the previous scene carries over briefly before the sound from the new scene begins. Alternatively, they can occur at the end of a scene, when the sound from the next scene is heard before the image appears on the screen.
Ambient Sound - the normal sound which exists in a particular scene or location eg. traffic noise, bird song and crowd chatter. Ambient sound can exist in any location.
Character Theme - the part of a soundtrack which is associated with a particular character.
Contrapuntal sound - a term which refers to sound which does not seem to ‘fit’ with the scene or images you are watching.
Empathetic Sound – sound effects or music that match the mood and rhythm of the actions on screen
Non-diegetic - sound which does not exist within the story of the film, but is put onto the film in post-production.
Sound motif - A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film.
Voice-over: a commentary or narrative guide, only heard by the audience of the film and not the other characters, which describes and comments on events portrayed in a film
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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http://www.capitalnewyork.com/article/culture/2012/06/6007279/very-white-poetry-mad-men
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This is a really good look at Mise-en-scene. It includes the framing of the characters within the scene, which is always important, but is very closely linked with the camerawork micro-element so make sure you always mention the shot type when describing the framing.
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http://wwwmcc.murdoch.edu.au/ReadingRoom/Douglas/FRONTMAT.HTM
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The use of intense close ups increases the audience involvement with the characters, and immediately suggests the intensity of their drama, and connotes tension, conflict and narrative thrust.
He is talking to a young, woman. She has short, blonde hair with intelligent, sharp eyes, representing her dynamic and maybe ruthless but feminine character. The next shot is a close up of a man in agony – low lighting, dark colours and an inconclusive background.
An exterior two-shot follows of two men in suits. The one on the right has power, suggested by his tie and authoritarian voice. He is suggesting to the younger man that anyone who falls into the hands of the captors will be tortured. The younger man clearly has to try to ‘save’ the tortured man we briefly saw.
A low angle interior shot of a large empty, pillared office suggests the man walking towards the other man has power, and is able to negotiate. It intentially reminds the viewer of a gun fight set up from a Western, but the weapons are words. The building suggests a neutral, lonely location where conversations will not be overheard. This connotes a meeting with an enemy agent of some kind.
Big close ups of the two men negotiating suggest they have equal power. The American at camera left is older and represents power derived from superior information and surveillance operations.
Cut to the next shot the young woman is holding a mobile and walking in a flurry of movement within the frame, creating a sense of urgency and representing an active, dynamic person who is getting on with the narrative.
The shot is shadowy and suggests repressed power, dynamic action, a person who is ready for anything. The shot is held and we see that she is being followed by a shady but innocuous looking character in a shirt and cotton casual jacket, who is clearly spying on her. Their activities are explored in a split screen two-shot.
He is coming towards camera, and she is going away from the camera- he is therefore denoted as being in the ascendance. Non diegetic spooky, dramatic music suggests deceit, treachery and imminent danger.
Cut to the the first main character picking up a mobile phone; the message is he has a meeting with the adversary in one hour. He is represented as calm, in control, alert and capable. The audience connotates that all is going to be well for our hero.
Cut to exterior shot of a fast, expensive, latest model BMW car connotating power, and a modern hi tech set up. Inside the car, in a tight two-shot, an American character pulls a gun and makes demands. He is in the dominant position, screen right in full face big close up.
Cut to a low angle shot from below a large board-room table. Three men in shirt sleeves and a woman clearly in distress sit around the table– a high tech screen behind them indicates a type of control room.
The camera zooms in to a mid close up of the older boss, who indicates that his adversary’s agents will be killed. Our sympathies lie with the main character, the younger white man, but he is shown in shadows, suggesting a trap, worry and lack of control – in contrast to how we saw him at the beginning. This is the Todorovian conceit essential to TV drama – the disequilibrium.
Good article on how reality TV attempts to manipulate the audience.
Even though the focus of this clip is editing in reality TV it's worth watching to highlight the power of editing - which is often the micro-element that is overlooked in many responses in the exam. Representations of characters/people can be drastically altered by the editing choices - just by the order and length of the clips.
Have a sneaky peak here at cracking response.
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Click here to access the excellent Beauchamp College Media Blog. The post you'll find has a list of clips that you can practice on, each from a different one of the representational areas.
<p>Summer 2010 OCR Media Studies Extract from N Tennear on Vimeo.</p>
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