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.
Have a read of this response to a Spooks clip - it shows a good blend of terminology and an expansion of ideas from the identification of the four micro-elements. It isn't a perfect answer but is a good example of the type of writing style you should be aspiring to.
The clip starts by launching the plot with a close up of the main character. He is white, young with piercing blue eyes, dressed casually in a crew neck shirt and jacket with a quiet voice, suggesting authority, control and independence. This man takes no prisoners – you can tell by his voice, the use of close up and his sense of authority, but not by his clothing.
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.