as level tv drama 1

TV Dramas

• What is a TV Drama?

• Discuss your ideas with a partner and try to create a shared definition

Connect

G322 Media Exam

• Textual Analysis and Representation:

– Camera shots– Camera Angle– Movement and Composition– Editing– Sound– Mise-en-Scene

Discover

G322 Media Exam

• The purpose of these units is first to assess candidates’ media textual analysis skills and their understanding of the concept of representation using a short unseen moving image extract

Discover

Section A

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

Discover

Section A

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

Discover

Section A

• The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focussing on the creation of representations of specific social types, groups, events or places within the extract.

Discover

Section A

TV 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.

Discover

Exam Structure

Watching the unseen moving image extract

• You will be allowed two minutes to read the question for Section A before the extract is screened.

• The extract will be screened four times.

– First screening: watch the extract; no notes are to be made this time.– Second screening: watch the extract and make notes. • There will be a brief break for note-making.– Third and fourth screening: watch the extract and make notes

• There will be a brief break for note-making after the third and fourth screenings.

• Your notes for Section A are to be written in the answer booklet provided and must be handed in at the end of the examination.

• Rule a diagonal line through your notes afterwards.

Discover

7 KEY AREAS FOR TOPIC

• Gender• Age• Ethnicity• Sexuality• Class and status• Physical ability/disability• Regional identity

Discover

TV Dramas

• A story that is presented in a dramatic way and explores a range of genres, from soap opera to science-fiction to costume drama.

• A piece of film that engages with the issues of the day in an accessible fashion, i.e. through believable characters, through fantastic locations or plots.

MACRO and MICRO elements of film language

• MACRO -• GENRE

• NARRATIVE

• (REPRESENTATION)• MICRO –

• CINEMATOGRAPHY• SOUND• EDITING

• MISE EN SCENE• SPECIAL EFFECTS

CONVENTIONS OF TV DRAMA

• What are the CONVENTIONS of a TV Drama?

BONUS: Which do you think are the most important?

Develop

Conventions of TV Drama

Same Characters each week

ConventionalCamerawork Title Sequence

Aiming to represent reality

Same locations each week

Appeals to wide audience

Narrative based

Guess the Sub-Genre....

• http://www.youtube.com/watch?v=FWptHq1sdvI

• http://www.youtube.com/watch?v=WGF1rMyK4UA

• Now list as many TV Drama sub-genres as you can.....

Your Task

Create a new British TV Drama that conforms or challenges conventions.

Consider...• Target Audience• Viewing Time• Characters• Locations• Possible scenarios• Mise en scene• Camerawork• Sounds

Why do we watch Television Drama?

• What pleasures do spectators experience through watching TV drama?

Think about your own response to the drama you watch?

Cranford, BBC1 Dr Who, BBC1

DENOTATION AND CONNOTATION

Words and images in media texts can work on more than one level.

You will come across the terms denotation and connotation throughout your course. They are important terms for you to understand.

DENOTATION is the straight forward or common- sense meaning of a sign. Literally what is actually shown in an image.

A red rose is a flower – that is its straight forward meaning or denotation

An apple is a fruit we eat-

A lamb is a young sheep-

CONNOTATION is the extra, linked meaning that goes with any sign.

The connotations of a sign will be much more personal than the straight forward denotation because they are to do with personal ideas and feelings about it.

The connotations will not be the same for everybody.

Think about the rose…For romantics a red rose can be a symbol of love.

In Lancashire it is a symbol for the county.

It has even been a symbol for a political party.

These are all connotations or extra layers of meaning that the image carries with it.

Think about the apple…It can be a symbol of health.

It can have associated meanings of New York -“The Big Apple”.

It can even have stand for sin.

These are all connotations or extra layers of meaning that the image carries with it.

A two step content analysis of pictures. 1. Denotation. Straightforward reading

of what is in the picture.

2. Connotation. The extra, linked meanings that go with the picture.

1 :- Sky. Sand. Girl. Boy. Donkey.

2:- Beach. Seaside. Holiday. Family holiday. Traditional British holiday.

photo courtesy of photolibrary wales www.photolibrarywales.com)

Notice how other pictures can have different denotational suggestions but the same connotational suggestions.

The connotations for all of these pictures is the same as the previous one- traditional,family holidays.The bright colours, blue skies and smiling faces have connotations of happiness.photos courtesy of photolibrary wales www.photolibrarywales.com)

Creating Realism

• Why is it important for a TV Drama to create ‘REALISM’?

• How is Realism Created?

Discover

How is ‘realism’ created for.

• A hospital drama?• A police drama?• A spy drama?• A costume or historical drama?

Realism is like a ‘sandwich’ of three layers:

First level of

Realism means

selecting the

right….

Actors

Props/objects

Locations

Voices of actors/

noises on set

(diegetic sound)

Second level of realism means how the drama is filmed using….

Lighting

Use of camera

Choice of shot

Music (non-diegetic sound).

Editing.

Third level of realism:

The finished ‘product’ on TV.

The actual TV drama viewed by the audience.

And…..

Audience opinions of drama – do they ‘believe’ it?

The FIRST level of realism…………..

Actors, Props, Locations, Costume, Make Up

Question – What do we call these collectively?

MISE EN SCENE

M IS E E N S C E N E

L ig h tin g & C o lou r F ac ia l exp ress ion s an db od y lan g u ag e

C os tu m e, h a ir& m ake-u p

p os it ion in g o fch arac te rs &ob jec ts w ith in

th e fram e

THE CORE

Mise En Scene

• There are 6 Areas of MIS EN SCENE:

• Lighting• Location• Props• Costume• Make Up & Hair• Proxemics

VerisimilitudeThe ‘truth’ of the Scene and its

‘reality’

The second level of realism…………..

Camera angle, shot, movement and composition..

Question – how many types of shot can you remember?

Extreme Wide Shot (EWS)

• In the extreme wide shot, the view is so far from the subject that she isn't even visible. The point of this shot is to show the subject's surroundings.

• The EWS is often used as an "establishing shot" - the first shot of a new scene, designed to show the audience where the action is taking place.The EWS is also known as an extra long shot or extreme long shot (XLS).

Very Wide Shot (VWS)

• The very wide shot is much closer to the subject than an extreme wide shot, but still much further away than a wide shot.

• The subject is (just) visible here, but the emphasis is very much on placing her in her environment.This often works as an establishing shot, in which the audience is shown the whole setting so they can orient themselves.

Wide Shot (WS)

• Also known as a LONG SHOT.

• As with most shot types, the wide shot means different things to different people. However the wide shot seems to suffer more from varying interpretations than other types. Many people take the WS to mean something much wider than my example, i.e. what I would call a very wide shot.

Mid Shot (MS)• The MS is appropriate when the

subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters. You will often see a story begin with a MS of the reporter (providing information), followed by closer shots of interview subjects (providing reactions and emotion).As well as being a comfortable, emotionally neutral shot, the mid shot allows room for hand gestures and a bit of movement.

Medium Close Up (MCU)

• The medium closeup is half way between a mid shot and a close up. This shot shows the face more clearly, without getting uncomfortably close.

Close Up (CU)• In the closeup shot, a certain

feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise).Close-ups are obviously useful for showing detail and can also be used as a Insert Shot ( or Cut In). A close-up of a person emphasizes their emotional state. Whereas a mid-shot or wide-shot is more appropriate for delivering facts and general information, a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject's personal space and shares their feelings.

Extreme Close Up (ECU)

• The ECU gets right in and shows extreme detail.You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes.

Cutaway (CA)

• A cutaway is a shot that's usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subject's hands), or just about anything else.The cutaway is used as a "buffer" between shots (to help the editing process), or to add interest/information.

Two Shot• Two-shots are good for

establishing a relationship between subjects. If you see two sports presenters standing side by side facing the camera, you get the idea that these people are going to be the show's co-hosts. As they have equal prominence in the frame, the implication is that they will provide equal input.A two-shot could also involve movement or action. It is a good way to follow the interaction between two people without getting distracted by their surroundings.

Over the Shoulder Shot (OSS)

• Looking from behind a person at the subject, cutting off the frame just behind the ear. The person facing the subject should occupy about 1/3 of the frame.This shot helps to establish the positions of each person, and get the feel of looking at one person from the other's point of view. A variation of this shot can be a bit wider and include the shoulder of the person facing the subject.

Point-of-View Shot (POV)

• Shows a view from the subject's perspective. This shot is usually edited in such a way that it is obvious whose POV it is.

High Anglea high angle shot is usually

when the camera is located above the eyeline.

With this type of angle, the camera looks down on the subject and the point of focus often get "swallowed up" by the setting.

High angle shots also make the figure or object seem vulnerable or powerless

Low Angle• a low angle

shot is usually when the camera is located below the eyeline.

• With this type of angle, the camera looks up towards the subject

• Low angle shots also make the figure or object seem powerful

Birds Eye View The scene is shown from

directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective.

In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't.

Worms Eye View• The scene is shown

from directly below. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective.

Slanted• Also known as a

dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect.

Zoom

• An adjustment to the focal length of the camera making the it seem that we are getting closer to the subject

• Zoom

Dolly

• The camera is mounted on a trolly which travels on tracks. This allows for a very smooth movement and is mainly used for tracking shots or zooms

• Dolly

Pan

• A horizontal movement of the camera, either left of right

• Pan

Tilt

• Pointing the camera up and down (not moving the camera up and down)

• Tilt

Pedestal

• The camera moves up and down but remains level, making it different to a tilt

• Pedestal

Tracking

• Movement that stays a constant distance from the subject – can be used on a crane as well

• Tracking

Composition

Composition is how we create the shot we want in the frame

There are 5 key rules to composing a great shot:• Simplicity• Rule of Thirds• Framing• Leading Lines• Balance

Simplicity

• Don't place your primary subject against a busy or congested background. Each scene should have a single story to tell. To simplify your shot, you may need to alter the camera position, alter the size of the image, or select the right background.

Rule of Thirds

• Mentally divide your viewfinder into thirds horizontally and vertically.

• Lines of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than at the center.

• In shots of people, the main line of interest is the imaginary line going through the subject's eyes. So try to place the eyes about 1/3 from the top of the screen.

Framing

• Look for natural "frames" within your scene.• Also, beware of horizontal and vertical lines in the frame

(edges of buildings, counter tops, picture frames, and so forth). Make sure the horizontal lines are level and the vertical lines are straight up and down.

Leading Lines• Direct the viewers' eyes with leading lines. Use leading lines to

direct them to focus on the main subject of your shot.• The direction of the dominant lines in a picture has psychological

connotations.– Horizontal - serenity and inactivity. – Vertical - strength and dignity.– Diagonal - action, imbalance, insecurity. – Curved - softness or movement.

Balance

• There are two main forms of balance:• Symmetrical balance creates a formal appearance. • Asymmetrical balance creates a feeling of movement and

suggests a creative and dynamic mood. • Use the form of balance that is most appropriate for your

subject.

Cinematography Analysis

• Watch the following sequence and analyse the cinematography of the scene. Pay close attention to the shot type, the camera angle, the camera movement and what the shot makes us feel

How do we Analyse a TV Drama

– Mise-en-Scene

– Camera shots / Camera Angle / Movement and Composition

– Editing

– Sound

Discover

Editing Techniques

• Editing is how individual shots are combined in sequence to convey certain meanings. The relationships between shots themselves convey certain meanings

• Editing also serves to portray lived time in terms of film-time so that actual events that would take longer to occur in real time are truncated or reduced to fit into the film time of the typical two-hour film

Editing Techniques• Key Terminology:

– Shot Duration – How long each shot lasts

– Continuity Editing - In continuity editing everything is filmed so that the viewer thinks they are seeing continuous action. You will need to ensure that characters’ appearance, the set and the lighting (colour and direction) remain consistent from shot to shot.

– Transitions - Fades and dissolves (or ‘cross-fades’) can add to the meaning of a sequence.

– Montage - Not all editing is continuity editing. Title sequences often use ‘montage’, where the combination of contrasting images builds up meaning.

Transitions

• Dissolves can be used to provide a slow, relaxed way of linking shots eg in a ‘montage’ of different shots within an opening sequence. They can also be used in continuity editing to show that we have moved forward in time and/or space.

• Fades to black and back are usually used to show that a more significant period of time has elapsed between two sequences.

• Wipes and other unusual transitions are best avoided!

Editing Techniques

• Match on Action – A technique used in continuity editing to convey a sense of continuity between shots

• Match Cut – objects or images on the screen are matched to another similar object to show a connection between both objects

Sound

• Although film and television largely effect the audience because of what they see, sound also has a big impact on the audience.

• The music used in film is known as the soundtrack.

• It can be broken down into the following categories...

The soundtrack of a film is a very complex mix of:

• dialogue recorded on location.

• dialogue recorded after filming, and dubbed in sync with the lip movement of the actors – virtually all the dialogue on major movies is post- synched in a dubbing studio to get a very clean high definition sound.

• sound effects (FX) - these may be recorded on location and added later or they may be created for a scene such as a gun shot, the sound of a man being punched, cars crashing etc. Hollywood does these extra sound FX in a Foley studio.

The two key words you need to know when analysing film are written below.

Copy their definitions:

Diagetic Sound:

Sound or music that is recorded on set as it happens. This will include dialogue and sounds which take place within the film e.g. a door closing, gun being fired, police siren.

Non-Diagetic Sound:

Music or sound which is added to the film during the editing process. Most often, non-diagetic sound is music, which is used to create atmosphere or emotion.

EXTENSION:

What sort of instrument(s) do you think would be used to create a ‘sad’ atmosphere in film and television?

Representation

Representation

An image+ a point of view = representation

In exploring representation you need to establish....

• What view of people or issues is being conveyed to audiences?

• How far is that view conveyed?• How far are audiences positioned to take up a

preferred view?• How far do the representations challenge or

conform to dominant representations and ideologies?

Representation

• Representation refers to the construction in any medium of aspects of ‘reality’ such as people, places, objects, events, cultural identities and other abstract concepts. Such representations may be in speech or writing as well as still or moving pictures.

• A key aspect in the study of representation concern is with the way in which representations are made to seem ‘natural’.

Representation

• Media is all about taking reality (real life) and re-presenting it to an audience in a different way. This might be a re-presentation of real life e.g. BBC news, a manipulation of real life e.g. The Only Way is Essex or Made in Chelsea, or a fictional account e.g. Eastenders or Coronation Street.

• All Media has a base in reality and the way we see different events or characters can have a real impact on the way we feel about a group of people or a major issue.

Representation

• Representation plays a major role in our enjoyment of a Media text. The audience reads and decodes information in a number of ways, and this helps them to understand who a character is or what they might be feeling.

• The audience is also influenced by what they see represented on screen

• Look at the following TV characters – how do they make you feel about them?

Stereotypes

• The easiest way for the audience to relate to a character or characters is to use Stereotypes

• Stereotypes are when a character is created using a common set of ideas about a group of people. These ideas can be both positive and negative and can influence the way we view groups of people

Stereotypes

• Whenever we look at a character on screen we need to work out who they are representing. The easiest way to do this to use the letters C.A.G.E. This stands for:

• Class• Age• Gender• Ethnicity