.....................My Mark......Mr Shaikh Mark
Analysis..........9/20.................12/20
Examples.......8/20.................11/20
terminology....5/10.................. 5/10
TOTAL.........22/50................28/50
Targets
- Learn sound and music terms
- Separate each of the 4 areas, don't write chronologically
- Use more examples to explain
- spread notes out more
Sunday, 1 March 2009
Monday, 12 January 2009
Crime Drama Factfile
There are a numerous about of properties that are easily identifiable in a crime drama. For example, in most tv dramas, including crime, you will see a main story line with several smaller ones along side it. In a crime drama, you may have a big murder as the main story then several smaller stories, such as arrests.
Crime dramas also focus on the criminal justice system, lawyers versus courts, social workers versus the police and victims versus the public
stereotypical characters
- police men and women, male more dominant
- victims are most often older
- characters are easily identifiable
Crime dramas also focus on the criminal justice system, lawyers versus courts, social workers versus the police and victims versus the public
stereotypical characters
- police men and women, male more dominant
- victims are most often older
- characters are easily identifiable
Wednesday, 10 December 2008
Discuss the ways in which the extract creates representations of gender and lifestyle
The scene begins with a long shot of a low lit room. Throughout the scene, this shot is constantly referred back to; this is called the master shot. Everyone in the room is wearing dark clothing which instantly makes us think that it’s a wake of some sort. The shot is almost like a point of view shot, allowing us to see Bernadette centrally framed. The Irish music begins the representation of the Irish, which is then continued when the dialogue begins.
The camera then jump cuts to a low angled, long shot of the 3 main characters where dialogue is exchanged. Throughout this shot, Bernadette is constantly in view of the camera as she dances across in front of it. This emphasises her need to be in the centre of attention. The camera then pans around the musicians as the dancing and enjoyment continues. A jump cut is then used to a two-shot of the characters, one of which is holding a beer and an erne. This confirms the assumption of the wake and represents the Irish way of giving people “a good send off.” The master shot is then used as the dance comes to and end and the characters all clap and cheer. A medium, close-up of Bernadette is used to give us a proper view of the character they are portraying. Her blonde curls contrast with the low lit room and dark clothes that everyone else is wearing. Her red bra is showing and her dress is very revealing. This could be classified as stereotyping her as a possible “slut” type of girl. A low angled shot is then used, in between two other characters, showing us a view of the band as they begin playing the next Irish jig, natural lighting is used through the window.
The camera begins to show more of peoples facial expressions [panning and jump cuts]; from this we can see their faces slowly drop. This creates enigma as we do not know what everyone’s attention has been captured by. A flat note is played by the musician, which synchronises with the shocked expression on the mothers face. The camera then pans and the diagetic noises are hear but the comments from people are amplified, to emphasis them. A close-up side shot of the 3 characters on the sofa is then used before the mother says “Francis”.
The master shot is then referred back to, to show the viewer what everyone is stunned at. At this point the diagetic noise is gone and all we can hear is amplified ambience. The enigma created, is then explained by a long shot of Chris, centrally framed in the master shot. Chris is wearing a white outfit, similar to what Kylie Minogue has worn. This forms contrasts to the rest of the room. Chris’s action is expressed by wearing woman’s clothing and make-up, before ‘coming out’ to everyone present at his fathers wake. During Chris’ speech, Nana faints. However, we do not know for sure that she has fainted, until we hear he amplified noise of Nana falling, the ‘thud’ noise, and the smashing of her glass.
The camera then jump cuts to a low angled, long shot of the 3 main characters where dialogue is exchanged. Throughout this shot, Bernadette is constantly in view of the camera as she dances across in front of it. This emphasises her need to be in the centre of attention. The camera then pans around the musicians as the dancing and enjoyment continues. A jump cut is then used to a two-shot of the characters, one of which is holding a beer and an erne. This confirms the assumption of the wake and represents the Irish way of giving people “a good send off.” The master shot is then used as the dance comes to and end and the characters all clap and cheer. A medium, close-up of Bernadette is used to give us a proper view of the character they are portraying. Her blonde curls contrast with the low lit room and dark clothes that everyone else is wearing. Her red bra is showing and her dress is very revealing. This could be classified as stereotyping her as a possible “slut” type of girl. A low angled shot is then used, in between two other characters, showing us a view of the band as they begin playing the next Irish jig, natural lighting is used through the window.
The camera begins to show more of peoples facial expressions [panning and jump cuts]; from this we can see their faces slowly drop. This creates enigma as we do not know what everyone’s attention has been captured by. A flat note is played by the musician, which synchronises with the shocked expression on the mothers face. The camera then pans and the diagetic noises are hear but the comments from people are amplified, to emphasis them. A close-up side shot of the 3 characters on the sofa is then used before the mother says “Francis”.
The master shot is then referred back to, to show the viewer what everyone is stunned at. At this point the diagetic noise is gone and all we can hear is amplified ambience. The enigma created, is then explained by a long shot of Chris, centrally framed in the master shot. Chris is wearing a white outfit, similar to what Kylie Minogue has worn. This forms contrasts to the rest of the room. Chris’s action is expressed by wearing woman’s clothing and make-up, before ‘coming out’ to everyone present at his fathers wake. During Chris’ speech, Nana faints. However, we do not know for sure that she has fainted, until we hear he amplified noise of Nana falling, the ‘thud’ noise, and the smashing of her glass.
Tuesday, 4 November 2008
Analysis of Camerawork, Editing & Sound/Music In Scrubs
This excerpt begins with a zoomed tracking of JD’s feet as he walks though the hospital corridor. At this point we can hear the diegetic sound of the footsteps. The camera then jumps cuts to a medium two shot as JD and another doctor has a conversation. Dr. Cox then appears behind the characters and the camera zooms into an over-the-shoulder shot of Dr. Cox. We then see shot reverse shot used to show the point of view of Dr. Cox and JD. Dr. Cox’s expression is showing the how he has power over the other doctors, especially JD, whereas JD’s expression is showing his boredom of what he is being told by his superior colleague.
A long shot is then used of Dr. Cox as he reveals the choir behind the curtain. This shot shows the number of choir members and emphasises how unusual having the choir is in the hospital. A medium two shot is then used to show JD and the other doctor. This is used to show the shocked expression of JD and the enjoyment that the other doctor is getting from the choir. It the again jump cuts to a long shot of Dr. Cox and the choir, this is showing his over enthusiastic dancing towards the choir. The camera then finally jumps back to a close-up of JD, as he’s not impressed. The voice of the choir continues, as all this is happening and slowly fades as the image black fades out.
The next scene begins with shallow depth of focus as Turk is in the background and another doctor in the foreground. The conversation is only short and as the one line conversation is exchanged, one guitar chord is played; this is used to show the emotion of Turk as he gets up and leaves. The music then starts and is very up-tempo to match the pace of action. A medium shot, zoomed tilt is used as Turk begins dancing along to the music. Over-the-shoulder shot is then used from behind Turk, to show the amazed expression from the three doctors present. The camera then cuts back to a long shot of Turk to show his dancing and singing. A medium two shot is the used to show two of the doctors as they do a hand gesture to each other to show their appreciation of Turks performance. The music is continuously heard and then it fades out black.
The next scene starts with a medium close-up as Turk is leaving the hospital with an excited expression on his face of finding someone’s briefcase. It then jump cuts to the point of view of Turk looking outside to show the kung fu doctors. The kung fu fighting music starts and the action is slightly slow mo. The camera then jumps back to Turk in shallow depth of focus. This emphasise Turks shocked yet confused expression on his face. A medium close-up is used as another doctor joins Turk to help with his kung fu fight. As all this is happening the kung fu music is still heard to keep the atmosphere the same. The camera then cuts back and forth from a medium shot of Turk and the doctor to a long shot of the kung fu doctors. A point of view shot is then used as Turks foot is ‘flying’ towards a kung fu doctor. It is like the camera is placed on Turks foot. It then cuts to Turk landing on the ground. This is match on action. Sound effects, like punching noise, are added onto the scene as the fight is going on. It is edited so the punches match the action. The camera then zooms to show the angry expression that is on Turks face. During this fighting scene, lots of ariel shots are used as this shows the number of kung fu doctors and the fighting moves that are used my Turk. The camera then jumps to a long shot of the other doctor. At this point, lots of match on action is used. An over the shoulder side shot of the doctor is used in shallow depth of focus, this is also showing the number of kung fu doctor that are approaching him. The doctor then jumps and swings on a bar, there is a close-up of his hands which shows the smoothness of his move. All throughout this kung fu scene, there are multiple ariel and medium shots used so show the action which is taking place, all through this time the kung fu music is continuously played, which is synchronous by matching the pace of action. As the scene comes to the end, the diegetic noises of people in pain are heard and the sound effect of punching is also added.
A long shot is then used of Dr. Cox as he reveals the choir behind the curtain. This shot shows the number of choir members and emphasises how unusual having the choir is in the hospital. A medium two shot is then used to show JD and the other doctor. This is used to show the shocked expression of JD and the enjoyment that the other doctor is getting from the choir. It the again jump cuts to a long shot of Dr. Cox and the choir, this is showing his over enthusiastic dancing towards the choir. The camera then finally jumps back to a close-up of JD, as he’s not impressed. The voice of the choir continues, as all this is happening and slowly fades as the image black fades out.
The next scene begins with shallow depth of focus as Turk is in the background and another doctor in the foreground. The conversation is only short and as the one line conversation is exchanged, one guitar chord is played; this is used to show the emotion of Turk as he gets up and leaves. The music then starts and is very up-tempo to match the pace of action. A medium shot, zoomed tilt is used as Turk begins dancing along to the music. Over-the-shoulder shot is then used from behind Turk, to show the amazed expression from the three doctors present. The camera then cuts back to a long shot of Turk to show his dancing and singing. A medium two shot is the used to show two of the doctors as they do a hand gesture to each other to show their appreciation of Turks performance. The music is continuously heard and then it fades out black.
The next scene starts with a medium close-up as Turk is leaving the hospital with an excited expression on his face of finding someone’s briefcase. It then jump cuts to the point of view of Turk looking outside to show the kung fu doctors. The kung fu fighting music starts and the action is slightly slow mo. The camera then jumps back to Turk in shallow depth of focus. This emphasise Turks shocked yet confused expression on his face. A medium close-up is used as another doctor joins Turk to help with his kung fu fight. As all this is happening the kung fu music is still heard to keep the atmosphere the same. The camera then cuts back and forth from a medium shot of Turk and the doctor to a long shot of the kung fu doctors. A point of view shot is then used as Turks foot is ‘flying’ towards a kung fu doctor. It is like the camera is placed on Turks foot. It then cuts to Turk landing on the ground. This is match on action. Sound effects, like punching noise, are added onto the scene as the fight is going on. It is edited so the punches match the action. The camera then zooms to show the angry expression that is on Turks face. During this fighting scene, lots of ariel shots are used as this shows the number of kung fu doctors and the fighting moves that are used my Turk. The camera then jumps to a long shot of the other doctor. At this point, lots of match on action is used. An over the shoulder side shot of the doctor is used in shallow depth of focus, this is also showing the number of kung fu doctor that are approaching him. The doctor then jumps and swings on a bar, there is a close-up of his hands which shows the smoothness of his move. All throughout this kung fu scene, there are multiple ariel and medium shots used so show the action which is taking place, all through this time the kung fu music is continuously played, which is synchronous by matching the pace of action. As the scene comes to the end, the diegetic noises of people in pain are heard and the sound effect of punching is also added.
Monday, 20 October 2008
Identify How Sound And Music Techniques Are Used In The 'Hollyoaks' Clip
This excerpt is set in a woodland scene. The scene begins with Max seeing his son, Tom’s, jacket in the middle of the lake. Max rushes down to the lake and at this point we hear diagetic sounds of birds and rustling leaves. As a close-up is used on Max’s face, to emphasise the panicking look on his face, non-diagetic sounds are added. These sounds are trumpets which are used to explain the emotion which Max is feeling as well as adding to the eerie atmosphere. Dialogue is also used as Max yells out “Tom!”
All sounds then cut out as Max jumps into the water after Tom’s jacket. The sounds we can then hear are sound perspective. We hear Max as he jumps into the water, the splash, and then we also only hear bubbles as he moves around in the water. As Max surfaces and Claire appears, Claire’s music motif then begins to play. Her motif is very evil and scary sounding, this displays her characteristics. The motif continues to play as Max wriggles in the water; from this we also hear the water motions. This is done using sound mixing and sound perspective, as we hear the water from Max’s position.
The motif then stops and all you can here is the ambience sounds of the birds is all you can hear other than dialogue. The camera then cuts to Tom in the car behind Claire and sound perspective is used for Claire, as Tom bangs on the window and screams. This is muffled as it would not be perfectly clear to the characters on the outside of the car. All the sounds and music stop as a few lines of dialogue is exchanged.
Slow synchronous music is then used to show the pace and emotion of the scene. Max then begins to fall under the water further as another character appears; OB. The entire ambience is gone as the synchronous music continues. OB then screams for Max and Claire tries to cover up her story. OB then pushes Claire out the way and continues running towards the lake to save Max. This music then continues to the end of the clip as OB tries to save Max.
All sounds then cut out as Max jumps into the water after Tom’s jacket. The sounds we can then hear are sound perspective. We hear Max as he jumps into the water, the splash, and then we also only hear bubbles as he moves around in the water. As Max surfaces and Claire appears, Claire’s music motif then begins to play. Her motif is very evil and scary sounding, this displays her characteristics. The motif continues to play as Max wriggles in the water; from this we also hear the water motions. This is done using sound mixing and sound perspective, as we hear the water from Max’s position.
The motif then stops and all you can here is the ambience sounds of the birds is all you can hear other than dialogue. The camera then cuts to Tom in the car behind Claire and sound perspective is used for Claire, as Tom bangs on the window and screams. This is muffled as it would not be perfectly clear to the characters on the outside of the car. All the sounds and music stop as a few lines of dialogue is exchanged.
Slow synchronous music is then used to show the pace and emotion of the scene. Max then begins to fall under the water further as another character appears; OB. The entire ambience is gone as the synchronous music continues. OB then screams for Max and Claire tries to cover up her story. OB then pushes Claire out the way and continues running towards the lake to save Max. This music then continues to the end of the clip as OB tries to save Max.
Monday, 13 October 2008
Explain How Camerawork & Editing Are Used In This Excerpt of "Shameless"
Series 1
Episode 5
37-41minutes
The main part of this scene is a fight between Lip and his dad, Frank. Lip has just found out that his girlfriend, Karen, slept with Frank. However, Karen’s mum, Shelia – who is dating frank, doesn’t know.
The scene begins with a point of view shot from inside a car. From this shot, we can see Frank walking down a road. We then move out of the car to a centrally framed, tracking shot of Frank. The shot then cuts to round the corner and the camera pans, watching Frank, as he walks along the road. The car from before then comes into view. There is then an eye-line match. Frank looks at the car and then the car is shown. Frank then moves out the way before the car swerves and hit another car, at this point a medium shot is used of the car, followed by a low angled shot from under the car.
The shot then cuts to Karen and Shelia inside a local house. There is a close-up of Shelia’s face as she peeps through the curtain to see Lip and Frank starting a fight. This is awkward for Karen as her mother is unaware of the situation. There is then a close-up of Karen as her facial expression shows her panic and upset she is experiencing. As the two characters are exchanging conversation, the 180° rule is used. The camera then cuts back onto Frank and Lip as they begin to fight. Match on action is then used as Lip throws a punch at frank. The camera shows Franks face with Lips fist going towards him, then swaps to show Lips face as he punches Frank. At this point the camera is hand held; this shows the roughness of the fight.
The camera then cuts back to Karen in her room. A fish eye effect is used to show distress, as well as using a hand held camera. A cut is used to view Shelia as she opens the front door to go and help the fight. At this point, as the door opens a white fade out is used. This fades to show the fight outside. A few more match on action shots are used as the fight continues for a little while. The fight is then broken up by a local. A worm’s eye view is used as this happens. There is a close up of Frank to emphasise the injuries that he has, before cutting to a medium shot of Lip and the character who pulled him off Frank. Another character then walks with Frank back to the house, at this point a medium two shot is used.
In the house, the first shot used is an extreme close up of Franks face to show the blood and wounds that he’s got. This is then turned into a reverse zoom so reveal the rest of the surroundings. We can then see Shelia comforting Frank. This then cuts away to show Karen stood at the end of the sofa, where Frank is laying. This is a close up shot to show her upset emotion and look of worry as her mother and Frank are talking. A two shot close up is used to show Frank and Shelia as Shelia is comforting Frank and giving him sympathy. This is to emphasis the relationship between the two of them. It then cuts to a master shot from behind Shelia and Frank to show the whole room, including Karen. This shot is a low-angled, wide shot and is repeatedly used throughout the next minute or so. An eye-line match is used as it cuts to Frank, showing where he is looking, and then showing Karen as his view point.
Episode 5
37-41minutes
The main part of this scene is a fight between Lip and his dad, Frank. Lip has just found out that his girlfriend, Karen, slept with Frank. However, Karen’s mum, Shelia – who is dating frank, doesn’t know.
The scene begins with a point of view shot from inside a car. From this shot, we can see Frank walking down a road. We then move out of the car to a centrally framed, tracking shot of Frank. The shot then cuts to round the corner and the camera pans, watching Frank, as he walks along the road. The car from before then comes into view. There is then an eye-line match. Frank looks at the car and then the car is shown. Frank then moves out the way before the car swerves and hit another car, at this point a medium shot is used of the car, followed by a low angled shot from under the car.
The shot then cuts to Karen and Shelia inside a local house. There is a close-up of Shelia’s face as she peeps through the curtain to see Lip and Frank starting a fight. This is awkward for Karen as her mother is unaware of the situation. There is then a close-up of Karen as her facial expression shows her panic and upset she is experiencing. As the two characters are exchanging conversation, the 180° rule is used. The camera then cuts back onto Frank and Lip as they begin to fight. Match on action is then used as Lip throws a punch at frank. The camera shows Franks face with Lips fist going towards him, then swaps to show Lips face as he punches Frank. At this point the camera is hand held; this shows the roughness of the fight.
The camera then cuts back to Karen in her room. A fish eye effect is used to show distress, as well as using a hand held camera. A cut is used to view Shelia as she opens the front door to go and help the fight. At this point, as the door opens a white fade out is used. This fades to show the fight outside. A few more match on action shots are used as the fight continues for a little while. The fight is then broken up by a local. A worm’s eye view is used as this happens. There is a close up of Frank to emphasise the injuries that he has, before cutting to a medium shot of Lip and the character who pulled him off Frank. Another character then walks with Frank back to the house, at this point a medium two shot is used.
In the house, the first shot used is an extreme close up of Franks face to show the blood and wounds that he’s got. This is then turned into a reverse zoom so reveal the rest of the surroundings. We can then see Shelia comforting Frank. This then cuts away to show Karen stood at the end of the sofa, where Frank is laying. This is a close up shot to show her upset emotion and look of worry as her mother and Frank are talking. A two shot close up is used to show Frank and Shelia as Shelia is comforting Frank and giving him sympathy. This is to emphasis the relationship between the two of them. It then cuts to a master shot from behind Shelia and Frank to show the whole room, including Karen. This shot is a low-angled, wide shot and is repeatedly used throughout the next minute or so. An eye-line match is used as it cuts to Frank, showing where he is looking, and then showing Karen as his view point.
Sunday, 28 September 2008
Camera Work - Heroes Excerpt: Casino Scene
The scene begins with a close-up of the roulette wheel, this shows the setting, being a casino, and the main theme of the scene, being the roulette table. The camera then tilts and tracks forward towards the main characters. This transition is then followed by a medium two-shot; this shows how the conversation between the two characters is important. A slight zoom is then used on the chips to show the significance of them. Returning back to the two main characters, close-ups are used individually. This is used to display the emotions of the characters, one emotion being anticipation and the other being panic. A low-angle shot is then used to give the view as if you were the character. One of the main characters then begin to use his power, because of this there is a zoom up on his face, this shows the importance and the power in which he holds. A jump cut is then used to focus more on his face to show the intense concentration. The next shot used is a deep focus shot to a focus pull. This allows us to view the frozen roulette wheel then the frozen, floating ball. This shot is then repeated which represents its importance. Tracking and panning shots are then used to emphasis the special power and effects used. To finish, a two-shot close-up is used to how the main characters emotions. One character showing a shocked emotion and one character displaying a feeling of self-disappointment.
Tuesday, 23 September 2008
How Is Camerawork Used In This Excerpt of ‘Shameless’?
The excerpt begins with a high-shot of Marty. Marty is sat in a dark room by himself with nothing but street lights shining through the window. The high-shot is used to show the isolation and anxiety that his body language is displaying. This then jumps into a medium close-up. By doing this it shows the anger in Marty’s face. Marty’s mother then returns home with her new boyfriend in his car. Marty is visibly not happy.
When the car pulls up to the house, a long shot is used to establish the setting. There is then a two-shot close-up of the two characters in the car. This shows the intense conversation and flirting between the two characters. The camera then tracks the car, as it moves into a nearby alleyway, to show the significance of the characters and also takes the focus off Marty. However, the focus is soon back on Marty and a static shot is then used and as Marty rushes pass the camera, leaving the house. The urgency and determination is visible from the speed and expression on Marty’s face. He then walks briskly towards the parked car, a moving tilted shot is used to show the importance of the petrol canister that Marty is carrying. The camera view then jumps to under the vehicle. This is a low level shot and is positioned under the characters. This shot is used to show the danger that the characters in the car are facing and the threat that is approaching in the darkness.
As Marty pours the petrol all over the vehicle, the characters are shocked at this action, fling open the doors and rush out of the car. The camera then jumps to Marty again, as he produces a lighter and threatens to set the car on fire. This medium shot shows Marty’s angst, the state of mind and instability. There are then several two-shots and over-the-shoulder shots as the 3 characters argue and discuss the situation, with the lighter in constant view in the foreground to display the danger and power in which it holds.
As neighbours begin to gather, medium shots are used to show the frantic and concerned emotions of them all. A master shot is then used. This shot is used continuously through out this section of the scene to show the setting and the tense atmosphere surrounding the scene. Frank Gallagher, another main character, then comes onto the scene. He is holding a lit cigarette. After some over-the-shoulder shots, as Marty and Frank have a conversation, there is a close-up of the cigarette as Frank drops it on the ground. This shot is used to show the importance of the cigarette and adds to the narrative and tension. As fuel ignites and traces its way to the car, the boyfriend turns to face the vehicle in despair. The camera pans from the boyfriends shocked expression to the show the burning vehicle.
When the car pulls up to the house, a long shot is used to establish the setting. There is then a two-shot close-up of the two characters in the car. This shows the intense conversation and flirting between the two characters. The camera then tracks the car, as it moves into a nearby alleyway, to show the significance of the characters and also takes the focus off Marty. However, the focus is soon back on Marty and a static shot is then used and as Marty rushes pass the camera, leaving the house. The urgency and determination is visible from the speed and expression on Marty’s face. He then walks briskly towards the parked car, a moving tilted shot is used to show the importance of the petrol canister that Marty is carrying. The camera view then jumps to under the vehicle. This is a low level shot and is positioned under the characters. This shot is used to show the danger that the characters in the car are facing and the threat that is approaching in the darkness.
As Marty pours the petrol all over the vehicle, the characters are shocked at this action, fling open the doors and rush out of the car. The camera then jumps to Marty again, as he produces a lighter and threatens to set the car on fire. This medium shot shows Marty’s angst, the state of mind and instability. There are then several two-shots and over-the-shoulder shots as the 3 characters argue and discuss the situation, with the lighter in constant view in the foreground to display the danger and power in which it holds.
As neighbours begin to gather, medium shots are used to show the frantic and concerned emotions of them all. A master shot is then used. This shot is used continuously through out this section of the scene to show the setting and the tense atmosphere surrounding the scene. Frank Gallagher, another main character, then comes onto the scene. He is holding a lit cigarette. After some over-the-shoulder shots, as Marty and Frank have a conversation, there is a close-up of the cigarette as Frank drops it on the ground. This shot is used to show the importance of the cigarette and adds to the narrative and tension. As fuel ignites and traces its way to the car, the boyfriend turns to face the vehicle in despair. The camera pans from the boyfriends shocked expression to the show the burning vehicle.
TV Drama Analysis
Name of Drama - Coranation Street
Broadcaster - ITV
Time of Broadcast - 7:30pm
Camera shots, Angles, Movement and Composition - voyeristic shot, close-up and medium shots, panning, eye level shots, longshots and medium, close-ups and over the shoulder shots.
Editing(Transitions, Effects, Match on Action, Pace etc) - movement in camera to show emotion, fast editing.
Sound, Music and Dialogue -still, all dialogue, background sound-traffic
Mise en Scene(Lighting, Set Design, Costume, Props, Colour Scheme etc) - representation in clothing set is designed like reality, natural lighting
Broadcaster - ITV
Time of Broadcast - 7:30pm
Camera shots, Angles, Movement and Composition - voyeristic shot, close-up and medium shots, panning, eye level shots, longshots and medium, close-ups and over the shoulder shots.
Editing(Transitions, Effects, Match on Action, Pace etc) - movement in camera to show emotion, fast editing.
Sound, Music and Dialogue -still, all dialogue, background sound-traffic
Mise en Scene(Lighting, Set Design, Costume, Props, Colour Scheme etc) - representation in clothing set is designed like reality, natural lighting
Sunday, 21 September 2008
What Makes a TV Drama?
- Multi-narrative
- Cliff hangers
- Twists in the stories
- Characters – particular characters which are easily identifiable – simple
- Stories – they all tell stories and often end happily
- Set in familiar backdrops e.g. homes, schools, police stations – mostly studios and outside locations too
- Verisimilitude – creating a sense of reality
- Camera work – medium shots, 2shots, over the shoulder shots, voyeuristic shots, close ups
- Stories told through the dialogue
- Music that punctuates the action
- Easily identifiable sub-genre e.g. police cars in a crime drama
What Is TV Drama?
Soaps
- Hollyoaks
- Coronation Street
- Eastenders
US – Way of Life
- Ugly Betty
- Desperate Housewives
- Sex & The City
Comedy
- Scrubs
- Friends
- Big Bang Theory
Expensive
- 24
- Reaper
- Lost
- Heroes
- Skins
Genre – types
Sub Genre – types in types
Media Concepts
Media language isn’t just language, it’s lighting, framing, editing, angles, sound etc
Form and style is a structure. Dialogue, effects and editing.
Convention – ingredients that form the structure.
Signification – everything means something. Colours, outfits, location etc. The SIGNIFIER. We tend to assume all signs are agreed.
Representation – how things are shown, how we want people to see things. Perception of reality.
Audiences – target audience. Does the media create the audience, or does the audience create the media?
Creativity – Ideas from personal experience into a structure.
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