Representation of Gender : Dr Who

Analysis of Doctor Who, June 2009 AS Examination The following notes are selected examples from the extract only.

Representation

• Martha Jones is represented as a strong woman who acts centrally to the function of the narrative and is a messenger. Martha is a confident woman and it is she who helps the Doctor defeat the Master. She is articulate and confident, yet calm under pressure. The Doctor’s success is due to her intelligent and calm actions and her role of delivering the message to the four corners of the earth.

Camera Shot, Angle and Composition

• Mid shot of female character, Martha Jones framed with two security guards behind, signifying imprisonment, or that she is held captive. In a mid shot, Martha glances to the left creating the impression that she is looking at something or someone.

• Cut to a tracking shot left to right shot of three ‘servants’ apparently under arrest, signified by the uniformed guard who is holding an armed rifle. Cut back to the framing of Martha Jones who is looking nervously ahead, the camera shot is taken from a high angle, creating a perspective of fear or not knowing.

• Cut to a mid shot of the Master, from a low angle, this suited character has a menacing appearance to him, the camera cut back to the female as she then looks right, signify continual awareness of what is around her. Cut to an a blackened faced man who is also held captive (Captain Jack) who has ‘been in the wars’.

• There is the use of gradual zooms in this sequence of shots to signify the movement of the character as slow, meaningful, perhaps hesitant? This is anchored by the atmosphere of the music as is the Martha Jones who is on parade or about to bow/ become subservient to the Master.

• In contrast, earth is represented by the shots of the female character, who is on a journey informing the people of the crucial name they all need to chant: Doctor. Earth is represented as gloomy and in danger. Earth’s inhabitants appear dull and dressed in mundane rags.

Mise en scène

• In metamorphosis the doctor is surrounded by a radiant blue light as he changes from a fragile old man to the his real self. The dominance of the field of light is a part of the special effect, which signifies an empowered Doctor. This can clearly be contrasted to the feeble old man who was caged by the Master. A rejuvenated doctor is strong, confident and at the top of his powers, signified by the ineffectiveness of the Master’s ray gun in trying to kill the Doctor.

• The use of costume and performance is important to the extract. The humans are represented by the ‘ordinariness’ of their costume and actions. In contrast, the Master is bold smart and well presented, he is surrounded by armed guards with weapons, the woman to his right in a red dress, is represented as an object as she stands by his side, as do his uniformed male helpers to his left.

• For most of the extract the Master is positioned powerfully in the frame whilst he controls the interior of the spaceship and the characters, the Doctor undergoes a transformation when the Doctor becomes a man again, he is reborn and becomes a powerful challenger to the Master’s powers, which have evaded him by the end of the extract.

Sound

• The exposure of the Master’s weapon ‘tings’ and the zap of the laser gun at the end of the sequence, signifies weapon like qualities. These sounds are diegetic and apart of the world of the drama. The pulses of music are used to signify moments of flashback and function as signposts for these narrative changes.

• The wind is harrowing as Martha Jones walks the earth and the metallic jingle, which accompanies the Doctor’s metamorphosis signifies the magic of the transformation.

• Confidence is exuded by the Master’s voice and the dialogue is important in the function of the narrative, for example in his glee and oratory in destroying earth. The voice of Martha Jones is important and significantly develops and becomes more pronounced, when the extract reveals her role as the messenger, this voice changes from the timid to be more confident and louder as she explains her role in the Master’s downfall.

Editing

• The editing is characterised by the use of cut transitions and the use of transitional flash effects to signpost past events. The pacing of the extract is important at the beginning of the sequence it is slow and orchestrated as the female character slowly marches towards the Master – this slowness in the sequence of shots signifies her attention, to what is happening around her.

• The editing is more dramatic and faster paced when the prime minister is controlling the technology and in conversation, where editing provides continuity through the use of character perspective and functions to carry the narrative forward.

• There is plenty evidence of the use of shot reverse shots, for example in dialogue between Martha Jones and the Master. The use of the 180-degree rule is evidenced in the dialogue led drama, these are combined with the shot selections outlined above. The use of the shot reverse shot provides continuity in the narrative as the plot is revealed and develops specific points of view for the audience, particularly in relation to the conversation between Martha Jones and the Doctor.

Representation of Sexuality : Fingersmith

G322 Fingersmith from Stephen Adams on Vimeo.

The Examiner's Report following the assessment of this exam can be found by CLICKING HERE.

Representation

– Forbidden love/lust

– Unrequited love of Rivers: Dominant, aggressive, villainous

– Homosexual love: Secretive

– Male representation of sexuality is threatening

– Sense of sensual and erotic feelings

Camera

– Two shot of Sue and Maud, shows Maud looking at her lovingly, also shows that her lust and love towards Sue is secretive.

– Tracking shot of her hand when Sue is sleeping, suggest sensual feelings, however she didn’t touch her which again connotes that her love/lust is secretive.

– Close-ups of Maud face, suggest her desires towards Sue.

– Two shot of Maud and Rivers, connotes that Rivers love towards Maud is one way, also that he is an aggressive and villainous character.

Editing

– Slow cross dissolve transitions suggests a sense of sensual feelings/romance.

– Eye line matches amplify Maud’s lust, as the shots focus on Sue’s breasts and hands.

– Match on action as the paint dripping down on Maud’s dress connotes that she wondering about Sue.

– Parallel editing as Sue is looking for Maud, whilst Rivers is harassing Maud, which infers that Rivers is aggressive and dominant.

Sound

– Non diegetic score with violins create a sensual and romantic feeling as Maud is thinking of Sue.

– Non diegetic narration by Maud, tells what she thinks, as she cannot say it out loud suggesting that her love is secretive.

– Non diegetic sting as Rivers touches Maud’s hand as she is painting creates the feeling that he scared her; this infers that Rivers is the villain in the extract.

– Non diegetic score is incidental as Rivers arrives it changes to a more suspicious score, inferring that Rivers know what is going on, also represents him as a villainous character.

– Amplified diegetic exhaling as Rivers takes her away, connoting that Maud is scared and Rivers is aggressive, also the score stops which again suggest that its incidental.

Mise-en-scene

– The candle lights create a sensual mood, and suggest that the extract sets in an older era.

– Fill light on Maud as she paints represents that her desire and lust is secretive.

– The costumes reinforce the Victorian era; it also represents status and class. Rivers costume is black which infers that he is a threat towards Maud which makes him the villain in the extract.

– Maud’s gloves are white which represents her innocence ad purity, Rivers takes off the gloves, and seducing Maud, which infers that he is aggressive, and that his love towards Maud is one way.

Representation of Sexuality : The Street

• 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; you must not take notes.

• 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.

• You must write your notes for Section A in the Answer Booklet provided. Rule a diagonal line through your notes when you are finished.

Extract: The Street (2009)

Answer the question below with detailed reference to specific examples from the extract only.

1. Discuss the ways in which the extract constructs the representation of sexuality using the following:

• Camera shots, angle, movement and composition

• Editing

• Sound

• Mise-en-scene 

(50 marks)

Read through the following essay and discuss / think about the points that are made by the student.

The opening scene in this tv drama represents a stereotypically male workplace environment where audiences may not immediately expect to see themes of male homosexuality explored. The director deliberately constructs a series of representations through sound and mise-en-scene that, using Levi-Strauss’ theory of binary oppositions, would be in conflict with the next scene, shot entirely in a gay bar. In a building site hut we see exaggerated male stereotypes including hard hats, a gruff foreman paying wages in cash to the builders with a cigarette hanging out of his mouth and men with tattoos talking in working class northern accents. The camera pans from right to left to reveal the two central characters and the foreman framed in medium close up.

As the other builders walk out of frame two men are left in two shot with diegetic dialogueand facial expressions suggesting a friendship or an understanding. Charlie asks in low level mutters what the other man is doing later with narrative enigmas suggesting to an audience he is lacking confidence. This is reinforced by his body language as he looks down at the floor. The other younger man seems more confident which is revealed by his body language, pitch and tone of voice and dialogue as he invites Charlie for a pint but “on my terms”. This again suggests a prior friendship. Their sexuality is immediately anchored by the camera, which cuts to the next scene, a vibrant gay club that they are both attending. Before this abrupt transition we hear stereotypical non-diegetic high-energy gay club music. This music becomes diegetic as the shot cuts to the bar/club but is non-diegetic briefly to act as a sound bridge to enable audiences to fully understand both men are there.

The mise-en-scene of the gay bar swiftly establishes the preferred sexuality of the partygoers as the high energy music continues. We see low angle long shots and also extreme close ups of young semi naked male bodies dancing lit using low key lighting and flashing neon with close ups of men dancing together who are embracing and kissing. Fast paced editing is used to show the upbeat tempo of the club but also to intercut with the two protagonists as they meet at the bar. The younger man appears at the bar in close up. Again his body language more confident while a close up of Charlie sees him walking nervously through the crowd (anchored by his facial expression) with the camera cutting to the direction of his gaze as he looks around anxiously. The preferred reading of this particular scene is that the younger man is more comfortable with his sexuality while Charlie is not.

A high angle establishing shot shows the whole bar and dance floor while the rhythm of the editing parallels the diegetic music as Charlie begins to relax into his environment. Montage editing shows a series of shots of feet in low angle dancing, close ups of drinking pints, close ups of gyrating groin areas dancing and two shots of Charlie and the young man embracing. As Charlie moves away from the bar he is framed in slow motionemphasising his isolation surrounded by a large intense crowd of people. As the camera cuts to the club foyer area Charlie walks into the frame from right to left in long shot and moves into a toilet stall. Here he is shown about to urinate in high angle; the camera anglereinforces the vulnerable situation he is in as he begins to come to terms with his sexuality but also represents the vicious homophobic attack that takes place. A fast paced series of cuts using hand held camera shows extreme close ups of the attacker’s hands and head but also a close up of Charlie’s head as he is pushed against the toilet wall. Sound combines with the editing to reinforce the shock of the attack as we hear a violent thud but also homophobic dialogue from the attacker/thief. An extreme close up depicts the theft.

Slow motion is used again as Charlie returns to the bar blood dripping from a head wound. He is framed as vulnerable and as the victim of a homophobic attack as his friend shouts for the bar staff to call the police. Charlie’s lack of confidence with his own sexuality is suggested by his repeated requests for no police to be involved perhaps because he is either ashamed of his sexuality or that he has a family. The end of this particular scene has a number of negotiated readings but on the coach in the next scene he does question why he was singled out as the victim. This has implied connotations that the attack is linked in some way to his acceptance of his sexuality. The club scene cuts to a point of view shot from inside a coach looking out at greenery while travelling along a road and then pulls back to long shotinside the coach to reveal the passengers inside. In two shot (in medium close up) the two men are seen sitting together. The younger man tries to reassure and help Charlie who continues to question the previous night’s events. Charlie reinforces his traditional male stereotype by stating: “I’m a demolition man, I swing sledgehammers” while he refers to some of the men in the club as “tarts” creating a binary opposition between two different physical representations of masculinity. 

(48 marks)

• Explanation/analysis/argument: Excellent understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking directly to the question but also exploring some media theory.

• Use of examples: Sophisticated range of examples, with appropriate sequences analysed to reveal a representation. All areas of study have been exclusively covered as part of an intelligent, holistic examination of text.

• Use of terminology: Sophisticated use of media language and technical terminology.

• Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.

Representation of Age - Waterloo Road

1. Discuss the ways in which the following extract constructs the representation of age using the following:

• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scene 

(50 marks)



The exemplar essay below is analysed in chronological sequence using only the above four criteria. It is assumed the student has taken notes on the second, thrid and fourth screenings.

A low angle shot of tan leather shoes walking slowly but confidently across the floor suggests connotations of authority. This then cuts to a medium shot of an older teacher and two young pupils. The teacher conforms to stereotypical representations of older age through elements of the mise-en-scene including his dress code, body language but also his tone of voice. He wears an old fashioned cardigan, is standing with his hands in his pockets and is talking in a sarcastic way to the pupils who wear school uniform (signifying binary oppositions of age), stutter and lack confidence when replying. The teacher is then framed centrally between the two pupils. The camera cuts to a two shot in medium close up of him standing next to a younger teacher again promoting his stereotypical age and wisdom by patronising her for not insuring the video camera in diegetic dialogue and using his body language.

This shot then cuts to a scene where we see an older male site manager (the camera shows a close up of his door plaque) and a young male pupil in conversation. The pupil’s body language is stereotypical as he leans against a wall while the non conformist way he wears his tie (not tied up properly, big knot) has stereotypical connotations of rebellious youth culture. The older site manager sounds verbally more confident and although not a teacher is smartly dressed for the work environment with a pencil behind his ear, itself having connotations of work. This frames him in binary opposition to the boy who appears lazy and who is persuaded by the older wiser site manager to go away and write his essay. In a short period of time during these first two scenes clear stereotypes of older age signifying wisdom and youth signifying rebellion are established.

A long shot front on shows two girls and a boy walking into medium shot along a school corridor. Again, the girls’ dress code suggests rebellion while all three are discussing their parents and a problem with a fellow pupil’s parents. This furthers the connotations of their young age and emphasises their vulnerability and reliance on older adults. However, the connotations of age and wisdom are disrupted in this scene as a close up reveals a girl who describes her parents as a “dad who never comes home” and a “mum who is a ho-bag”. This burst of diegetic dialogue is important in challenging age stereotypes representing older people as more responsible, as quirky upbeat non-diegetic music starts. This music reinforces stereotypes of youth culture and the school environment they are in.

In the following scene we see a male teacher positioned higher than his pupils behind a desk in a stereotypical classroom situation. He is framed in medium shot. The mise-en-scene anchors his age, authority and status with objects and props including school desks, books, wall displays and a white board projection representing the younger pupils. In terms of dress code there is also a clear difference between the older teacher and the students as his authority is revealed by his dress code, which includes a shirt and tie but also with sleeves rolled up suggesting he is ready for some serious work. The pupils wear their uniforms casually rejecting stereotypical conformity with one girl wearing larger hooped earrings.

The non-diegetic music changes to something more fast tempo as club music (more upbeat than before) and use of hand held camera introduce two students, Amy and Stuart, in confrontation. The moving hand held camera, increased tempo of the music and framing all add to reinforce the fact that this is a stereotypical school spat between two young pupils. As the teacher rushes in the pace of the editing increases as it appears that the boy is having an asthma attack. The older teacher uses his stereotypical calmness and authority to deal with the situation while diegetic dialogue parallels the anxiety that the editing represents with phrases uttered by the teacher like “where is his inhaler?” The club music is edited into a piece of music with more hip hop connotations and is used as a sound bridge to the next scene cutting to a low angle shot of a man in front of a set of doors.

The camera tilts up to reveal an older Maths teacher looking embarrassed wearing stereotypically young person’s clothing including low slung jeans with high visible underpants, trainers and a music t-shirt. This then intercuts with a shot of a bubbly young girl in high angle standing on the stair trying to reassure him that he looks OK. The camerawork challenges the traditional meaning of low angle and high angle by representing the subject shot in low angle (the teacher) as vulnerable; he is trying to appeal more to his pupils by dressing younger. His vulnerability is reinforced by a two shot of two schoolgirls laughing at him for trying to look more fashionable even though the girl on the stairs states: “what do kids know about fashion?” In this respect the girl on the stairs challenges the stereotype of a younger person by showing stronger affiliation with someone who is older than her rather than siding with those who are closer to her own age. Finally, a medium close up of two teachers reveals one trying to persuade the other to go back to his usual dress code while the presence for the first time of only adults in the frame signifies the end of the non-diegetic music.

Explanation/analysis/argument: 

• Excellent understanding of the way that technical aspects are used to construct a representation. 
• Clear logical deconstruction of text linking directly to the question.

Use of examples: 

• Good range of examples and appropriate sequences analysed to reveal a representation. There are some other examples that could have been referred to but this does not deter from the overall quality of the essay.
• The key focus has been on camera shots, angles, movement, composition, mise-en-scene and sound with some reference to editing, which perhaps could have been developed a little more.

Use of Terminology: 

• Sophisticated use of media language and technical terminology.

QWC (Quality of Written Communication)

Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any, errors of grammar, spelling and punctuation.

Mark: 46/50 (A Grade equivalent)

Representation Of Physical Ability and Disability

We have watched the extract below and, as a class, have discussed the ways in which it constructs representations of physical ability and disability.

I would now like you to produce a response to the question below.

This would have to be completed in approximately 45 minutes in the exam but you may take more time than this.

You may watch the extract as many times as you wish.

Completed essays must be emailed to me by 4pm on Wednesday 27th January.

Please complete the essay in Microsoft Word with a font size of 12.

My email address is philiphenton@kba.uk

Discuss the ways in which the extract constructs the representation of physical ability / disability using the following:

• Use of the camera (framing, angle, movement, composition)
• Editing
• Sound
• Mise-en-scene

Exemplar Response 1

The opening scene of 'Coming Down the Mountain' constructs the representation of physical ability/disability using the four technical codes - Use of the camera, editing, sound and mise-en-scene.

An arial shot of David and Ben's room enables the audience to establish first impressions regarding the stereotypes of disability/ability. A binary opposition conveys the large contrast between the brothers: on the left, Ben's space is cluttered with multiple props of bright colour in order to represent the stereotypical view of a disabled person, in this case a teenager suffering from down syndrome, being child-like. David, being Ben's direct antithesis, has a black and white interior; it symbolises David's emotions concerning his hatred to Ben. Monochrome colours signify feelings such as depression, which could indicate how a disabled person negatively impacts those of an abled body - another stereotypical view. 

The differentiation between characters is also presented through the use of non-diegetic sound. A voice over enables the audience to hear the inner thoughts of David, supporting the fact that he hates his brother ('Last summer, I decided to kill my brother'). There is a huge juxtaposition between audio because the sound track, instead of being quite dark like the voice over, is childish. This is to represent Ben in a stereotypical view regarding his disability. Whist the voice over is occurring, the camera arcs around a close-up of David with his face being in the centre of the frame; it forces the audience to focus on his facial expression, an element of mise-en-scene. David's expression is clearly angry. When this shot is combined with the next close-up of Ben sleeping, it is obvious (due to the eye-line match within editing) that David is angry at Ben. Furthermore, the shot of Ben sleeping is from a slightly high angle to make him seem weaker and unable to do things for himself, which reinforces the stereotypical view of people with down syndrome being completely dependent on others and not being physically/mentally strong. A negative view based on disability is reflected by the montage editing sequence: by showing footage of a linear narrative related to evolution it becomes evident that David see's Ben as not being what a human should be and is just a 'big potatoe with eye tentacles'. This emphasies the stereotype of able bodied people believing that the disabled are abnormal and are deemed as less of a human.

The second scene starts with a score with the lyrics 'I wish that I was older' in order to present how David is eager to grow up and leave due to his disabled brother ruining his life. Alternatively, it could highlight Ben's stereotypical child-like nature because although he is literally able to grow older, his mental capacity will always be that of a child because of his disability. An extreme close-up reveals Ben's facial expressions (mise-en-scene) to show the audience a stereotypical viewing of someone with down syndrome, resulting in Ben looking stupid and confused as he stares blankly at the piece of food on his fork. 

The representation of disabled people being stupid is also suggested by diegetic sound - when David states 'you may as well talk to the dog'; it states that Ben is lower than an animal which makes he seem worthless. Concerning the composition of the scene, Ben is central of the framing with everyone else walking around him. By keeping him stationary, it accentuates the binary opposition between the disabled and abled because he is unable to, with ease, walk around and do things for himself. Additionally, it shows how Ben is the centre of attention, resulting in the audience feeling empathetic for David because he is left out. Another example of this is the mothers interactions with Ben. Before the mum leaves the house, she kisses Ben on the head and cuddles him whereas David, being the able bodied son, doesn’t get any sign of affection. We see this from a point of view shot of David, which reveals how he is angry and jealous of his brother. This highlights that due to Ben's disability, he is treated differently and gets special attention (stereotype). As well as this she speaks to him in a high-pitched, slow paced voice - the kind of tone you would use with a young child, therefore putting forwards the stereotype of disabled people being child-like. 

The framing of the two brothers walking to school emphasises David's embarrassment of Ben so much to the point that he doesn’t want to walk next to him. It is like he Is trying to get away from Ben. This represents disabled people being embarrassing. As well as this, the crabbing, long shot allows the audience to, again, see the contrast of ability/disability - the actors walk in a way that presents their physical potential. David takes confident strides whereas Ben plods along. This supports the stereotype of disabled people being weaker and less developed than the ideology of a "normal" person (a term David uses during the voice over to convey how Ben is not normal). 

We then see a series of flashback expressing how Ben, stereotypically, acts as a young child: he is seen playing with toys and never sitting still. Whilst they are seen at the beach and David is getting a kite down from a tree for his brother, this message is again reinforced by the use of camera angles. The audience views Ben from a high angle which makes him appear small, feeble and inadequate. Combined with the prop of an ice cream he is eating, it represents Ben as a helpless child. Moreover, the low angle pointing at David expresses how he is in charge of his brother which results in the audience feeling sorry for him because Ben, due to his disability, has been represented as a burden. 

Back at the bus stop, David, Ben and a stranger are sitting down. The composition shows how Ben is closer to his brother than the stranger in order to convey how he feels safe with David and how he looks after him - this representation of disabled people displays how they stereotypically always need someone to care for them. The non-diegetic voice over ratifies this as David states 'they need someone with them, at all times'.

Taking all of this into conclusion, it is conspicuous that 'Coming Down the Mountain' represent disability in a negative aspect. Ben, the brother with down syndrome, is consistently represented as a stereotypical disabled person - weak, helpless, child-like and dependent on others. On the other hand, abled bodied people are depicted as having to put up with the disabled.

Exemplar Response 2

At the very beginning of the extract we fade into an aerial shot with the non-diegetic sound of a voice over from David explaining how he wanted to kill his brother. In this shot we see a bedroom of two people in their bed. We see that the room is split in two sides, on side being Ben’s side consisting of very colourful covers, pillows, and fun posters. On the other hand Dave’s part of the room is very dull and dark and shows that he has a slightly depressive characteristic. By this first scene we can see that Ben is being represented stereotypically as childlike by the use of Mise-en-scene in terms of props, showing all the plush toys and bright colours on Ben’s side of the room.

We then cut to a montage of evolution show species evolving and David says “…change the recipe and we’ll be really big potatoes with eye tentacles” as he later says “sometimes they do change the recipe and you get a brother who is really a potato with eye tentacles” whilst an extreme close up of Ben is shown after cutting to the dining room, representing someone with a disability and physically abnormal and useless. In between the two lines of dialogue a non-diegetic soundtrack is played with the lyrics “wouldn’t it be nice if we were older” reinforcing the stereotypical judgement of the disabled being childish and will never grow up.

David later says that you “may as well talk to the dog” showing a close up shot of David’s angry facial expression, this piece of dialogue shows David comparing someone who is disabled to an animal as he does not do much, and can be a hassle as we later see when Ben has taken all the Weetabix. Mrs Phillips then says “Ben? That was a little bit selfish” with a very nurturing, soft and caring tone as if she was talking to toddler. When Mrs Philips leaves she kisses Ben of the head and says bye love but does not say anything to David. This imposes the stereotypical representation of a disabled person as needing more attention and care as they are helpless and vulnerable to danger easily.

We later then cut to Ben wearing a helmet being taught how to ride a bike by walking with it beside him first, representing the disabled as being non-athletic and slow. Whilst this is taking place we see a mid-shot of David in the windows with a toy sniper, and when he shoots Ben he has a joyful expression on his face as that’s all he wants in life. Another cut to several flashbacks of events that the Phillips family have been to with the non-diegetic voice over of David ranting about how Ben getting to choose to the same place every holiday because he is disadvantaged by his disability, again helping the stereotype of needing to pay more attention to.

Towards the end of the extract David gets invited to go to party and is asked to walk to the party with his friend even though he has the responsibility of taking Ben home. Whilst David and his friend are contemplating whether or not to allow Ben to get home by himself we are shown a mid-shot of Ben looking worried and unsettled by the fact he may have to go home by self. Davie quickly decided to give Ben the money to get transport home and walks to the party with his friend. As David leaves we a are left with another mid-shot of Ben looking very scared and worried as sombre and saddening non diegetic music slowly cue’s in.


We finally cut the last scene of the extract where Ben is taking the bus by himself when as the sad music continues to play. When we see Ben on the bus he shows no sign of a happy emotion and doesn’t say a word as he tightly grips onto the seat in front of him, representing someone that has a disability as needing guidance and aid. That last thing we are shown is an extreme close up of Ben’s depressing facial expression with the voice over of David saying he needed to get some space.

Television Drama Terminology Explained

Here are explanations for key media vocabulary terms that you need to be able to identify (and explain the effect of) in the exam.

Remember that 10 of the 50 marks available for your response in the exam are for the correct use of terminology.

Camera Shots, Angle, Movement and Composition

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)


Reaction Shot 


A shot that shows the reaction of a character either to another character or an event within the sequence.


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 Angle (or oblique) 


Camera angle that makes what is shot appear to be skewed or tilted.


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.


Steadicam 


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 

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 continuous 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.


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.


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. (see Cross Cutting)


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.

Mise-en-scene 

all of the elements placed in front of the camera to be photographed; the settings and props, lighting, costume, make-up and figure behaviour.


Location 


The particular place and time created in the frame. 


Set 


The surroundings where the action will unfold; usually the stage, including integral design features.


Studio/set design 


The overall design concept present in the frame, relating to the set. 


Costume 


A style or fashion of dress, especially that of a particular place, time or class. Also hair and make-up.


Properties - (props)


Movable objects used in the construction of the mise-en-scene.


Positioning 


Of characters and objects within the frame.


Body language 


How characters behave physically including their facial expressions.


Production Design


Utilised to create characteristics within a mise-en-scene reflective of a certain historical period.


Colour design 


The style and combination of colours used in generating the mise-en-scene.


Lighting 


High key lighting: illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. 

Low key lighting: illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light.