Code- Things you can associate it with- blood, knives- you'd associate it with horror- iconic symbols you'd relate to something
Conventions- Chase scenes
- good vs evil
Analysis, whether it's falling into the codes and conventions of a TV drama.
TV DRAMAS ALL HAVE THE FOLLOWING INGREDIENTS:
Characters- even particular kinds of characters: eg, at it's most simple, 'good' and 'bad' characters.
Stories- they all tell stories, whether those stories involve adventure, crime or romance and they often, but not always, end happily.
The stories are told against familiar backdrops: -eg, homes, police stations and offices (for crime dramas), hospitals (for medical dramas) - most of which are created in studios. However, most dramas also use outside locations to create particular effects.
Camerawork- particular kinds of shots are used: e.g sequences involving establishing shots followed by mid-shots of characters, shot/reverse shots to show relationship, identify relationship between characters, '180 degree shot is used which is a common convention of TV dramas' that will get you marks
Tuesday 18 October 2011
Monday 17 October 2011
alG322 Candidate Exemplar Response
Date: June 2010
Representation: Gender
Explanation/Analysis/Argument: /20
Use of Example: /20
Throughout the extract representations of gender are illustrates through various elements such as editing and sound. A mix of dominance and equality is produced through the extract however overall it is conveyed that women are physically subordinate compared to physically strong and stereotypically hegemonic male.
Representations of gender have been clearly illustrated throughout editing. For example a mix of pivot/panorama shots as well as fast tracking shots have been incorporated when the girl is trying to save and protect the male character. This illustrates the fast movement and action of the cut however it may also signify a chaotic environment where women struggle to take and maintain power. Another example of a tracking shot is portrayed when the male character is travelling down the rope. This editing however demonstrates to the audience the thought and power the character has from making a quick rational decision which is a stereotype of male behaviour. A long establishing shot is used which clearly signifies the three male characters in an equal line. The equal line personally connotes equality however as the majority of characters were male this illustrates women inferiorly in serious situations. Near the end of the extract one male in the process of saving a women from another dangerous man however the framing of the cut demonstrates representations of gender. For example the female protagonist was placed significantly behind the male which illustrates the girl’s subordination compared to the male.
The next element which produces representations of gender is through sound.
In one cut once the female had saved the male from the life threatening situation from the dialogue such as “Come on” with a high intensity, provoking the animal, suggests bravery and a strong masculinity. This dialogue may have been said as an attempt to regain status as he’s just been saved by a girl. At the start of the first cut a synchronisation from the strings is displayed when the music matches to the sombre or negative topic. “Let her go” by a different male suggest he may think of the male as being superior therefore shouldn’t have to run after her. In this scene within the barn one female protagonist was trying to bribe the male character through dialogue. Therefore this could represent woman being manipulative to convery power in antithesis to males who assert their power in a physical manner. “My best coat!” also creates representation of women such as an obsession of appearance and vanity. However positive representations towards woman are also portrayed. For example once one woman has undertaken the stressful experience the other female protagonist says “you okay” which suggests women to be expressive and caring in contrast to males who are minimal with their dialogue. The diegetic sound the dogs barking emphasise the bad situation of the woman conveying the woman’s vulnerability further. This is also emphasised by the harsh sound effects which build and sustain tension creating a climax.
The next factor which displays representations is through mise en scene. Expressions play a key role, for example when the blonde male is approached by the sabre toothed tiger his expression coveys fear leading to a sympathetic response from the audience however this contrasts greatly to the calm and collective expression of the girl, which suggests a swap in roles involving dominance. At the start of the scene the colour intensity is high on the male compared to the grainy background. This demonstrates the natural setting however focuses the attention on the male protagonist which could suggest male superiority. The females clothing (blonde) presents a male style which is in contrast to the stereotypes of a feminine woman, however another female character in the film is represented with a high pride in her appearance which conforms to the stereotype.
This however portrays the different roles and characteristics of women which may have changed in contemporary times. The props such as the heavy machinery emit connotations such as manual masculine feelings. However the female is in charge of the stereotypical male vehicle. Therefore this suggests equality and an improvement of women within jobs and status compared to the traditional domestic duties. Even though the women within the extract portray dominance through props, the male characters continually illustrate dominance. For example the males usage of the guns for example, the shot gun in the barn and the hand gun involving the key protagonists. This contrasts to how the brunette women displays authority by attempting blackmail. Overall this could suggest males and women are equally dominant although just portray it through different criteria.
A final way in which representations of gender have been displayed is through camera work. For example the low angle looking down on the male in the whole illustrates his vulnerability and helpless position which displays him as subordinate. However a different low angle in conveying the tiger illustrates dominance of man and a hierarchy with the animal being lower. Establishing shots such as before the male jumps looking on in the long distant horizontal plane suggests his thoughts which leads to the male’s hasty decision. An extreme close up on the woman’s face when she’s been knocked down suggest demonstrates her fear and panic further suggesting the women’s weak position compared to the male. A pivot shot is used which creates the effect as the camera is on a fixed position that someone or something would be looking at them for example the dangerous tiger which overall represents vulnerability to the male and the woman.
Overall the particular extract conveys elements of representation through various ways of media aspects. In conclusion a mix of equality is suggested overall, however the traditions where the male characters save the day are clearly presented. Although a mix of response from empathy juxtaposed to spite is displayed from the audience involving both genders.
Thursday 6 October 2011
Film Editing
General idea behind editing in narrative film is the coordination of one shot with another in order to create a choherant whole.
The system of editing employed in narrative film is called continuity editing- it's purpose is to create and provide efficient and artful transitions.
Editing film
1. In filmmaking, the task of selecting and joining camera takes.
2. In the finished film, the set of techniques that governs the relation among shots (Bordwell and Thompson)
Editing is the process of preparing language, images, or sound through correction, condensation, organization, and other modification in various media... Editing is therefore, also a practice that includes creative skills, human relations, and a precise set of methods.
Juxtaposition and meaning
Edwin S. Porter, The Great Train Robbery, 1903
Shots in sequence create meaning for audiences
From exterior shots to set, audience is encouraged to believe the events they see are immediately sequential
Exterior, train ------cut to----> Interior train carriage -----cut to----> On top of carriage
The Kuleshov Effect
Lev Kuleshov, circa 1920: intercut an actor's face with unrelated footage taken later.
Audiences interpreted emotional responses on the actor's face based on the juxtaposition of images.
Whilst much of the moving image we see uses this effect, it does not usually draw attention to it.
So we create links with the photos (face, then unrelated image, can really play with audiences mind)
Contrast 'four main funstions of film editing:
Relations in Editing:
There are five areas of choice and control
Graphic Relations
Although the primary focus of the film editor is to ensure the continuty of the narrative, film editors remain acutely aware that film is a visual art. Therefore, they work to achieve visual interest by creating transitions between shots that are graphically similar and graphically dissimilar, depending on the desired effect.
Graphic Continuity
A graphic match is achieved by joining two shots that have a similarity in terms of light/dark, line or shape, volume or depth, movement or stasis
A graphically discontinous edit creates a clash of visual content by joining two shots that are disimmilar in terms of one or more of the above visual principles.
Rythmic Relations
Editors also remain aware of the effects achieved by manipulating the rhythms experienced by perceivers through thoughtful juxtapositions of longer and shorter shots as well as through transitional devices that affect the perceiver's sense of beat or tempo.
Rhythmic transitional devices:
Temporal Relations
Editing is the process by which the difference between temporal duration and screen duration is reconciled. It sounds simple, but consider this: most feature films present in roughly two hours sufficient intersection of story and plot to provide perceivers with everything they need in order to understand days, weeks, months or even years in characters lives.
Chronology
Most narrative films are presented in roughly chronological order, with notable exceptions (memento, anyone?)
The two most common disruptions to chronological order are flashbacks and flashforwards (the former being much typical than the latter).
Spatial Relations
Perhaps the most important, as well as the most overlooked, principle of editing is its function in providing perceivers a reliable sense of the physical space that constitues the world of the film. Editors are responsible (with assistance from cinematographers) for relating points in space in order to achieve narrative.
Spatial Continuity
The standard pattern for editing a scene in a narrative film includes the following:
Establishing shot
Shot Reverse Shot
Eyeline match (POV shot)
Re-establishing shot
Thematic Relations
Editors have at their disposal two very powerful techniques for manipulating the perceiver's place in the hieracrchy of knowledge, and therefore affecting our thematic understanding of the film: Montage sequences and crosscut editing
The system of editing employed in narrative film is called continuity editing- it's purpose is to create and provide efficient and artful transitions.
Editing film
1. In filmmaking, the task of selecting and joining camera takes.
2. In the finished film, the set of techniques that governs the relation among shots (Bordwell and Thompson)
Editing is the process of preparing language, images, or sound through correction, condensation, organization, and other modification in various media... Editing is therefore, also a practice that includes creative skills, human relations, and a precise set of methods.
Juxtaposition and meaning
Edwin S. Porter, The Great Train Robbery, 1903
Shots in sequence create meaning for audiences
From exterior shots to set, audience is encouraged to believe the events they see are immediately sequential
Exterior, train ------cut to----> Interior train carriage -----cut to----> On top of carriage
The Kuleshov Effect
Lev Kuleshov, circa 1920: intercut an actor's face with unrelated footage taken later.
Audiences interpreted emotional responses on the actor's face based on the juxtaposition of images.
Whilst much of the moving image we see uses this effect, it does not usually draw attention to it.
So we create links with the photos (face, then unrelated image, can really play with audiences mind)
Contrast 'four main funstions of film editing:
- Make sure that the production is the required length or time
- To remove unwanted material or mistakes
- To alter if necessary the way or the sequence in which events will be portrayed
- To establish the particular style and character of a production (O'Sullivan, Dutton and Rayner
Relations in Editing:
There are five areas of choice and control
Graphic Relations
Although the primary focus of the film editor is to ensure the continuty of the narrative, film editors remain acutely aware that film is a visual art. Therefore, they work to achieve visual interest by creating transitions between shots that are graphically similar and graphically dissimilar, depending on the desired effect.
Graphic Continuity
A graphic match is achieved by joining two shots that have a similarity in terms of light/dark, line or shape, volume or depth, movement or stasis
A graphically discontinous edit creates a clash of visual content by joining two shots that are disimmilar in terms of one or more of the above visual principles.
Rythmic Relations
Editors also remain aware of the effects achieved by manipulating the rhythms experienced by perceivers through thoughtful juxtapositions of longer and shorter shots as well as through transitional devices that affect the perceiver's sense of beat or tempo.
Rhythmic transitional devices:
- Straight cut
- Fade out
- Fade in
- Dissolve
- Wipe
- Flip frame
- Jump cut
Temporal Relations
Editing is the process by which the difference between temporal duration and screen duration is reconciled. It sounds simple, but consider this: most feature films present in roughly two hours sufficient intersection of story and plot to provide perceivers with everything they need in order to understand days, weeks, months or even years in characters lives.
Chronology
Most narrative films are presented in roughly chronological order, with notable exceptions (memento, anyone?)
The two most common disruptions to chronological order are flashbacks and flashforwards (the former being much typical than the latter).
Spatial Relations
Perhaps the most important, as well as the most overlooked, principle of editing is its function in providing perceivers a reliable sense of the physical space that constitues the world of the film. Editors are responsible (with assistance from cinematographers) for relating points in space in order to achieve narrative.
Spatial Continuity
The standard pattern for editing a scene in a narrative film includes the following:
Establishing shot
Shot Reverse Shot
Eyeline match (POV shot)
Re-establishing shot
- Mutipler camera techniques
- Axis of action (180-degree line)
- Cheat shot
Thematic Relations
Editors have at their disposal two very powerful techniques for manipulating the perceiver's place in the hieracrchy of knowledge, and therefore affecting our thematic understanding of the film: Montage sequences and crosscut editing
Tuesday 4 October 2011
Sound helps to create moods. Helps to singnal events that are about to happen. Helps to manipulate you as an audience, helps the producers manipulate feelings towards characters.
Sound:
DIEGESIS- world of the TV programme we see on TV, eastenders would be watford
VERISIMILITUDE- the believble logic of the text world (which appears to be real)
TWO MAIN TYPES OF SOUND
1) DIEGITIC- is in any sound or music that happens inside world of diegesis- can be dialogue foot steps etc- helps to contribute to realism, creates an atmposphere, contributes to the verismilitude
click might be there, but they might be developed and manipulited during the editing process- may be louder or more be editing in
2) NON DIEGITIC- plays outside the diegesis, there to provide an appropriate emotion or mood and they may also add to the realim of the drama. Placed later in the post- production process. Could be music and soundtrack.
Foley is the repreduction of everyday sounds for use in filmaking. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best Foley art is so well intergrated into a film that it goes unnoticed by the audience. Helps to create a sense of verisimlitude in the diegesis.
Dialogue
The use of voice over is generally used in TV drama as a narrative device. This is first person narration.
The voice over can also allow us information about the central character and build his/her representation. They can also allow privileged information- so sometimes we will know more than the other chracters on screen- which creates drama!
Direct address= when the characters on the screen directly address the audience. It is an alternative to the voice over. This is rare in TV drama but when used can create humour or can act as a narrative device, giving us more information about the narrative. It tends to break the verismilitude of the drama. Breaks the fourth wall.
Music
The soundtrack/score in TV drama is often used to tell the audience how we should be feeling, whether this is sad, happy, scared or amused.
The use of music is a convention of TV drama.
Incidental music- this is used to add emotion and rhythm to a drama. Usually not meant to be noticeable. Often provides tone or an emotional attitude toward the story and/or the chracters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in a film to indicate an approaching (but not yet visable) menance or disaster.
Incidental music may aid viewer understanding by linking scenes.
It is important to note that sound is often brilliantly conceived. The ffects of sound are largely subtle.
Parallel and contrapuntal sound
1) Parallel sound= when we watch a TV drama the sound we hear usually compliments and follows what we see on screen. For example fast paced, loud music in chase scenes or action sequences.
2) Contrapuntal sound= is sound that does not fit the images we see on screen. Usually done to create humour- classical over a violent film, irony
Sound:
- The human voice/dialogue- you can talk about what is being said
- Sound effects
- Music
DIEGESIS- world of the TV programme we see on TV, eastenders would be watford
VERISIMILITUDE- the believble logic of the text world (which appears to be real)
TWO MAIN TYPES OF SOUND
1) DIEGITIC- is in any sound or music that happens inside world of diegesis- can be dialogue foot steps etc- helps to contribute to realism, creates an atmposphere, contributes to the verismilitude
click might be there, but they might be developed and manipulited during the editing process- may be louder or more be editing in
2) NON DIEGITIC- plays outside the diegesis, there to provide an appropriate emotion or mood and they may also add to the realim of the drama. Placed later in the post- production process. Could be music and soundtrack.
Foley is the repreduction of everyday sounds for use in filmaking. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best Foley art is so well intergrated into a film that it goes unnoticed by the audience. Helps to create a sense of verisimlitude in the diegesis.
Dialogue
The use of voice over is generally used in TV drama as a narrative device. This is first person narration.
The voice over can also allow us information about the central character and build his/her representation. They can also allow privileged information- so sometimes we will know more than the other chracters on screen- which creates drama!
Direct address= when the characters on the screen directly address the audience. It is an alternative to the voice over. This is rare in TV drama but when used can create humour or can act as a narrative device, giving us more information about the narrative. It tends to break the verismilitude of the drama. Breaks the fourth wall.
Music
The soundtrack/score in TV drama is often used to tell the audience how we should be feeling, whether this is sad, happy, scared or amused.
The use of music is a convention of TV drama.
Incidental music- this is used to add emotion and rhythm to a drama. Usually not meant to be noticeable. Often provides tone or an emotional attitude toward the story and/or the chracters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in a film to indicate an approaching (but not yet visable) menance or disaster.
Incidental music may aid viewer understanding by linking scenes.
It is important to note that sound is often brilliantly conceived. The ffects of sound are largely subtle.
Parallel and contrapuntal sound
1) Parallel sound= when we watch a TV drama the sound we hear usually compliments and follows what we see on screen. For example fast paced, loud music in chase scenes or action sequences.
2) Contrapuntal sound= is sound that does not fit the images we see on screen. Usually done to create humour- classical over a violent film, irony
Merlin
Extract: Merlin, Series 1, Episode 1.
The beginning shot in the castle are cut short showing Merlin is in a place he shouldn’t be and connotates this is not where he belongs. Another shot suggesting his class and status is when Merlin walks down the stairs (long shot). The shot then cuts when he reaches the bottom to show where he fits in regarding his class- he is at the lower end of the class division. Also his status reflects he is at the bottom end due to his positioning.
After this Merlin gets into a fight with Arthur, during this there was an action shot where one of the edits is in slow motion , this shot was then repeated straight after itself to show the significance of character and his importance, role and status during the fight.
Special effects are used effectively to show status when we see the rich woman in the mirror. She is then reflected at an older witch like lady, to possibly show her magical skills are on a higher level than Merlin’s, she is wiser/older than him in this sense.
When Merlin and the woman talk, cross cutting is used to create suspense which helps the audience to understand both character and were they fit in socially. The woman is in fact shown for longer, this gives the audience the idea she is of more importance then Merlin therefore of a higher status.
The people of higher class and status seem to have longer shots, Merlin has short snappy shots representing he is of less significance in the class division.
Throughout this clip, continuity has been shown through the clothes Merlin wears, these clothes are rough and shabby highlighting he is of a lower class and represented his lack of money as he only has one outfit.
The Woman was wearing a royal purple coloured dress and jewellery showing wealth, this makes us assume she is of a higher status. Arthur wears armour and appears to be a knight, the colour silver reflecting money and also makes him look stronger. He also has blonde, long, neat hair that contrasts to Merlin’s shabby, dark brown hair. Showing he may not take as much pride in his appearance or can not afford to do so. Arthur knows how to use the weapon- Merlin pretends to know and attempts to use it, he also did not have his own weapon this may be because he is not trained to the standard Arthur is, or that he is unable to afford his own – reflecting the difference in class.
The castle is bright from the outside, inside all the things are dark yet colourful, and there were fires and big stained glass reflecting wealth. The big open windows contrast with the dull tainted market that Arthur appears in. It looks old and browning and is busy and noisy. We can tell that the same class of people work here and live their lives on the stalls. Heavily contrasted with the quiet and peaceful castle.
When Merlin goes into the room, the music is intense and eerie to create atmosphere, suggesting he shouldn’t be there and it is not where he belongs. A contrast to this is when we hear playful music when they are fighting, music outside is happier, suggesting this is where Merlin is better off- where he belongs , referencing to the Binary Theory. After the fight we hear low violins which links to death and funerals, this also brings the mood down with a sudden shift in tone.
The accents from all characters are quite posh; however is it more noticeable in the woman’s and Arthur’s voices which connatates they are better off and higher up on the wealth scale. The dialogue links to this too. Arthur was referred to as ‘Your Highness’ showing he is by far of a higher status. Another way that dialogue is used is when the old man and Merlin are having a conversation. He seems to be almost telling off Merlin and acting at a father figure showing the staus in a family.
When the scene begins there is an establishing shot of the castle room, to show the audience where the action is taking place. We are aware, from this point that Arthur does not fit in with his surroundings due to his appearance, but also his behaviour.
Over the shoulder shot have been used, between the posh woman and Merlin, to connotate the contrast between their classes, but to also show both their points of view.
The camera angle looks down on Merlin to represent that he is of a lower class; this is in contras t with most of the Mid-shots that Arthur is seen in. A lot of mid-shots have been used to represent their class through their clothing, but it also emphasises their facial expressions.
When the fight takes place they have used a hand held cam, to make the audience feel more involved with the action, this makes you believe you are really there- also shows the class of this time as a whole, how it was seen as normal to have fights in the streets.
The old man looks out the window when Merlin is fighting- this is a low angle shot showing he’s higher up physically and metaphorically. We are also aware of his views at this point as he is above the fight and does not want to get involved.
When they do shots of Merlin it is just him, which represents that he’s alone, but it could also represent that he’s a significant character, whereas Arthur has armoured peasants around him to show that he is more royal/important and powerful character- we are aware of class and status through this method.
When Merlin walks along the hallway, it's a very short cut and we only see his back, showing that he isn't of a high significance and we don't need to see his face. However when the woman walks along the hallway, we see all of her face and it's a long take. The music climax's showing she is so important everything needs to be 'stepped up a level' when she is around. When she walks into the room, there is diagetic sound, foley sound of her heels, which could have been used to emphasis her entrance. However when Merlin walks in we do not hear his footsteps, showing that the woman is important and we need to hear every move she makes, whereas people in the diegisis are a lot less interested in Merlin.
When Merlin walks out there is a high angle shot, looking down on him. This shows how everyone in the castle and that kind of environment is looking down at him and how he is below them socially. Whereas we soon see a juxtaposition between angles, as we are at his eye level in the market, suggesting that that is where he belongs and no one is looking down on him there. Binary opposition is also suggested, as the castle is clean and tidy and not many people are there (suggesting that only a 'select few' can achieve that wealth) whereas in the market it is quite messy, with a lot of people.
In the market, the blonde knight has his body guards behind him and whereas no one is behind Merlin. This could be intepreted differently, as the blonde knight could be intepreted as more powerful with lots of supporters and people to back him up. However he also could be intepreted as being less powerful as he needs those people there to fight for him and protect him, whereas Merlin doesn't need anyone to help him or fight his battles for him
The crowd noise completely stops when Merlin is rude. 'How long have you been training to be a prat', shows that rudeness to people of a higher status is very unexpected and standing up for yourself is not usually expected of them. The camera angle is a over the shoulder eye level shot, which suggests merlin thinks they're at the same level and that the blonde knight is no better than him. The lighting is quite dark, which shows social class, they literally can't afford lights.
When Merlin walks along the hallway, it's a very short cut and we only see his back, showing that he isn't of a high significance and we don't need to see his face. However when the woman walks along the hallway, we see all of her face and it's a long take. The music climax's showing she is so important everything needs to be 'stepped up a level' when she is around. When she walks into the room, there is diagetic sound, foley sound of her heels, which could have been used to emphasis her entrance. However when Merlin walks in we do not hear his footsteps, showing that the woman is important and we need to hear every move she makes, whereas people in the diegisis are a lot less interested in Merlin.
When Merlin walks out there is a high angle shot, looking down on him. This shows how everyone in the castle and that kind of environment is looking down at him and how he is below them socially. Whereas we soon see a juxtaposition between angles, as we are at his eye level in the market, suggesting that that is where he belongs and no one is looking down on him there. Binary opposition is also suggested, as the castle is clean and tidy and not many people are there (suggesting that only a 'select few' can achieve that wealth) whereas in the market it is quite messy, with a lot of people.
In the market, the blonde knight has his body guards behind him and whereas no one is behind Merlin. This could be intepreted differently, as the blonde knight could be intepreted as more powerful with lots of supporters and people to back him up. However he also could be intepreted as being less powerful as he needs those people there to fight for him and protect him, whereas Merlin doesn't need anyone to help him or fight his battles for him
The crowd noise completely stops when Merlin is rude. 'How long have you been training to be a prat', shows that rudeness to people of a higher status is very unexpected and standing up for yourself is not usually expected of them. The camera angle is a over the shoulder eye level shot, which suggests merlin thinks they're at the same level and that the blonde knight is no better than him. The lighting is quite dark, which shows social class, they literally can't afford lights.
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