AS MEDIA STUDIES Use this booklet to help you revise all the things you need to analyse in the TV drama section of the exam, all the different social groups that you could be asked to look at, and all the key words / terminology. If you have any questions don’t hesitate to come and see me or email me. AS G322 Key Media Concepts
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AS MEDIA STUDIES Use this booklet to help you revise all the things you need to analyse in the
TV drama section of the exam, all the different social groups that you could
be asked to look at, and all the key words / terminology. If you have any
questions don’t hesitate to come and see me or email me.
AS G322 Key Media
Concepts
1
Contents The Exam ................................................................................................................................................. 1
Marks .................................................................................................................................................. 2
Viewing / note making tips ................................................................................................................. 3
Tips for structuring your exam answer ............................................................................................... 3
Layout & Format ................................................................................................................................. 4
Section A – Key Media Concepts ............................................................................................................. 5
Overview The exam is quite unique in that it is one of the only exams that will require you to watch a
video clip. You will see this a total of 4 times. The first time you see it you must not make
any notes. During the screening of the remaining 3 times you are allowed to take notes.
Duration 2 hours:
30 minutes viewing of TV drama extract: 1st screening – no notes; note-making
between and during 2nd, 3rd and 4th screenings (follow instructions on screen); the
extract itself will be 4-5 minutes long
45 minutes to answer the TV drama question (section A)
45 minutes to answer the question on Institutions and Audiences (section B): based
on what you will have studied about the music industry.
Content The exam in split into two sections. The first focuses on TV Drama. This is the section that
you will have to watch a clip for. You will be asked a question based on the construction of
representations within the clip. The exam paper will tell you what is being represented in
the question.
The second section is Section B. This is where you respond to a generic question using you
case study of a particular media industry. We will be studying the music industry. The
question has to be quite open (which is benefit) because every school will do a different
industry and case study.
Assessment Criteria 1. Demonstrate knowledge and understanding of media concepts, contexts and critical
debates, using terminology appropriately and with accurate and coherent written
expression.
2. Apply knowledge and understanding to show how meanings are created when
analysing media products and evaluating their own practical work.
Marks Assessment of Section A (TV Drama)
Your answer to Section A will be marked out of 50:
your explanation / analysis / argument will be marked out of 20
your use of examples will be marked out of 20
your use of terminology will be marked out of 10.
Assessment of Section B (Institutions and Audiences)
Your answer to Section A will be marked out of 50:
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your explanation / analysis / argument will be marked out of 20
your use of examples will be marked out of 20
your use of terminology will be marked out of 10.
Viewing / note making tips Use the 1st screening. You cannot make notes, but use the screening to follow what is
happening. Beyond that you may be able to identify key aspects of the extract that relate to
the question set. For example, characters that relate to the representation of age or gender
(if that is what is asked for).
Once the 1st screening has ended you may make notes. You should decide and practise
beforehand, your method of note-making. You could set aside areas of a page in your
answer booklet for each technical code. Alternatively, you might have identified key aspects
of the set representational issue during the 1st screening, and you could use these as
headings for your note-making.
Practise being able to watch and listen and make quick notes all at the same time.
Remember that you are not expected to note or write about every technical choice in the
extract. As you watch, concentrate on selecting those that relate to the issue or aspects you
are focussing on.
Tips for structuring your exam answer The last point above is relevant here too. Take a minute or two after note-making to decide
what you are going to write in answer to the question. Either make an outline plan, or
indicate in your notes which points you will cover in which order (number them).
In order to score well on your explanation / analysis / argument, decide before writing the
answer what you think your analysis shows about the representations in the extract. You
need to have an idea that drives the answer, which links together the various points you will
make. You can then lead the examiner towards your conclusion.
4
Layout & Format Section A
Section B
Study the layout and format.
Know what to expect.
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Section A – Key Media Concepts
Cinematography
ELS Extreme Long Shot
MLS Medium Long Shot
MCU Medium Close Up & Two Shot
LS Long Shot
MS Medium Shot
CINEMATOGRAPHY: SHOT TYPES
This type of shot is often used to introduce setting
(setting the scene as an establishing shot) or to
indicate the overwhelming nature of that setting. An
extreme long shot might show only environment (as
in this aerial ELS of Gotham City), or tiny figures
swamped by their context. It can show audiences
spectacular objects or places of epic scale.
These shots are often used to show the relationship
between a character, or group of characters, to a
particular setting. The whole body of the character will
usually be visible, as will much of the setting in which
they stand. A LS might be used in order to show the
situation of a sole character within a hazardous setting
or, alternatively, to indicate a character’s escape into
freedom etc. In this example it conveys the daunting
task facing a lone crusader.
Medium long shots have slightly more emphasis on
character than place but still perform the same
functions as a wider long shot. In this shot the amount
of space around the two figures suggest they are
feeling isolated in their battle.
Perhaps the most widely used shot distance in film is
the medium shot. Characters are usually shown from
the knees/waist up enabling viewers to read the body
language of a character. The medium shot still allows
us to see a person in context as we can see them in
their immediate surroundings but we can also discern
vital details about their appearance or mood. Often
used to present characters talking to one another.
The difference between a MS and an MCU is very
subtle and, obviously, just involves adopting a slightly
closer distance to the object or characters. Here the
MCU allows us to see the expressions of both
characters and the nearness adds a sinister,
threatening intimacy to the shot. When two characters
occupy the same frame like this it is also called a two
shot, here suggesting the immediacy of the threat.
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CU Close-Up
ECU Extreme Close Up
Close-ups frame the entire head, hand or foot of a
character or part of an object. They can be used to
draw the viewer’s attention to a significant facial
expression or to an object that might have significance
within the narrative. Close-ups allow us to register a
character’s thoughts and feelings and increase our
sense of involvement by bringing us close to the
emotions within a scene.
Extreme close-ups show only a section of a face or
object, or can be used to focus on a tiny detail. ECUs are
often used to focus the viewer’s attention on a significant
detail e.g. a tearful, determined or terrified eye. They
often create great intensity. ECUs take the viewer into
extremely close proximity with a character: the discomfort
they might feel when positioned so close can be used to
dramatic effect by filmmakers.
As you might expect a high angle shot involves
positioning the camera high looking down on a character,
place or object. This shot usually suggests weakness,
vulnerability or loss of power. This can be used to create
compassion or just to reflect the changing power relations
between opposing characters.
LOW ANGLE SHOTS
Low angle shots involve the camera being positioned low down so it looks up at the character or setting. This can have
a number of effects, making a character look menacing or dominant as they loom large in the frame, making a building
look daunting or towering, making a hero look powerful, brave or statuesque.
HIGH ANGLE SHOTS
POINT OF VIEW SHOTS We look through the eyes of a character, seeing what they see, adopting their point of view.
This kind of shot integrates us into the onscreen action, creating immediacy and suture (the knitting in of the spectator
into the fabric of the film.
REACTION SHOTS We are shown shots of the reactions of characters adding to the emotional impact of moments in
scenes.
CANTED ANGLES Instead of the shot being level it is tilted over on a diagonal to create skewed images of a distorted world, often suggesting madness, loss of stability or terror.
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Camera Movement
The cinematography choices made within a film are a key means by which the filmmaker can convey
meaning.
Your discussions of cinematography will not only need to identify the element of camerawork
being used, but discuss how it is being used and what the potential impact is on the viewer.
Panning: within a panning shot or a ‘pan’, the base of the camera remains still, but the
camera itself moves either right to left, or left to right. The movement is horizontal and
might be anything up to 360 degrees in diameter. Pans can be used to introduces a films
audience to a particular setting, with the camera slowly revealing elements of a room, for
example. A pan might also be from the point of view of a character, in which case the
viewer is being invited to observe a scene and consider different elements of that scene
at a rate that the character dictates.
Tilting: when tilting, the camera base again remains static, but this time the movement of
the head of the camera is vertical, rather than horizontal. Two classic types of tilt shot
would move either up or down a character, or up or down a building. The first type can
indicate one character’s sexual attraction to another. The second might indicate a ‘sizing
up’ of a building to be climbed etc.
The Zoom: a zoom is technically not a movement at all but gives the illusion of being so.
The camera operator can either zoom in or out. Zooming could focus our attention on a
person or object, or give us a sense of growing intensity. Zooming out gradually places a
person or object in context as we gradually see more and more of the surrounding
environment. Two further types of zoom are the crash zoom (an extremely sudden jolting,
jarring zoom in or out), and the incremental zoom (a very gradual zoom in or out, so slow
as to be almost imperceptible) which subtly draws us into a scene that is taking place.
Crane Shots: occur when the camera is attached to a device which allows it to be moved
up, down, or laterally. The crane allows us to rise above an environment and survey it
from an elevated position or to swoop from high to low etc. A notable variation of the
crane shot is the aerial shot in which the camera looks down from its mounting on a
helicopter. The crane shot gives us an overview and often allows us to take in
spectacular aspects of a sequence or to see a character in context.
Handheld Camera: is to an extent self-explanatory but its uses are varied. Handheld is
often used to suggest realism, adding a sense of spontaneity and rawness to the footage,
it is often used in documentaries to suggest real events captured as the happen.
Consequently, in fiction film it tends to be used to give the illusion of reality and make
events seem more credible.
The other major uses of handheld work is to humanise the camera: when used to deliver
a point of view shot the slight unsteadiness helps to convince the audience that the
camera has adopted the view point of the character.
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Depth of Field
Deep Focus: a camera technique that
allows objects both near and far from the
camera to be in focus at the same time.
Shallow Focus – describes a shot where an
object near the front is in focus, and
everything else behind is out of focus
(blurry). Often used to make one thing seem
more important. E.g.
Soft focus: in images, the use of a special
lens or filter to create a hazy light around the
subject. Soft focus shots are associated with
the romantic or sentimental treatment of
subject matter.
Pull Focus – describes a shot where one thing was on focus, and then the lens is
changed so that something else stops being blurry and becomes in focus. Often
used to show how something has become more important.
Tracking: a tracking shot occurs when the whole camera moves in, out, or sideways to
follow the action: it is a following shot, ‘tracking’ a character, car, horse etc. A tracking
shot can be created by fixing a camera set to a set of wheels or ‘dolly’ which is then
moved (it is becoming more typical for filmmakers to use a skycam, on wires,
depending on terrain). Alternatively a steadicam is used to create a smooth flowing
movement. Tracking shots enable filmmakers to follow moving action or characters
through scenes and help to involve the spectator by making us feel like we are now
moving along with the characters.
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Rule Of Thirds – describes a technique used to
make a shot look interesting. Rather than placing a
person or object in the middle of the frame, they are
placed at the sides, or where the lines cross on this
imaginary grid.
Framing
What is framing?
Framing is one of the many elements of cinematography, the frame can be defined as the edge of
the shot, the rectangular shape created by the cameras perspective. Choices are made as to what
elements to include within this area. This is known as framing. There are several elements of
framing, crucial areas to consider are angle, level, height and distance.
Angle
There are an infinite number of angles that could be used by a director, however there are generally
three angles that are commonly used, the straight on angle, the high angle (looking down at material
within a frame) and the low angle (looking up at material within a frame).
Level
Level in framing is often straight forward. It is more often than not parallel to the horizon. On the
occasions it is not i.e. tipped to one side or the other, it is cantered. This technique is rare, but can
be seen in Wong Kar-wai’s Fallen Angels.
Height
Used to give a sense of being stationed at a particular height in relation to objects or characters.
Important to note that whilst it is related to angle, there are distinguishable differences.
Distance
Whilst this element can be considered as framing, camera distances such as, medium close-ups and
extreme long shots are worth explanations in their own right and will be at a later date.
Open Framing
Open framing is the idea that an object or character is shot
within the frame surrounded by space, in which to move freely
in.
Closed Framing
A contrast to open framing. A character for example framed in a
door way appears restricted, closed in if you will.
Functions
Framing is like most cinematic codes a useful tool for generating
meaning. However there is no hard and fast way to suggesting something. For example a cantered
camera angle in Inception may suggest that reality is out of kilter, but it will not always mean that
from film to film. The context of a film determines the functions of meaning.
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The King’s Speech motivated this entry on framing and is a useful case study for application of the
outlined areas. Framing is used in this film to create a multitude of meaning and emotions. Firstly
let’s consider angle. The picture below demonstrates the use of a low angle shot looking up. The
shot connotes the intensity of the situation but importantly lets the audience know how small and
weak King George VI (Firth) is feeling. There is no doubt that this affect is enhanced by the use of a
super wide lens but none the less the same emotion is conveyed.
Editing Action match: a shot that cuts to another, continuing a piece of action or movement
between the shots. Allows the audience to see a smooth action despite a cut in the
shot. For example, we might see someone shoot a gun, and the editor would
perform an action match so we then see the bullet hit someone else and they fit
together seamlessly so we see both people’s perspectives.
https://www.youtube.com/watch?v=Mv93covb53w
http://www.youtube.com/watch?v=ONMSe_zhq70
Continuity Editing: an editing style that aims to present the text in a chronological
manner to emphasise the real-time movement of the narrative and to create a sense
of realism for the viewer by giving the impression of continuous filming. Continuity
editing creates a narrative that approximates to the real experience of moving
through time, even though screen time usually covers a much longer period.
Audiences feel comfortable with a linear progression that reflects their everyday
If you are worried about how to structure your answer, just make sure that with every
point you make you include the following information
TERMINOLOGY MEANING FOR THE CHARACTER
MEANING FOR THE SOCIAL GROUP
Use a key piece of terminology to describe a technical element
Explain what the meaning of this aspect is and what it suggests about the character it relates to
Explain what wider significance this has in relation to representing the social group in question e.g. gender / class etc.
In ‘Monarch of the Glen’, the low angle medium close-up on Paul, from Amy’s height...
... signifies Paul’s dominance from Amy’s perspective.
It reminds the audience that adults use their physical presence to dominate younger people – seen from Amy’s perspective this could be read as unfair
In ‘Primeval’, the last shot of the tiger sequence is on Cutter, rather than Abby, the shooter.
This establishes the male rather than the female point of view, de-spite the girl’s heroism...
... representing an old-fashioned masculine dominance of the narrative.
In ‘The Silence’, diegetic sound is sometimes subjective, from Amelia’s point of view. Walking happily through the park the audience hears only things she touches: leaves, the wall and so on.
This sympathetically illustrates how Amelia compensates for her deafness by making more use of other senses that hearing audiences may take for granted.
This invites the audience to appreciate that a deaf person’s experience is different, rather than worse, than their own.
In ‘Feather Boy’, both the children and the elderly residents exhibit negative body language, backing away from each other on first meeting.
This suggests that both groups are unfamiliar and fearful of each other because of their different ages.
It represents the idea that in modern Britain, the young and old no longer spend time together and have grown far apart.