G322 TV Drama - GLOSSARY

CAMERAWORK
Shots
Establishing shot/ Extreme Long shot
Establishes the location of the action
Long Shot
A shot that captures most, if not all, of the object; e.g. a whole person.
Mid shot
A medium length shot
Two shot
2 people in the frame shows the proximity of one character to the next.
Close up
Close up of the object one use is to show full face of character for emotions
Extreme close up
Very close to the object; e.g. a persons eyes
Over shoulder shot
A shot taken from over a characters shoulder so the viewer sees what the
character sees; used a lot in conversation.
Wide shot
Using a wide lens

Framing
Viewpoint
The position of the camera, this is an important point for representation: our
view of something is mediated by the location of the camera.
Point of view
The gaze of the audience mediated through the camera. In other words, we see
what the character sees. This is another important point for representation: our
view of the action is seen as though through the eyes of another.
Depth of field/ selective focus
Depth of field relates to which aspects of the scene are sharp and in focus and
which arent. This is especially important for foregrounding and back-grounding
particular people or elements of the scene. In terms of representation, what is
the view being made to think is important?
Rule of thirds
In film-making, imagine the frame is split into 9 equal sections (3 lines vertically
and 3 lines horizontally). Important elements of the frame should be placed
where the lines meet or along these lines.
Focus Pulls
Adjusting the focus without breaking the cut; this draws the viewers attention
from one aspect of the frame to another.

Angles
Birds eye
As though you are looking down directly from above at roof tops and peoples
heads. Not to be confused with high angle.
High angle
A shot taken from a high location looking down onto the action or characters. The
view has the effect of making the characters seem smaller and often weaker.

Eye level
A camera angle at eye level of the characters shows equality between the
characters. It can expresses tension, love, intimacy etc if combined with close
ups.
Low angle
Opposite to high angle, the camera is in a low position and makes the objects in
the frame look imposing and powerful.
Worms eye
A shot that looks as though the camera is in the ground.
Reverse angle
A shot that views the action from the other side of the previous shot, as though
the cameras are facing each other. This breaks the 180 degree rule which
requires the camera to stay on one side of an imagined line and view the action
as though it was on stage.
Tilted angle
What is says on the tin: the camera is tilted to show a lack of balance.

Camera movements
Zoom
Zooming in so the objects becoming bigger in size.
Reverse zoom
Otherwise called zooming out, the object becomes smaller in size.
Follow
The camera literally follows the subject
Pan
The camera, in a static location, moves left and right.
Tilt
The camera moves from horizontal to vertical, as if the ground is moving.
Crab
At the same height, the camera moves left and right like a crab.
Tracking (dollying)
The camera is mounted on tracks on which it moves; this provides a very steady
shot as the camera moves.

EDITING
Bridging shot
A shot (cut) used to cover a break in time, or other break in continuity.
Continuity of motion
The flow of action from one shot to the next as it is placed on the screen at the
cut point. Placing the significant action at the end of a shot in the same area of
the screen where the significant action will begin in the next shot.
Cross-cut/ Parallel action
The intercutting of shots from two or more scenes so the fragments of each
scene will be presented to the viewers attention alternately.
Dissolve
A gradual scene transition: the editor overlaps the end of one shot with the
beginning of the next one. Dissolves often signify the end of one event and the
beginning of another.
Eye-line match The matching of eye-lines between two or more characters. For
example, if Sam looks to the right in shot A, Jean will look to the left in shot B.
This establishes a relationship of proximity and continuity.
Fade A visual transition between shots or scenes that appears on screen as a
brief interval with no picture. The editor fades one shot to black and then fades
in the next. It is often used to indicate a change in time and place.
Cross fade
Where the new image fades over the previous image before the previous image
disappears completely. Used to show the transition of place and sometimes time.
Iris Visible on screen as a circle closing down over or opening up on a shot.
Seldom used in contemporary film, but common during the silent era of
Hollywood films.
Jump cut - A cut which breaks the continuity of time by jumping forward from
one part of an action to another. Leaves out part of the action
Matched cut A cut joining two shots whose compositional elements match,
helping to establish strong continuity of action.
Montage
1) the juxtaposition of seemingly unrelated shots or scenes which, when
combined, achieve meaning 2) a series of related shots which lead the viewer to
a desired conclusion.
Relational editing
Editing of shots to suggest association of ideas between them.
Sequence
A series of shots or scenes which has a beginning, middle and end (like a chapter
in a book).
Sequence shot A long take that extends for an entire scene or sequence. It is
composed of only one shot with no editing.
Shot reverse shot cutting
Usually used for conversation scenes, this technique alternates between overthe-shoulder shots showing each character speaking.
Wipe Visible on screen as a bar travelling across the frame pushing one shot off
and pulling the next shot into place. Rarely used in contemporary film, but
common in films from the 1930s and 1940s.

MISE-EN-SCENE
Bascially, mise-en-scene is anything that you can see on the
screen. The mise-en-scene is, of course, mediated and
manipulated by camera angles, editing and sound.

Setting
On location
Sequences that are filmed at a particular location as opposed to in the studio.
This perhaps adds to authenticity but does not mean that the representation is
authentic the scenes on location are mediated by camera angles, lighting etc.
Studio
Filmed in a studio. In terms of representation, the world has had to be created for
recording. You need to ask yourself, whose perception and image is it of what the
world in the studio should be like?

Colour
Colours are very important in the location and in mise-en-scene as a whole. What
colours are used, what are their connotations?

Codes and conventions

Does the location and the mise-en-scene meet or challenge the expected ideals?

Symbolism
Things in the scene which has a greater significance or importance; e.g. a large
knife used by a character, a crucifix etc

Ideology
Does the setting construct or, in fact, reconstruct a set of dominant values? For
example, Little Britain reflects a dominant ideology in society when it
reconstructs its reality surrounding the chav Vicky Pollard by meeting societys
expectations. She is presented in parks drinking cider, having many children and
hanging around in undesirable locations. Ask yourself whether the ideology here
is in some way reflective of society or critical of it.

Actors, costume and make-up

Image
What representations are being constructed by the image of the actors, consider
their clothing, status, behaviour, job etc
Colour
An important aspect of costume, what colours are the characters being
associated with and why?
Actors
Who are the actors? Do they have any appeal outside of the film? Are they
presented as belonging to the setting or contrasted against it?

Lighting
Light and shadow
You need to ask yourself what is presented in the light and is clearly visible and
what is in the shadows. The significance here might be that those things in the
shadows are not supposed to be revealed immediately or it may be that those
people in the shadows are representations of marginalised members of society.
Think of The Merchant of Venice, Antonio would be in the light whereas Shylock
(the marginalised Jew) would be in the shadows.
Ambient light/Available light
This refers to the light that is available to the film maker as opposed to artificial
light.
Filter
A filter may be used to give the light a particular tint. Look at the film Nosferatu
for an early example of a light filter being used (in this case, blue).

SOUND
Diegetic sound
This is sound which belongs to the world of the film; this is the sound the
characters in the film would be able to hear. For example, a dripping tap, a
conversation, music in a dance hall etc.
Non-diegetic sound
This is sound which exists outside of the film. For example, a voice over, an
orchestra playing at the moment 2 lovers eyes meet across a table, a narrator or
voice over etc
Parallel
Parallel sound matches the image on the screen. For example, the Friends theme
tune which is up-beat and lively matches the image on the screen of young
people.
Contrapuntal
This is sound which acts in contrast to the image on the screen. An exaggerated
example would be a slow romantic tune at the point of a murder on screen. This
is used to challenge the audiences expectations.
Music
Music is very important, both diegetic and non-diegetic for creating atmosphere.
Consider the tone, pace, pitch etc of the music and its relation to what you
showing on screen.
Sound effects
Manipulated sounds are any sound effects used?
Language
Consider the language of the actors in the scene. Do they speak formally or
informally? Do they have an accent? Do they swear? Are they loud or quiet?
Silence
Silence can be used to create a heightened sense of tension or even to create
moments of intimacy. How silence is used depends very much with what is on
screen. If silence is used, ask yourself why.