Remember, writing analysis in Media means picking out the interesting or important aspects of something and then examining WHY or HOW they have been put together to create an effect on the audience.
Camera movement: notes
Pan: horizontal turn left or right
Used to follow movement. A whip pan (very fast pan) can create a feeling of action or drama.
Track/Dolly: Camera moves on tracks/wheels
Tracks action smoothly – look for in chases or fast-moving sequences.
Handheld: camera held by hand, often shaky
Handheld camera can add urgency, realism, pace or unease to a scene.
Zoom: focal length of lens changed to make subject appear closer or further away
A zoom into a character’s face can show realisation or an emotional reaction.
Crane: Camera attached to crane – can pan, track or ‘swoop’ in or out as required
Crane shots are often high angle and show large, epic scenes of dramatic action.
Tilt: Camera tilts up or down from fixed point
The hero or villain can be made to look weak or powerful using a tilt (high/low angle).
Editing: notes
Video: cuts and transitions
Film transitions
Cut (Straight cut, jump cut, match cut): Shot changes from one to another – the most common cut.
Dissolve: Shot melts into another – often shows passing of time.
Fade: Shot fades away and another shot appears. Fades to black often signify endings (of the day, scene or film)
The speed at which the film cuts from one shot to the next makes a huge difference to the experience for the audience. Generally, slow cuts build tension while fast cuts suggest action and excitement.
Juxtaposition
The word juxtaposition literally means ‘the act of placing together side by side’. In editing, this is called Parallel Editing.
In film, two shots may be placed together to create meaning for the audience. E.g. A shot of the hero may be followed by a shot of his love interest to link these in the audience’s mind.
Blog task: Camerawork analysis
We need to be able to recognise and analyse the camera shot, angle and movement when studying film or television. As ever with media, we need to be able to explain the effect this camerawork has on the audience.
Finish this blog task for homework over half-term - due for your second lesson after half-term.
Remember you also need to post your completed photo storyboard blogpost.
Final reminder: you need to be revising everything you've learned in Media this half-term for your assessment this week!
We need to be able to recognise and analyse the camera shot, angle and movement when studying film or television. As ever with media, we need to be able to explain the effect this camerawork has on the audience.
Task: Find a clip from a TV Series no longer than 3 minutes. Create a blogpost called 'Camerawork analysis' and embed the clip into your blog.
1) Pick three camera shots and explain the effect they have on the audience.
2) Pick two camera angles and explain the effect they have on the audience.
3) Analyse the camera movement at two key points in the clip and write about why the director chose to use that camera movement.
Suggestions for possible TV dramas if you’re stuck: Waterloo Road, Doctor Who, Downton Abbey, Call the Midwife, Glee, Ackley Bridge. See the example analysis below if you're not sure how to do this task.
Example analysis: The Night Manager (BBC, 2016)
1) Three camera shots:
- The opening establishing shot clearly shows the characters getting off a boat and walking into the restaurant. This both sets the scene for the following action and also confirms the characters are very rich.
- The extreme close-up on the main character's eye at 0.52 successfully communicates the intensity of the scene and the mixture of fear and emotion he feels as he watches his son being kidnapped. This has the effect of causing the audience to sympathise with the main character and wonder what will happen to the boy after being taken.
- The over-the-shoulder shot at 1.13 shows the main character recognises the man who saved the boy and that the man with the face injuries is not who he says he is. Like many over-the-shoulder shots, it is also a medium close-up which allows the audience to see the confusion on the main character's face and the realisation that he has seen him before.
2) Two camera angles:
- The power between the two key characters is shown using camera angles. The high angle shot at 1.21 looking down on the man who has been beaten up shows his powerlessness and that he will rely on others to make him better. He looks broken and defeated as the close-up shot from above shows him looking up at the main character.
- In contrast, the main character is shown in a low-angle close-up immediately afterwards (1.23) to show his power over the broken man. The camera is looking up at him from the perspective of the man on the floor. This introduces a clear power relationship between the two characters - emphasised by the dialogue at the end: "We're going to take care of you."
3) Analyse the camera movement:
The camera movement at the beginning of the scene is slow, steady and fits the relaxed atmosphere as they enter the restaurant. The smooth track or dolly shot as they walk to the table (0.14 - 0.17) makes the audience feel as if they are joining the party and included in the exclusive group in the island restaurant.
This all changes in the scene where the kidnappers take the main character's son. The camera movement is suddenly handheld and edgy, signalling the tension and danger to the audience. This adds realism and suspense and contrasts strongly with the smooth camera movement of the opening to the scene. The camera continues to move (handheld) throughout this scene as the kidnapping develops - this keeps the audience on edge and creates the idea that danger or something terrible may be happening.
As the kidnappers try to escape, the camera pans loosely from left to right and back again (0.57) to create the effect of someone looking around to see where the next danger will appear from. Finally, when the kidnappers have gone and the boy is returned safely, the camerawork is still handheld but not as shaky as previously. This restores normality to the scene as the danger has passed.
- The opening establishing shot clearly shows the characters getting off a boat and walking into the restaurant. This both sets the scene for the following action and also confirms the characters are very rich.
- The extreme close-up on the main character's eye at 0.52 successfully communicates the intensity of the scene and the mixture of fear and emotion he feels as he watches his son being kidnapped. This has the effect of causing the audience to sympathise with the main character and wonder what will happen to the boy after being taken.
- The over-the-shoulder shot at 1.13 shows the main character recognises the man who saved the boy and that the man with the face injuries is not who he says he is. Like many over-the-shoulder shots, it is also a medium close-up which allows the audience to see the confusion on the main character's face and the realisation that he has seen him before.
2) Two camera angles:
- The power between the two key characters is shown using camera angles. The high angle shot at 1.21 looking down on the man who has been beaten up shows his powerlessness and that he will rely on others to make him better. He looks broken and defeated as the close-up shot from above shows him looking up at the main character.
- In contrast, the main character is shown in a low-angle close-up immediately afterwards (1.23) to show his power over the broken man. The camera is looking up at him from the perspective of the man on the floor. This introduces a clear power relationship between the two characters - emphasised by the dialogue at the end: "We're going to take care of you."
3) Analyse the camera movement:
The camera movement at the beginning of the scene is slow, steady and fits the relaxed atmosphere as they enter the restaurant. The smooth track or dolly shot as they walk to the table (0.14 - 0.17) makes the audience feel as if they are joining the party and included in the exclusive group in the island restaurant.
This all changes in the scene where the kidnappers take the main character's son. The camera movement is suddenly handheld and edgy, signalling the tension and danger to the audience. This adds realism and suspense and contrasts strongly with the smooth camera movement of the opening to the scene. The camera continues to move (handheld) throughout this scene as the kidnapping develops - this keeps the audience on edge and creates the idea that danger or something terrible may be happening.
As the kidnappers try to escape, the camera pans loosely from left to right and back again (0.57) to create the effect of someone looking around to see where the next danger will appear from. Finally, when the kidnappers have gone and the boy is returned safely, the camerawork is still handheld but not as shaky as previously. This restores normality to the scene as the danger has passed.
Remember you also need to post your completed photo storyboard blogpost.
Final reminder: you need to be revising everything you've learned in Media this half-term for your assessment this week!
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