This task will also give us an opportunity to use everything we have learned about media language so far (denotation, connotation and mise-en-scene) to improve our media analysis.
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 shots: notes
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 shots: notes
Learning to accurately identify different camera shots and the effect they have on an audience is a critical skill in Media Studies.
Before long, you'll find yourself naturally identifying interesting examples of camera shots, movements or angles when you're watching movies, TV or YouTube. The key aspect is always to consider WHY the director has chosen to present the scene in that way - what are they trying to communicate to the audience?
Here's a great YouTuber for Film Studies - Darius Britt AKA D4Darius. Notice that he uses 'full shot' instead of long shot - but otherwise this is pretty much as we learn the shots in class:
Camera shots recap:
Before long, you'll find yourself naturally identifying interesting examples of camera shots, movements or angles when you're watching movies, TV or YouTube. The key aspect is always to consider WHY the director has chosen to present the scene in that way - what are they trying to communicate to the audience?
Here's a great YouTuber for Film Studies - Darius Britt AKA D4Darius. Notice that he uses 'full shot' instead of long shot - but otherwise this is pretty much as we learn the shots in class:
Camera shots recap:
- Wide shot / establishing shot (WS/ES)
- Long shot (LS)
- Medium shot (MS)
- Medium close up (MCU)
- Over-the-shoulder shot (OTS)
- Close up (CU)
- Big close up / Extreme close up (BCU/XCU)
- High angle: makes subject look small and weak.
- Low angle: makes subject look big and powerful.
- Unusual perspective: can be used to surprise the audience or show danger (e.g. looking down off a cliff)
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.
Camerawork and editing: blog task
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 - due next week Thursday.
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.
Create a blogpost called 'Camerawork and editing analysis'.
Watch this clip from Doctor Who and complete the tasks below:
NOTE: If you have studied the following clip from Doctor Who instead, use this for your blog tasks:
Blog tasks:
1) Pick three camera shots from the scene and explain what type of shot it is and what meanings or effect they have on the audience.
2) Pick one camera angle that is used in the scene and explain the effect it has on the audience.
3) Pick one aspect of camera movement in the clip. Identify the type of camera movement and write about why the director chose to use that camera movement in the scene and what effect it has on the audience.
4) Pick one aspect of editing in the clip and write about what it tells the audience.
Example analysis: The Night Manager (BBC, 2016)
Here's an example of what you need to do using this BBC drama clip from The Night Manager.
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) 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) 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.
4) Analyse the editing:
The pace of editing suddenly increases when the kidnappers burst into the restaurant (0.22) with a series of rapid cuts to communicate the drama and danger to the audience. There is then a close up of the boy's father juxtaposed with a shot of the main kidnapper holding the boy. This tells the audience these are the two critical characters for this scene and that they will decide what happens next.
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