TV Drama

Glossary
 

TV Drama: A one of special or series of dramatic fictional programing that is broadcasted on every TV. A TV drama will normally focus one certain themes and genres throughout its programing, this could be a murder mystery such as Poriot or a series of chronological events in a series such as Batman or The sopranos. Distinguished TV Dramas include SHERLOCK, Doctor Who, Downton Abbey and Game of Thrones.

Representation: The way in which things, objects, or places are presented or seen through the viewer of a type of media (A Film, TV show, etc.) manly representation is seen through the actors, there genders, age, mannerisms, status, race. Usually representations fall under stereotyping where the characters that the actors bring forth are clearer to the audience whoa reviewing the performance.

Mediation/ Mediated: When we see a piece of media, where we do not relate to our views but the vision of what the director/ producer wanted us to. An example being that we could watch a film where a villain dies; we could either feel glad that the villain is dead for he might have done some terrible things in the story, or we can feel a slight sense of pity for the character believed for what he thought was right. This completely up to the choice and views of the director and producer, and what they feel is a more appropriate image to help tell the story.

Stereotype: The way on how a character or portrayal is typically or classically seen so as to help amplify their performance. For example, if the actor was supposed to be an old granddad, the director might choose for him to have a hunch, grey hair, and a walking stick to help signify his age. We are aware of common stereotypes, and sometimes by using them, they can create a sense of hilarity but may also cause an offence; examples being that boys love football and the colour blue, while girls love the colour pink and hate football, which isn’t necessarily the case.

Mediation/ Mediated: Different forms of status of class that dominate. For example the higher class might be the top of the hierarchy of power and dominance for they are most likely to have a greater amount of wealth over the other lower classes.

Ideology: The ideas behind a media text, the secret (or sometimes not-so secret) agenda of its producers. It is important to be able to identify the different ideological discourses that may be present in even an apparently simple photograph.

Semiotics: Is the study of signs. Signs tell us many different things depending on that certain sign. The basic examples would be that a smiley face would translate as a sign of happiness and peace, whereas angry face would translate the complete opposite.

Connotation: connotations are simple to understand. The denotation of the dog is what we see, so it would have hair, four legs and a tongue. However the denotation of a noun or verb is what we associate with that. So the connotation of a dog would be a loyal family pet who is man’s best friend. This may not necessarily be true, but it is what the typical average audience would associate with this animal.

Signifies: To convey through signs, speech or action. What something means.

Signifier: A person or thing that signifies.

Iconic: Signifier resembles the signified. A literal representation.

Indexical: Doesn’t resemble the signified, but linked in a literal way – Smoke = fire, ect.

Symbolic: Does not resemble the signified but with connotations, such as a crow symbolising death.

Binary Opposites: The Opposites are used to generate interest in the media – Good/Bad, Black/White

Mode of Address: The way media talks to the audience

Anchoring: Keeping something firmly in place

Conventions: A way that something is usually done

Diegetic Sound: Any sound, voice or piece of music that comes from within the world of the narrative.

Non Diegetic Sound: Sounds, such as music or a narrator’s voices that come from outside the space of the narrative.

Synchronous/Asynchronous sound:

Sound Effects:

Sound Motif:

Sound Bridge:

Dialouge:

Voice Over

Mode of Address

Sound Mixing

Sound Perspective

Score:

Incidental Music:

Themes:

Stings:

Ambient Sound:

Camera Shots

Establishing Shot

 These shots are often used to display the setting of a scene before the action takes place. It is usually of the setting, allowing the audience to decode the connection to location has to the story.

Establishing Shot

Ariel shots allow the director to give the audience some perspective - for example, this angle emphasises how small the characters are which can be used to great effect within the story.

Over The Shoulder Shot

This is one way of allowing the director to show what the character sees. The camera is placed behind the actor and often follows them as they travel.

Point Of View Shot

Another way to show the audience what the character sees, more directly and personally. This can be a camera movement when the camera reflects the character's point of view the whole scene, through movement.

Prezi on Different Film Editing Techniques

Encoding Messages



In this image I took of the school, we get a contrast of colours with the blue of the signpost blending with the green of nature. The fallen signpost suggests the location falling apart and the silver metal barrier conveys the divide between man and nature generated. The signpost resting on the barrier links to a concept of the abandoned being shut out from the modern.

Coming Down the Mountain – Disability Representation

The first representation of a disabled character in this clip occurs roughly a minute in, where we are introduced to Ben, a child with Down syndrome through the negative perception of his brother, David. It is established early on the David is fed up with looking after his brother through the voice over and goes as far to say he wishes to kill him.

The scene cuts to a close up of Ben eating cereal in a very unpleasant manner – he looks at the item on his cutlery and opens his mouth and closes it, reminiscent of a fish. In the background, diegetic music plays with the Beach Boys proclaiming how nice it would be if everyone was happy with creates irony with David’s situation who is angry at his brother. This is furthered when the scene cuts to David glaring at Ben.

David’s non diegetic narration compares his brother to a potato with eye tentacles, combined with the actors facial expression alludes to the director’s intent to portray Ben (and disability) as negative and an annoyance to the able-bodied and able-minded David.

David compares Ben to a dog, which is a negative comparison implying that Ben is less than human. The unpleasant language continues when David accuses Ben of “eating all the bloody Weetabix”. This may appear to be a minor inconvenience for most people (reinforced when their mother lightly tells Ben off by saying “that was a bit selfish” and ignoring David’s plight) but the director is able to portray this as a major problem as David’s line is the first diegetic dialogue in the scene and the close up emphasises this.

The director cuts to a close up of Ben smirking implying that he is aware of the inconvenience he has caused David and is proud of it.

When attempting to steal one of Ben’s Weetabix, Ben cries out “no”. However, the director does not show this and it is only heard, alluding to the concept that his opinion and protest isn’t worthy of being shown.

The sigh from David alludes to the regularity of this act, and suggests that David is tired of this. This is furthered by a wide shot of her hugging Ben, kissing his head, but not David. This hints at the director’s intention of displaying David’s perception of disability as an inconvenience for him

The scene cuts to a wide angle shot of David and Ben walking to the bus stop, with David walking a few steps behind him hinting that David doesn’t want to be seen walking with his brother – or even that he isn’t worthy of it. The weather is grey and wet – pathetic fallacy for David’s mood.

The non-diegetic speech continues, with David furthering the difference between people with disability and what he describes as “normal kids”. He even describes people with mental disabilities as “kids like Ben” implying that is the only thing that defines them.

Another character serves to discriminate against Ben who is a friend of David (proved by their proximity) who asks if David will be “babysitting again?” Ben appears to be only a year or so younger than David and suggesting that David is babysitting reinforces the theme that people with disabilities are inconveniences.

During this conversation Ben is seen left out of the conversation, standing behind David oblivious.

The scene ends with Ben being seen riding on the bus alone. He clutches to the handle bars, insinuating that he is dependant – if not on his brother than the handle bars. The camera draws closer on Ben’s face, putting emphasis on his feelings.

Clip Analysis - Sherlock and representation of Gender

In this scene from the first episode of the second Series of Sherlock, I will be discussing the representation of gender and distribution of power.

The scene begins with the one female character in control as proved by the midshot looking up to her slightly. The director would have chosen this shot to put us in the perspective of the male heroes, who we are meant to accept have been defeated. Another midshot, of Mycroft shrouded in darkness, generating a sense of mystery, reinforces this as he is seen attentively listening to Adler and responding. This creates juxtaposition as it is typical for men in suits to be in positions of power.

We are then offered a close up of Holmes, which is initially out of focus. This alludes to Holmes’ disinterest or confusion in relation to the whole situation. He comes into focus at the mention of the name Moriarty, a male character who he considers his equal. This implies that Holmes doesn’t respect Adler, and it is only the presence of his nemesis that draws him back in.

The Director moves Irene to sit opposite Mycroft, still higher than him. This allows a two shot where it is clear where the power is distributed as Irene is sitting much higher than Mycroft. Even when he stands, it feels reminiscent of a surrender.

This cuts to another close up of Holmes who has his eyes closed, thinking. This reinforces the idea he sees Adler as irrelevant and he isn’t paying attention to her, just the challenge she has offered.

However, when Sherlock stands (and the camera follows his movement, keeping his body in the foreground) the bold movement is the director’s way of conveying to the audience that the power is back with Sherlock.

The camera pans from Irene standing with Mycroft to just her on her own before Sherlock comes into view, telling the audience that this is where the conflict stands. A series of reverse shots come into play detailing the conversation with the camera angle pointing up to Holmes and down to Adler while Holmes details his thoughts and triumph.

Power is reinforced when the director shows a close up of Holmes placing his hand on Adler’s, a typically romantic gesture. Here it is a subtle way of conveying to the audience that Adler has lost her power and her lack of response suggests she is aware of it. As she has failed she has lost her barriers and the men feel empowered to treat her how they want.

It cuts to a flashback showing a similar shot, with the non-diegetic music creating gravitas to Holmes’ explanation of how he knows he has won. The director cuts back to a shot showing Holmes gripping Adler’s arm which would not allow her to escape or pull away indicating that she has lost all her power.

The nature of the story provides an insight to the representation of women; Adler loses because she fell in love whereas Holmes is able to solve the case as he considers himself immune to emotions. Love and sentiment is presented as a dangerous, weak thing which is encapsulated in a line of dialogue.

Confident the power is back with Holmes, he walks away. The director has Adler follow him, reinforcing that.

The power is once more shown through the exaggerated diegetic sound effect as Holmes presses the buttons on the phone, encapsulating his victory (and by extent, Adler’s loss). An extreme close up of his fingers tapping the screen alludes to Holmes’ strength and control over Adler.

This transfer of power is realised when Holmes literally asks Adler to beg for freedom. The camera pans, allowing Mycroft to stand beside her making Adler appear much smaller. Holmes is deemed worthy to earn a whole shot to himself where he stands looking away from the action, out of the window still talking. Holmes’ only line to her is “Sorry about dinner.” Which undermines Adler’s plight and focuses on a small thing, indicating that’s what all her problems are like.

 

Sound Analysis - Doctor Who

 

The clip I will analyse for sound opens with the non-diegetic musical score combined with a line of dialogue. The music is fast and reaffirms the action occurring. The music’s pitch raises as the dialogue relays the confidence the characters have that they’re going to win. This demonstrates the message in the story that the heroes are going to do everything they can to triumph over the threat. Another diegetic sound heard is the simple clicking of the gun strap on the Captain Jack. This is the director’s way of subtly reaffirming that despite the cosmic space drama, what is happening is real and grounded in reality.

 

The diegetic sound effect of the character’s teleport is heard and soon after is the sound effect of the earthquake which is loud and displays the danger the characters are in. The idea of danger is furthered by the iconic catchphrase of the Daleks coming from off-screen, the chant of “EXTERMINATE”. With the repeated one word from an iconic voice, the director has escalated the level of threat as the phrase has become synchronous with the Daleks in the same way the Daleks have with death.

 

The soundtrack bridges the clip as it cross cuts to another location where the monotonous voice of a computer reveals the location of the TARDIS. The bridging generates consistency within the scene and re-affirming it is happening at the same time as the other clips. This also functions as the director’s way of revealing to the audience where the Doctor (who is always with the TARDIS) is arriving to, bringing the hope the director is conveying within the scene.

 

By closing with the diegetic screech of tires as Sarah Jane drives away, the director presents the urgency to save the day which furthers the threat within the story.

In the next scene, the score continues but becomes quieter. By making this decision the director has revealed that these characters (who are only in a house) are away from the action, and by extension, safe constructing a moment of calm in the story. The soundtrack transitions into a more orchestral piece, with choir voice. This alludes to biblical and godly imagery and conveys to the audience that these people are going to save the earth.

 

This continues to bridge the scene into the next shot in another location where the TARDIS is seen for the first time for a while. The iconic diegetic sound effect is heard as the doors creak open and the Doctor and Donna stand in an abandoned street. The music briefly becomes quiet to display the isolation. The sound of a dog barking is heard in the distance – evoking emotion in the audience who feel protective of the animal. This continues over the dialogue.

 

Once more, the music transitions, this time into the theme that has become associated with the character Rose throughout the series. This is the first time the Doctor and Rose have been together and the music is the director’s way of giving the reunion impact, evoking nostalgia for the viewers that have been with the series.

 

The only diegetic sounds heard during the sequence is the sound of the characters running towards each other, which reaffirms the significance of this moment.

 

However, once it is clear that it was all going too well, the music changes to a darker motif as a Dalek appears which is soon followed with the diegetic sound effect of their gun. After this the music turns quieter to highlight the shock of the apparent demise of the Doctor.

 

After they cut to a scene within the TARDIS, the director prepares the audience for a regeneration something that has occurred many times. The fact there has been little build up within publicity and the episode (which had happened previously) requires the director to reaffirm this is happening and by the inclusion of the score the previous regeneration happened to, furthered by the presence of the diegetic sound effect of the regeneration building up and the line of dialogue: “It’s starting” the audience are lured into familiarity.

Scene Analysis - Primeval: Representation of Gender



In this clip gender almost seems to be irrelevant to the director as they treat each character distinctively.

The director seems to defy stereotypes as one of the first major female characters in this clip is seen driving a digger. In fact, the way the camera zooms in on the digger revealing the driver suggests the director is aware of the stereotype they are defying and highlighting that to the audience. The timing of the team leader’s (Nick Cutter) entrance in the frame is concurrent with the moment when the the driver is revealed to be Abby which furthers this. Abby’s portrayal defies most stereotypes of female characters who have known to be useless and objectified for the other characters’ (and often the audience’s) pleasure. In the clip this is the first example of Abby being presented as a stereotype defying strong young adult.

Abby’s clothes are practical – she wears jeans and a leather jacket with a short haircut. This is suggesting that to be accepted in the team as a female she needs to become “one of the lads” a mentality inherent within society today at times. Abby is not objectified through her clothing or by the camera, which I will elaborate on later.

The short scene then instantly cuts to another character suggesting the scene of Abby in the digger is a mere establishing shot of sorts to prove to the audience what a capable character Abby is.

The audience are then shown a brief shot of Connor Temple, a male character, tentatively and delicately placing a slab of meat on the ground. It is worth noting that this is another inversion of the stereotype as it may be expected that as a male, Connor wouldn’t care about such delicate manners and perhaps just throw it on the floor. Combined with his effeminate clothes – a fedora, scarf and pink t-shirt – Connor is shown to be a sensitive character which defies another gender stereotype.

The ease and skill Abby uses the digger is also apparent through the close up of her using the controls. This serves to defy stereotypes as it is apparent she was chosen to operate the machine due to her skill over the male characters. A midshot of her examining the digger from to compartment serves to further this.

When the team leader calls for her to stop in an urgent but not aggressive tone Abby stops instantly proving to the audience that she is a good team player and can accept orders. When the diegetic sound of the sabre-tooth is heard she turns on the digger without command and calls the creature with a boyish “Oi” to save Cutter.

The director has Cutter call out Abby’s name which is perhaps falling into the stereotype where the men have to care for the women but due to his situation (in a hole) he is unable to act.

As Abby fights the creature with the digger, close-ups and midshot show a determined calm face. This is contrasted with the shock and fear seen on the team leader and proves to the audience that Abby is an important team member.

The director cuts to a wide shot of Cutter calling the creature away from Abby. Cutter is shown wearing very earthly colours and a willingness to get dirty which he wide shot emphasises.

A high angle shot shows Cutter running through the woods and climbing a rope ladder for an activity in the park. He instinctively goes to the ladder and doesn’t stop to consider this action suggesting to the audience he is a clever, fast-thinking leader and worthy of leading the team – and Abby.

When reaching the top, a midshot shows Cutter contemplating what to do with the zip-wire with a calm, thoughtful look. This is enhanced by the editing when Cutter removes his belt which cuts sections out making the clip and Cutter seem faster and at a faster pace.

He then jumps onto the zipwire effortlessly holding onto the belt – his only support. The director shows him looking behind regularly reinforcing that he is an aware leader and alpha-male.

The director cuts to a wide shot of Abby running into frame holding a gun suggesting she is coming to the rescue. Despite the distance, the audience can make out a determined look on her face as she runs towards the incident. She is the first character seen holding any type of gun so this gives the scene gravitas.

The sound effect of the gun-shot as the sabre-toothed jumps over Cutter shows how brave and powerful she is, almost despite being a woman.

Later on, the team appear to regroup and the audience see the return of Connor and some more characters. The director shows them with a couple of two shots featuring Abby standing next to a man wearing a suit – a stereotypical office worker. However, the man in the suit seems to be hunched over and seems timid. This furthers Abby as being as capable (if not more so) than the rest of the team.

Connor is shown standing next to Stephen who is wearing a shirt – a contrast to Connor’s effeminate look. Stephen is also a conventionally handsome character, tall with dark hair. Despite this, the character Connor is not seen to be inferior to him despite his size and clothing and speaks up normally. This is the director saying to the audience that stereotypes don’t define you.

The nature of the two shot treats each character the same. The camera pans slightly around the speaker but no character is favoured. This is beneficial to Abby who is never subjected to the “Male Gaze” which is the theory that the camera assumes to viewpoint of a heterosexual male and has a tendency to objectify females. Increasingly, the reverse is apparent in such films as Twilight which at times seem to be aimed for females with gratuitous body shots of the male characters, often shirtless. Neither is apparent here with the camera almost impartial to gender.

The second female character to appear is a professional looking woman, Jennifer Lewis. She is first seen through an over the shoulder shot wearing a clean white coat and a suit. This creates juxtaposition with not only the setting which is a barn, but the previous sequence set in the woods.

The camera favours her as the person in power, shown by the slight angle it looks up to her. This changes when the male picks up a gun and he throws her to the floor. The director shows a shot of her looking helpless on the floor before cutting to the team appearing with Stephen and Abby holding guns of their own.

In a rather comic moment, the unarmed Connor picks up a shovel and wields it as a weapon. The nature of all the feminine characters as being not as powerful as the men could suggest that women need masculine qualities to succeed as both Connor and Jenny appear useless in this scene.

Once Stephen retrieves the gun off the man, both Abby and Connor put down their weapons. The masculine Stephen keep his upright as Abby asks if Jenny is okay. This relates to the convention of women being the most caring characters, but the men are in charge. The comical response of Jenny mourning the ruining of her best coat creates humour from the contrast as not five minutes ago (for the audience) Cutter and Abby were running through the woods with the state of their clothes being the least of their worries.

Frame Analysis - Captain America





Captain America - 2011



Here we see Steve after his transformation from skinny child to the mighty avenger after taking the super soldier serum. There is a logical reason why Steve is topless as he has just exited the machine. The two women seen in the shot both look at him in awe as opposed to the men in the background celebrating their success in science.  Peggy Carter (the love interest) also cops a sneaky feel at Steve’s chest. This is noticeable as throughout the rest of the film Agent Carter has been in control of her actions but in the presence of a muscular man she gives in to her urge and briefly touches his chest.

Steve is allocated the most presence within the frame as proven with the size and lighting (compare to Peggy who is shrouded within darkness). This presence emphasises his power and dominance.

 

Semiotics

I have found a powerpoint that details Semiotics (the study of signs). Most interesting is the perception of Bears.

 

Prezi on Different Film Editing Techniques

Semiotics from Melda Yildiz

Monarch of the Glen – Clip Analysis: How is age portrayed?

In the clip I will be analysing, only two characters that appear can be described as young. The young adults are presented differently to the adults.

The first young character appears after the camera completes a panning shot of the adults working hard, before cutting to him working in a separate area, raking. By being introduced doing a job seen less important than the task the adults are doing, the audience sees the director wishes to present younger characters as less physically capable than the others.

Incidentally, the second young character (who is pretending to be older) is introduced soon after the first youth appears. She is given the task of driving a car to the village, by an adult who instantly assumes she can drive.

The close up of Amy in the car reveals to the audience the difficulty she is having working out how to drive. The scene then cuts to another area where the younger boy is seen looking with concern while the adults are working. This suggests despite not being as strong as the adults, the boy is more alert and aware. Tis is reaffirmed when he hears the diegetic sound of the car crash – he is the first to run to the scene with the adults following.

The conflict in this scene is created when Amy, a younger character, crashes into her teacher’s car. She is only briefly asked if she is okay and the attention is focused on the inconvenience caused for the teacher.

The revelation that Amy is only sixteen creates a barrier. Even the other young adult seems to judge her due to her age (proven by his use of “only”). The barrier is most obvious when Paul and the Teacher discuss what’s next for her without her, implying that young adults don’t need to be present when deciding their future.

When confronted about the exams, Amy runs away upset. The camera doesn’t follow her and instead shows a close up of Paul looking exasperated, conveying to the audience that he is the character the audience should be feeling the most sympathy for.

The contrast is next seen when a pan shot displays the adults working hard with joyful non-diegetic music which turns mournful when the scene cuts to Amy’s room where Amy is seen leaving presents for two unseen children, suggesting that adults are more likely to work while youth are more likely to sulk.

The young boy is once again seen in the pan shot having difficulty digging with a pitchfork while the adults are seen effortlessly carrying logs over their shoulders. It could be argued that it is a step up from raking – after Amy’s true age being discovered, he has been “promoted”. Displaying him as having difficulty raking reinforces the age barrier.

Despite having run away, the clip fails to pay much attention to Amy’s emotions and response and instead focuses on the adult’s discovery and response. In fact, the only person who is seen responding is Paul, with the clip ending on a close up of his face. The reaction of the other young adult, who was introduced as having a close bond with Amy, is unseen implying that it isn’t important.

90210 recreation clip. from Sophie Boston on Vimeo.