AS Radio Coursework - Setting Up Soundcloud

AS Radio Coursework - Getting Started with Blogger

The majority of the marks that you receive for you AS Media Studies coursework are for the five minute radio extract that you produce. You do, however, receive substantial marks for both your Research and Planning and your Evaluation.

These elements of your coursework must be recorded on a blog, so that I can chart your progress but also so that the moderator can access this information at the end of the year.

The first thing that you must do, before you get started on the research and planning, is set up a blogger account. It is easy to do and, thankfully, blogger is easy to use! Blogger enables you to write text (in a similar way to word), but also offers the opportunity to add images, sound clips, videos and links to websites that you may have used in your research.

Speak to Alex or Jon about setting up a blog account or simply click on the link below to begin.

Blogger

If you already have a google/gmail account, you can log in that way. Give your blog a title (something along the lines of your name and AS Media Blog) and create a blog address - and you are good to go. I will show you all individually how to use the blog, but it really is easy to use. Just play around with it and you will find you will know exactly what you are doing in next to no time!

When using blogger, it is essential that you do not simply write huge chunks of text - instead, every post that you put up should include other elements that help illuminate what you are saying.

Get into the habit of adding images related to what you are saying, sound clips from various stages of your recording and editing, links to external websites and to your own posts and even videos that help support the points you are making.



The board expect you to use blogger's full capabilities and this will enable me to give you the highest marks possible for both the Research and Planning and the Evaluation sections of your coursework.

Click on the links below to get a better idea of what I mean regarding images, links, sound clips and videos.

 Blog Post with Images

Blog Post with Sound Clips 

Blog Post with Video Clips 

Blog Post with Links 

AS Foundation Production Coursework - Introduction

Now the term has properly started, we will be focusing our efforts in the first few months on the AS coursework - researching and planning a local radio show that you must script, record and edit.

Keep an eye on the blog for tips regarding the planning tasks and examples of previous students' work that should help you with your planning.

I will try and post help and advice for each of the planning tasks, but also support regarding the recording and editing process and the evaluation (which you will complete after Christmas).

Textual Analysis and Representation - Sexuality Clip

Here's another clip for you to analyse as practice for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.

The extract is taken from the TV Drama The Street and should be used to analyse the representation of sexuality. While the clip is a little shorter than the one you will get in the exam, it is still a useful clip to attempt.

Please email me your essay to alexmorphey@btinternet.com and i'll mark it and provide feedback.

Textual Analysis and Representation - Class/Status Clip

Here is the clip from the TV Drama Merlin for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper - some of you have seen it before (or you may have read my analysis of it on a previous post) BUT it is an excellent clip to attempt.



The area of representation is class/status - look at the contrast of the mise-en-scene in particular, such as the costumes and setting related to Merlin and Arthur.

Have a go at the clip BEFORE you read my analysis and email me your notes and essay to alexmorphey@btinternet.com, and i'll mark them for you as soon as possible.

Textual Analysis and Representation - Gender Clip

Here's an excellent clip to analyse ahead of the exam for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.



The scene is taken from the TV Drama The Street and focuses on the representation of gender (remember to discuss how both the women and the men are presented).

Email me your essays to alexmorphey@btinternet.com and i'll mark them as soon as possible.

Tips on Note Taking

Most of you will have done a number of practice essays by now, for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper, and you will have been through the process of making notes whilst watching the screening of the clip.

Having read a number of your essays, it is clear that the more comprehensive the notes taken, the better the essay - invariably, those taking fewer notes, struggle when it comes to the right level of detail in the essay. Relying on memory is not good enough (it is inevitable that you will get shot distances muddled up, or leave them out altogether) and it is essential that you take your notes in the right way, if you are to gain a decent grade for this section of the exam.

The most important thing to consider when it comes to note taking is that YOU understand them clearly - it doesn't matter whether the examiner can make sense of them. They are there to help you write a detailed analysis of the clip and as long as they help you, it doesn't really matter what form they are in. You must, however, make sure that the notes you take are detailed enough for you to write the essay!

Students often struggle with the note taking for a number of reasons. They find it difficult to watch the screen and write at the same time and complain that the room is too dark to see their notes clearly. The clip moves too quickly, meaning that they miss out important sections of the extract. They forget some of the terms or try to write detailed sentences instead of notes (which is obviously time-consuming).

Don't panic if the above seems all too familiar - it is not unusual for students new to timed textual analysis to struggle when taking the notes. The most obvious thing to say is that practice makes perfect. it will get easier the more times you attempt note taking. If you like, instead of writing the whole essay for the clips i've posted on the blog, just practice making notes - watch the clip as you would in the exam, take the notes and email them to me at alexmorphey@btinternet.com. I'll mark them and give you some tips about how to improve them.

Think about the following before you attempt any more note taking:

• Make sure that you have learnt all of the terms - you will really struggle to take notes if you are spending time trying to remember the difference between a long shot and a medium close up, or a cut and a wipe!
• You could split your page into separate sections - one each for camerawork, editing, sound and mise-en-scene. Write down any points related to each area under the relevant heading. Be aware, though, that this only really works if you intend to write the essay in separate paragraphs for camerawork, editing, sound and mise-en-scene. This isn't the most sophisticated way to do it BUT if it helps you, then it's fine - don't worry, you can still get a top grade doing it this way. My only real concern is that you could end up talking about the same bit of the clip four times at separate points in your essay (once each for camerawork, editing, sound and mise-en-scene).
• Many students, however, prefer to take the notes chronologically - as they realise that meaning is more often created by a combination of all of the elements of film language, rather than one in isolation. If you are going to do it this way, just be aware that it is inevitable that you will miss key bits of the scene whilst you are writing. Just leave appropriate gaps in your notes and fill in the gaps during the next screening. Split your page into four vertically, with a heading in each section for camerawork, mise-en-scene, sound and editing - DO IT IN THIS ORDER! 

• During the first screening, write down the camera shots (vertically, in the order they appear) - use abbreviations rather than the full term in your notes, as this will save you time (for example, use CU for close up, ELS for extreme long shot, HA for high angle, 2S for two shot, B-E-V for bird's-eye-view - some terms already have obvious abbreviations, for the others, come up with your own, but make sure that they are ones that you will instantly remember!). If you want, during your note taking you can write down the reasons why these shots are used BUT just remember that this will be time-consuming. If you have learnt all the terms, you should also have learnt why they are most commonly used and the effects that they generally create for the audience. YOU DON'T NEED TO WRITE THIS IN YOUR NOTES - ADD THESE BITS DURING THE ESSAY!
• During the break between the second and third screening, try to jot down some notes about mise-en-scene, in the second vertical section on your page. Obviously, some of this will be from memory BUT it is important that you use the breaks between screenings productively - you must use the time to write, rather than staring out of the window! Whilst you might need to add to the mise-en-scene section during the third screening, you will already have noticed certain elements of mise-en-scene such as setting, costume, props and figure behaviour. Jot down what you can - even if it is just a key phrase to jog your memory for the next screening.
• During the third screening, fill in the gaps regarding mise-en-scene. Make the notes in the gaps next to the camera shots that you have identified. During this screening, flesh out the points you have made about mise-en-scene BUT also begin making any notes (at the relevant points) about sound and editing.
• During the break between the third and fourth screening, look over the notes you have made so far and begin thinking in more detail about the use of sound (particularly non-diegetic music) and editing (particularly any noticeable changes in pace). Again, you must use this time to write as much as you can - if you like, this would be a good time to jot down ideas about what certain aspects of film language suggest about the area of representation.
• During the fourth and final screening of the extract you must work quickly to fill in any gaps regarding camerawork and mise-en-scene BUT what is most important is that you make some notes about sound and editing. Four, strong points on each of these areas will more than likely be enough (don't forget that you will be constantly referencing editing in your essay by using "...the director cuts to..." as linking sentences between the shots you analyse).
• In the final break, before you begin writing the essay, try and scribble down anything that you think you may have missed, and begin linking the comments that you have made on each area of film language.
• During the note taking you can make notes on the area of representation BUT I would advise against this, as you don't want to waste time! Save these comments until your essay - remember, that you will be analysing the way that the use of certain aspects of film language creates meaning, before describing specifically what happens in the clip. This should take up the first two-thirds of your paragraph - in the last third of each paragraph, you should discuss what is being suggested about the area of representation.

Note taking is tough BUT it is important that you get it right. You need as much practice as possible. Try different ways of note taking until you find one that suits you best. Practice by looking at the clips on the blog, simply making notes - not writing the essays. You can write the essays when you have mastered the note taking!

Tips for Textual Analysis and Representation - Sound and Editing

I have noticed when marking your practice essays for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper, that almost all students are barely mentioning SOUND or EDITING. The clips below show examples of contrapuntal sound (from Reservoir Dogs) and montage (taken from Naked Gun) - whilst neither of these are TV Dramas, they contain good examples of both techniques.





It is essential that you discuss these areas of film language in much more detail - if you fail to discuss one of these areas then you will struggle to get a 'C' grade for this section in the exam. Most students are fine when it comes to discussing the more obviously visual elements of film language such as camerawork and mise-en-scene BUT the syllabus states that each of the four areas of film language (camerawork, mise-en-scene, sound and editing) must be discussed in roughly equal measure - BELOW ARE SOME TIPS TO HELP MAKE SURE THAT YOU DISCUSS SOUND AND EDITING IN ENOUGH DETAIL! 



If you find yourself barely mentioning sound or editing when analysing a clip, try this: choose one of the clips on the blog (such as the one above from Coming Down the Mountain, focusing on disability) and watch it as you would in the real exam (that is, once without making notes and three further times, making notes). Instead of making any notes on camerawork and mise-en-scene only take notes on sound and editing - whilst this doesn't exactly replicate what you would do in the exam, it will help focus your attention on the areas of film language that most of you are neglecting. Do this for a couple of clips, and by blanking out camerawork and mise-en-scene, hopefully it will help you see the importance of sound and editing in terms of making meaning. If you want to send me the notes for this exercise, I will happily mark them - send them to alexmorphey@btinternet.com. Once you feel more confident at spotting these elements, go back to analysing scenes normally - I am sure you will now think more carefully about sound and editing!

Aim to make four comments about sound and four comments about editing in your essay - obviously, if you can make more, then great - BUT you should aim for this to be your absolute minimum. There are bound to be significant points where the tempo or key of the music changes, or the pace of the editing increases/decreases - make a note of them and try to link to the area of representation. Below are some examples of the sound and editing techniques that are likely to come up in any clip that you are given. Aim to discuss these and you will have said more than enough about both sound and editing.

EDITING

One way to at least make it appear that you are discussing editing is to get into the habit of using the phrase "The director cuts to..." as a link in your essay from discussion of one shot to another. The more often you use the term cut (or dissolve, fade or wipe - if it is one of these types of transition), the better - whilst you may not be saying anything specific about how the cut creates meaning, or even how it may link to the area of representation, the simple use of the term as part of your description will make the examiner feel that you are at least attempting to discuss editing. This kind of description should become the norm in your essay!

Something that is almost certain to happen a number of times throughout the clip you will be analysing, is a change of pace in the editing. Slower editing, with a series of relatively long takes, often has the effect of creating anticipation, tension and suspense for the audience. Quicker editing, with a series of relatively short takes creates excitement for the audience and often reflects a characters sense of panic. Discussing the pace of editing is relatively straightforward BUT remember to try and link it to the chosen area of representation! The scene below is not from a TV Drama (it is from the Alfred Hitchcock film Psycho) BUT it is a good example of the way that a change in the pace of editing can create very specific effects for the audience - have a look at it and think about how the director alters the pace of the editing to create effects for the viewer BUT also to reflect how the character is feeling.



Other useful editing terms that it is possible you will want to discuss include montage and parallel editing/crosscutting - though because the clip will only be roughly 5 minutes in length, it is possible that neither of these editing techniques will be used (though montage is used in the clip on disability from Coming Down the Mountain, that is earlier in this post). Montage is the condensing of a reasonably long period of story time into a relatively short period of screen time - often accompanied by a piece of music or a voiceover, the editing is likely to be quick and the technique is often used to summarise action or to reveal important information about character. In the clip from Coming Down the Mountain, montage is used to show to the audience that the older brother consistently has to look after his younger disabled brother - each day involves him taking his disabled brother to school and, therefore, the younger brother's disability has become a determining factor on the older brother's routine, effectively governing his life.

Parallel editing or crosscutting creates tension, suspense and anticipation for the audience as the director cuts back and forth between two, or more, lines of narrative action - the implication to the audience is that these moments of action are taking place at the same time and that they are somehow related to each other (we are often led to believe that they will meet). Below is a good example of crosscutting or parallel editing, taken from the film Inception - whilst this is a film and not TV Drama, you can get a good idea of how the technique works.



Of course you can discuss other aspects of editing, such as jump cuts, wipes, dissolves and anything that breaks some of the rules of continuity editing BUT if you stick to montage, crosscutting, changes in pace, long takes, short takes and cuts - then you will have more than enough to discuss! Don't spend too long trying to find examples of the more obscure, more difficult editing techniques - instead, stick to the stuff that is more straightforward and obvious. Just remember to link these comment to the area of representation as often as you can!

SOUND

As with editing, you must make reference to the way that aspects of sound are used to create meaning in the clip, and you should try to link them to the area of representation that you are being asked to discuss. Because sound isn't 'visual', students often forget to mention its use during their analysis - and this results in them getting a much lower mark than they could have done, with just the use of a few simple sound terms.

It is inevitable that the clip you will be analysing will contain music, and it is even more likely that this music will change throughout the clip. This may be a change in tone, pace or key OR there may be a number of different music tracks used throughout the scene. It is likely that the music will be used to create an emotional response from the audience OR to reflect the way that a character is feeling. 

The first thing that you should do is make a note of any time during the scene that an excerpt of music is used. Try to do this three or four times throughout the clip!

Once you have identified the significant use of music, you should attempt to describe it in terms of genre, pace and tone. Crucially, you must identify whether it is non-diegetic music or diegetic music. Never simply use the word 'music' - instead, get into the habit of identifying whether it is non-diegetic or diegetic (and use these labels!).

Non-diegetic music (as in the clip below from an episode of the TV Drama, Primeval) is music that the audience can hear BUT the characters cannot - this is the most common type of music you are likely to discuss and it is this type of music that is most often used to lead the audience's response. This type of music creates an emotional effect for the audience (such as making them scared, sad or excited) and it should be relatively easy to relate this type of music to the chosen area of representation (for example, a character is scared because their age/gender/disability has put them in a vulnerable position). 

Diegetic music (that both the characters and the audience can hear) tends to be used to create verisimilitude (to create a sense of realism and authenticity) - though, this can be used in a similar way to non-diegetic music, to create an emotional response from the audience or to reflect a character's feelings. The music in the clip from Reservoir Dogs is diegetic - it is playing on the radio and both the audience and the characters can hear it. What is important is that you use the right term - remember that 10 of the 50 marks available are for the appropriate use of terminology, so it is important that you use the right terms and that you use them frequently!

Other elements of sound that are likely to feature prominently include amplified or enhanced sound effects - these are used to shock the audience, or to reflect a character's shock. You may want to mention ambient sound (background noise) and there may be examples of sound bridges (music or voiceover that connects two or more scenes) and contrapuntal sound (music that seems to contrast or work against the images seen on screen - the clip at the top of the blog post from Reservoir Dogs is a good example of this).

One final element of sound that it is very likely that you will discuss is voiceover - voiceover is used to position the audience closely with character (often the narrative's central protagonist). In the clip from Coming Down the Mountain (earlier in this blog post) the older brother's voiceover positions the audience with him, leading us to think about how his younger brother's disability affects him (rather than the disabled brother).

Practice looking at clips and making notes on sound and editing - if you like, forget about everything else for now. Once you feel a little more confident about both of these areas of film form, start looking out for camerawork and mise-en-scene. Hopefully, once you have done this, you will spot elements of editing and sound more quickly and easily!

Textual Analysis and Representation - Disability Clip

Some of you have attempted to analyse this clip for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper - but if you didn't do the mock (or just fancy having another go at it) here it is again.



The clip comes from a TV Drama called Coming Down the Mountain. The clip was used for the Summer 2012 exam and the area of representation is disability.

The clip contains excellent examples of a range of camera distances and angles (think about the significance of the bird's eye view shot that opens the scene), lots of opportunity to carefully discuss mise-en-scene and sound, and a wonderful use of montage. Remember to link comments about the use of these techniques to disability.

Please email me any practice essays to alexmorphey@btinternet.com and i'll mark them for you!

Textual Analysis and Representation - Disability Clip

For the AS mock exam for Section A: Textual Analysis and Representation for the G322 Key Media Concepts (TV Drama) paper, I gave you a clip to analyse that focused on the representation of disability. Here is another clip for disability - the question is exactly the same. The scene comes from a TV Drama called Secret Diary of a Call Girl.



As before, i'm happy to mark your practice essay - email it to alexmorphey@btinternet.com.

Textual Analysis and Representation - Sexuality Clip

Here is a clip for sexuality for Section A: Textual Analysis and Representation from the G322 Key Media Concepts (TV Drama) paper.



This is the first clip that i've put up for this area of representation - it is important that you attempt this clip as students often find it a tricky area to discuss. The scene is from the TV Drama Fingersmith and is taken from the January 2012 exam.

Please email me your answers to alexmorphey@btinternet.com and i'll mark them as soon as I can.

Textual Analysis and Representation - Age OR Gender Clip

Here's another clip for you to use as practice for Section A: Textual Analysis and Representation for the G322 Key Media Concepts (TV Drama) paper.



The clip is taken from the TV Drama Blackpool and could be used to discuss either age or gender (you could always analyse it twice, once for each area of representation).

Even though the clip is a little shorter than five minutes, it is still a useful clip to look at. Email me your responses to alexmorphey@btinternet.com.

Textual Analysis and Representation - Race/Ethnicity Clip

Here's another clip for you to analyse, again from the Soap Opera Eastenders. Again, the area of representation is race/ethnicity.



Email me your answers please, to alexmorphey@btinternet.com.

I'll put up some clips for disability and sexuality soon!

Textual Analysis and Representation - Race/Ethnicity Clip

Here's another clip for you to attempt for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper. The question is exactly the same, though this time the area of representation is race/ethnicity.



The clip is taken from an episode of the Soap Opera Eastenders - and even though the board definitely will not use a clip from a Soap Opera in the real exam, it is still a useful clip to use as practice.

Email me your essay to alexmorphey@btinternet.com and i'll get it marked for you as soon as I can.

Textual Analysis and Representation - Age Clip

Here's the second clip from Monarch of the Glen about age, as promised.



This clip was taken from the January 2009 paper - it is exactly the same question as before.

Usual procedure - email me the answer to alexmorphey@btinternet.com and i'll mark it as soon as possible!

Textual Analysis and Representation - Age Clip

Here's another clip to use as practice for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper. It is taken from a show called Monarch of the Glen.



The structure of the question is the same, though this time the area of representation is age.

Soon, I will be posting another, slightly shorter, clip from the same episode of Monarch of the Glen - which will also be about age. Have a go at this one first and if you want further practice, try the next one as well.

You can email me your essays for feedback to alexmorphey@btinternet.com.

Textual Analysis and Representation - Class/Status or Regional Identity Clip

The is is a useful clip to analyse for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper - it could be used to discuss either class/status OR regional identity.



The clip comes from a TV drama called North and South. The question will be exactly the same as previous questions, just change the area of representation to class/status OR regional identity (choose the one that you feel you have had less practice with).

You could always do one analysis of the clip in terms of class/status and then one analysis for regional identity - the notes you make for each will obviously be slightly different BUT many of the key features of film form will be the same.

Email me your answers for either, or both, to alexmorphey@btinternet.com and i'll mark them with plenty of feedback.

Textual Analysis and Representation - Gender Clip

Here's another clip from Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper - taken from the Summer 2009 exam.



We looked at the clip below from Doctor Who and discussed it in class - BUT you may find it useful to analyse it yourselves. The area of representation is gender and the question is the same as the previous clips on Scott and Bailey and Hustle.

Try it and email me your answers to alexmorphey@btinternet.com. If you want to try a clip that you haven't seen before, I will post some more in the coming days.

Textual Analysis and Representation - Age Clip

Here's another clip that you can use as practice for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.



This time the area of representation is age and the clip is taken from a TV show called Waterloo Road.

See the previous blog post for the Scott and Bailey clip on gender, for tips about how to answer the question. The question will be exactly the same as before - just replace the word gender with the word age.

Again - once you have attempted the essay, email me your answer to alexmorphey@btinternet.com.

Textual Analysis and Representation - Gender Clip

Here's another clip on Gender for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.



This clip is taken from the TV Drama Hustle, and was on the January 2011 paper. It is quite a tricky clip and many students found it difficult to discuss in terms of gender.

Have a go at it, as I think it is good practice to try clips that are tough - remember, it is certainly possible that you will get a challenging clip in the exam and you need to be prepared for all eventualities!

This clip includes four screenings of the extract and the time breaks in between - exactly as they will appear in the real exam. It may, therefore, be a useful one to attempt in timed conditions, closer to the exam when you are a little more confident.

As ever, I am keen to mark your practice essays - so once you have completed it email it to me at alexmorphey@btinternet.com. I'll mark it and provide plenty of feedback.

By now, you should be attempting two or three clips per week - the more practice you have, the less likely you are to make mistakes in the exam!

Analysis of "Merlin" Clip

Here is an example of how to analyse a scene from TV drama - using the clip from Merlin, taken from the Summer 2011 exam paper. It would be a good idea to use this clip for practice BEFORE YOU READ MY ANALYSIS! You can email me your essays to alexmorphey@btinternet.com and i'll mark them as soon as I get them.

This is very detailed, and I am not expecting you to replicate exactly this in the exam - HOWEVER it is an example to show you the way you should approach the task, and to emphasise that there is a lot more that you could say than you probably think!

Remember that you are expected to discuss the following areas:

• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise-en-scene

Crucially, you have to relate the above to the chosen area of representation, in this case CLASS AND STATUS. 

You really shouldn't waste time discussing aspects of film form that aren't directly related to the chosen area of representation.

Merlin - Analysis

The purpose of the scene is to create intensity for the audience, and to position the audience with the character of Merlin (who is of a low status) and against the character of Arthur (who is of high status). Status and class are clearly represented through the use of camerawork, editing, sound and mise-en-scene, most obviously through the contrast between Merlin and Arthur, but also through the two different locations where the scene's action takes place.

The scene begins with an extreme long shot of a corridor inside a castle, as the character Merlin walks towards the door of an adjoining room. The extreme long shot allows the audience to see that the setting is ornate; we see intricately designed stained-glass windows and high marble columns - both indications of wealth and status. This is immediately contrasted with the appearance and costume of Merlin. He wears dull-coloured rags that indicate that he is of a lowly status or class, and as the scene progresses it is suggested that he does not really belong in this environment because of class.

After panning slightly to track Merlin's movement, the director cuts to a medium shot of Merlin entering a room in the castle. The distance of shot (alongside positioning us with him, and establishing him as the central protagonist) allows us to clearly see his furtive figure behaviour and facial expressions as he looks around carefully to make sure that nobody is in the room. This is further emphasised by the fact that the shot is a relatively long take, and the idea that a character of Merlin's low class should not be in a room like this is highlighted by the sinister and unsettling non-diegetic music that begins as he enters. The rapid editing, as Merlin moves around the room also implies that he must move quickly to avoid detection.

The mise-en-scene, and in particular the props - such as the silver goblets, the gold-rimmed mirror, the ornately-covered book and the intricately designed and expensive-looking scarf, all imply that whoever is staying in this room is of a high status. A close up on Merlin's hand touching the jewelled scarf emphasises the contrast between this expensive material and the clothes that Merlin wears. His figure behaviour throughout is edgy and, again, is a good indication that somebody of his class should not be in the room.

The director cuts back to the corridor outside the room, to show the arrival of an elegantly dressed woman. The crosscutting creates tension for the audience, and the expectation that the woman will enter the room and catch Merlin somewhere he shouldn't be (because of his lowly status). The extreme long shot allows us to see her figure behaviour, which is graceful and regal, and allows us to see her in relation to the setting; she seems at home here, as if she does belong, in sharp contrast to Merlin. The slow zoom towards the woman further compounds the sense of tension but also allows us to see the costume that she wears. Her purple dress (the colour of royalty) looks expensive and suggests that she is a member of the aristocracy, or at least an important guest of high status. The amplified sounds of her footsteps create further tension, and the echo of the sounds highlight the size of the building; a further symbol of wealth and status.

The non-diegetic music builds to a crescendo as the woman enters the room. The expectation that the lowly Merlin will be found in the room of a woman with a much higher status, is heightened by a dramatic increase in the pace of the editing. Her figure behaviour and tone of voice as she addresses Merlin shows authority, and the fact that she asks him why he is in the room, reinforces the fact that a man of his class should not be there. As the woman questions him the director cuts to her reflection in the mirror (a cut that is supported by an amplified impact sound), and we see her as a haggard old witch (implying that she is not what she at first appears). As the director cuts back to Merlin, his clumsy figure behaviour again suggests that he knows that he should not be there. As he goes to leave, however, a medium close up on Merlin's face as he passes the woman allows us to see his quizzical facial expression, which implies that he senses that something is wrong about her. This implies to the audience that even though Merlin appears to be from a low class, he may have certain powers that will give him more status and authority than he seems to have at this point (this is confirmed later in the sequence when we witness him practising magic).

As Merlin leaves the room the director cuts to him crossing the courtyard of the castle, panning slightly to track him. The extreme long shot enables the audience to get a sense of the power and status of whoever lives here. The courtyard is vast and there appear to be many rooms in the castle. To the corner of the frame an ornate statue can be seen, and the various figures who cross the courtyard are dressed in clothing that indicates they are of high status (brightly-coloured flowing robes, in contrast to the clothing that Merlin wears). The characters who move across the courtyard are loosely-framed, suggesting a degree of exclusivity; not many people have access to this place.

The director cuts from the courtyard to the marketplace, breaking the rules of continuity editing (specifically match-on-action), to unsettle the audience and to reinforce that Merlin does not belong with the higher classes. The editing choice made, to follow the shot of the courtyard immediately with a shot of the marketplace, emphasises the contrast in status. Whereas the courtyard was a wide open space, flanked by impressively designed buildings, the marketplace is cramped (emphasised by the frequent use of tight framing) and run-down. The diegetic ambient sounds indicate the hustle and bustle of the busy market, and the props here are logs and hay rather than the expensive and luxurious items found in the room in the castle (further indications of the gulf in class). Merlin, because of his costume, seems far more at home in this setting, and as the camera pans to track his movement we are able to see the small size of the dwellings and the fact that they are constructed out of simple, basic materials. Plaster peels from the walls and the buildings are mis-shapen (in sharp contrast to the intricate designs of the castle and its courtyard). The people who live and work here are clearly of a low status, as their costumes and appearance are similar to Merlin's (we see a number of peasants working hard, which positions us with them, in contrast to Arthur and his men who appear to have been jousting, and enjoying themselves).

As the camera tracks Merlin as he walks past a group of men who, because of their costumes, stand out from the rest of the people in the marketplace. They wear expensive-looking armour, implying that they have high status, and their figure behaviour is confident, suggesting power and arrogance. The leader of the group, who is repeatedly shown in much closer shots than his colleagues  (medium shots, medium close ups and close ups), belittles Merlin with comments that imply Merlin is lower class, and should therefore know his place. Arthur's patronising and superior attitude is emphasised through his mocking facial expressions when he reacts to Merlin standing up to him. During reaction shots, shown largely in medium close up, Arthur throws his head back and laughs, commenting that Merlin should be careful about the way that he addresses him, because of their respective status. A medium shot of Merlin enables us to see his anger and frustration at being mocked because of his status, and the fact that he removes his jacket suggests that he is prepared to fight Arthur, even though Merlin is clearly weaker and less prepared (signalled by the costume Arthur wears, and the weapon he produces).

A cut to a close up of one of Arthur's flunkies handing him a mace reinforces the power he has, and as Arthur throws it towards Merlin, Merlin's clumsy figure behaviour, as he struggles to catch it, implies that he does not have the skill to take on Arthur and win. The camera tilts up Merlin as he picks up the weapon he has dropped, and his facial expression confirms the audience's fears. By immediately cutting to a medium shot of Arthur the director allows us to see the contrast between the two characters in terms of their figure behaviour and facial expressions. The two men who flank Arthur, laugh at the Merlin's seeming inability, and a medium close up reaction shot of Merlin shows his concern, as Arthur confidently swings the mace that he holds. The director cuts back and forth, in a shot-reverse-shot pattern as Arthur advances towards a nervous looking Merlin, confidently warning him that he has been 'training since birth', a further indication of the privileges that Arthur has as a result of his wealth and status. A high angle shot of Merlin makes him look weak, and creates the expectation that he will be defeated by Arthur in the forthcoming fight.

Merlin insults Arthur, calling him a 'prat', which suggests that he has a disregard for authority, and is not prepared to be bullied by someone just because they come from a higher class. A reaction shot of Arthur, in close up, signals that he is not used to being spoken to this way; rarely disrespected because of the power and status that he holds. Arthur's facial expressions show that he is used to others bowing to his will. As Merlin continues to mock Arthur's superior status, the Prince attacks him and Merlin's reaction, seen in medium close up, again reinforces the fact that he is scared of the Arthur's physical prowess.

As the fight begins the pace of the editing increases dramatically, further suggesting Merlin's inferiority as a struggles to cope with Arthur's skills. Dramatic, heroic non-diegetic music emphasises Arthur's power and status, and a high angle extreme long shot of the marketplace orientates the audience and reinforces the fact that Arthur is in control, as we see Arthur confidently stride towards Merlin as the Wizard backs away. Shots from a number of angles allow us to see Arthur's figure behaviour as he confidently swings his mace, taunting his opponent. Low angle shots of the Prince emphasise his superiority, and are immediately contrasted with high angle, canted shots of Merlin clumsily stumbling backwards, showing his weakness and lack of skill. Rapidly edited shots of Merlin falling into a market stall as he tries to escape the oncoming Arthur imply that this is a mismatch, and the director again breaks the rules of continuity editing through the use of jump cuts and by breaking the rule of match-on-action. This is unsettling for the audience and reflects Merlin's panic and lack of skill, reinforcing the audience's belief that the Prince will easily defeat the lower-class Merlin (an assumption supported by the fact that Merlin gets his mace caught on a basket hanging from one of the market stalls).

As Merlin struggles, Arthur is shown bringing his mace down in slow-motion, a technique that makes him appear heroic and in control (contrasting sharply as it does with the figure behaviour of Merlin, and the editing techniques used when focusing on the Wizard). The shot of Arthur is repeated, as if to reinforce his power, and as his mace crashes heavily into the market stall, a whip pan reflects Merlin's lack of control and panic.

The director crosscuts to a dimly lit, sparsely-decorated room, where an old man is tracked as he moves towards the window, clearly as a result of hearing the commotion in the marketplace, A cut to his point-of-view as he looks out of the window, shows (in extreme long shot) that Arthur has the upper-hand. Merlin's figure behaviour, as he cowers, contrasts sharply with Arthur's, who stands tall as he continues to advance towards his foe. The point-of-view shot is framed by shots of the old man, and a medium close up allows us to see the dissatisfaction on his face at Merlin's actions (we learn shortly that he is Merlin's master, reinforcing Merlin's lowly status).

Merlin's relative weakness and lack of fighting skill is repeatedly emphasised by the rapid pace of the editing, handheld camerawork and canted framing, as he continues to stumble and fall over market stalls, and as he is backed into a corner of a barn by Arthur it seems only a matter of time before the Prince delivers the knockout blow. A high angle shot shows Merlin lying on his back (looking at two sickles hanging from a post in the barn), and just as all hope of victory seems to have gone (as the music seems to build to a crescendo and we see a close up of Arthur's hand confidently swinging the mace), the director cuts to an extreme close up of Merlins eye, as it changes colour. An amplified impact sound suggests to the audience that something dramatic and out of the ordinary is about to occur, before a cut to the sickles moving together prevents Arthur from swinging his Mace and hitting Merlin. A close up of Merlin smiling is followed by longer shots of Arthur struggling to free his weapons, and it becomes clear that Merlin has used magic to thwart his opponent. This revelation suggests to the audience that Merlin may, despite his lower class, have the power to defeat Arthur, and his figure behaviour and facial expressions become much more assured as he continues to use magic to push objects into the way of Arthur.

As Arthur trips over a rope that Merlin has 'moved' (an action accompanied by another amplified sound effect), Merlin picks up the mace and the camera tracks Arthur as he backs away. The power has shifted and it is now Merlin's figure behaviour that is more confident as he suggests that Arthur 'gives up'. A whip pan is used as Arthur stumbles over, reinforcing the fact that Merlin has now taken control of the fight, and by cutting to a medium shot of Merlin the director allows us to see his confident and proud facial expression. As the non-diegetic music builds to a crescendo Merlin's facial expression changes to one of concern as he spots the old man (from earlier in the scene) in the audience. A cut to Merlin's master, shown in medium close up, shows the disapproving look on his face, and suggests that he has a degree of power over Merlin; Merlin has even lower status than we had first imagined.

The fact that Merlin is distracted allows Arthur to attack the Wizard while he is unprepared, positioning the audience further against the Prince as his actions are underhand. Arthur uses a broom to attack Merlin (a symbol of the lower classes), and the use of synchronous sound, as each blow is accompanied by a beat in the non-diegetic music, gives the finale a comic feel. The director cuts to a medium close up of Arthur, nonchalantly twirling the broom as Merlin lies on the floor. This reinforces Arthur's skill and highlights that the normal social order has been restored. Arthur's figure behaviour, as he cockily sweeps the floor with the broom, shows his upper class disdain for the lower classes, implying that he has just 'swept away' Merlin, as if he was dirt. As the guards (another symbol of Arthur's power and status) go to take Merlin away to be punished (the tightly framed shot implying that his punishment may well be imprisonment), Arthur again shows his power by ordering them to release him. 

The final part of the scene takes place in Merlin's quarters, the mise-en-scene highlighting that they are much shabbier than the room in the castle (a further indication of Merlin's lowly status). The camera dollies out as Merlin enters the room, followed by the old man who is berating him for his foolish behaviour. The medium shot of Merlin draws attention to his figure behaviour and facial expression, which emphasise that he is upset at being defeated by the arrogant Prince; upset that even though he has magical abilities that could raise him up from his lowly status, he is forbidden from using them. His final comment that if he cannot use magic then he is just a 'nobody' reinforces the class system that is in place during the time that the scene is set.

NB: I want to reiterate that this is far too long, and I have had the benefit of pausing the scene repeatedly (something that you will be unable to do in the real exam). Instead of looking at the length of the essay you should focus on the following:

• Repeated use of appropriate terminology (10 of the 50 marks are awarded for this!)
• Detailed examples from the text, that are appropriately linked to the chosen area of representation (20 of the 50 marks are awarded for this!)
• Explanation and analysis of how these techniques create meaning (20 of the 50 marks are awarded for this!)
• All four areas are covered - camerawork, editing, sound and mise-en-scene. Unless you do this you cannot hope to get the marks on offer
• Repeated use of camera distances during description. Never say 'the shot' - instead, you must say what type of shot is used, and the effect it has on the audience
• Every point, either implicitly or explicitly, is related to the chosen area of representation. I have not discussed any elements of the scene that I do not feel are directly related to class and status
• Approach the scene chronologically - even though it may be easier to make notes under separate headings
• Discuss the areas of form in conjunction with each other. It is rarely just camerawork OR editing by itself that constructs meaning - instead, it is these elements working together. The camera distance may allow you to notice the figure behaviour, which because of the use of sound and the pace of the editing, reveals information about character - which you can then relate to the area of representation.

I will continue to post analyses of this length to help you get a feel of what could be said, and so that you get a clearer idea of how to construct your essay. Again, don't get bogged down by length, or worry about not being able to write in this much detail under timed conditions - think instead about the bullet points above.

Textual Analysis and Representation - Race/Ethnicity Clip

Here's another clip for you to use as practice for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper. The clip is taken from the January 2010 exam and comes from the TV Drama Hotel Babylon.



This time the representation is race/ethnicity.

Remember to look at previous posts about how to answer the question and the ways in which you should take notes. Remember, also, that the wording of the question remains the same - the only difference will be the change in the area of representation.

If you attempt this essay - please email me your answer to alexmorphey@btinternet.com and i'll mark it for you, giving you comprehensive feedback.

Keep an eye on the blog - I will be putting many more clips up over the next few days.

Textual Analysis and Representation - Gender Clip

This is the first of many clips I will be posting that you can use as practice for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.



The clip comes from an episode of Scott and Bailey and the area of representation that you should discuss is gender.

The question would be worded in the following way:

"Discuss the ways in which the extract constructs the representations of gender using the following:

• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise-en-scene"

Remember - you should watch the clip once without making any notes. Here you should work out what how the area of representation is presented, as a whole, in the clip and think about any specific bits of the clip you may want to make notes on.

Then you should watch the clip a second time, making notes. See the previous blog post on note taking for more advice about how to do this. Remember that the notes you take are for your benefit when you come to writing the essay - how you take them is entirely up to you. The key point here is that you devise a system of note taking that works for you. If you find it easier to split the page into different sections of film form and then write separate paragraphs on camerawork, editing, sound and mise-en-scene - this is fine. Alternatively, is you choose to make notes on the scene chronologically, combining what you say on each area of film form as it arises - then this, too, is fine. WHATEVER WORKS BEST FOR YOU!

You should watch the clip a further two times, continuing to make notes (you see the clip four times in total). Just remember that in the exam you would have a period of two minutes forty seconds between the second and third viewing, the third and fourth viewing, and after the fourth viewing. You are allowed to continue making notes during this time (in fact, it will be essential that you do so!)

Once you have completed the note taking, write the essay. Closer to the exam it will be essential that you do this in timed conditions (45 minutes for the essay) - BUT at this stage I am happy for you to take as long as you need. Email me your answers to alexmorphey@btinternet.com and I will mark them for you, giving you plenty of feedback. It would be a good idea to also send me/give me your notes - this will help me iron out any problems in this area.

Good luck!

AS Media Studies – Unit G322: Key Media Concepts (TV Drama) - Section A: Textual Analysis and Representation

The following notes centre on the concept of representation in TV Drama - the clip that you will see can be taken from any TV Drama that has been shown on British TV (including popular US TV Dramas).

At the heart of the essay that you must write for Section A: Textual Analysis and Representation on the Key Media Concepts (TV Drama) paper, is a discussion of the ways in which camera shots, angles, movement and composition, editing, sound, and mise-en-scene create meaning for an audience BUT you must also focus on the representation of one of the following: 

• Gender 
• Age 
• Ethnicity 
• Sexuality 
• Class/Status 
• Physical ability/Disability 
• Regional identity

Every year the question is essentially the same - you are required to look at technical decisions made by the directors (the questions will even be worded in the same way) BUT the one thing that changes is the area of representation that you must comment on.

You must focus your analysis on whichever area of representation is mentioned in the question - relating any comments about camerawork, editing, sound and mise-en-scene to the ways in which meaning is created for the audience regarding that area of representation.

It is worth referencing the area of representation in your opening paragraph or introduction - when you discuss briefly the purpose of the scene (see notes on essay structure that you have written on your exam paper, and that can be found in an earlier post on this blog) and you should be able to discuss whether representations are stereotypical or atypical (that is, they go against what you expected). If you write an introduction it should include an overview of how the area of representation is presented throughout the scene.

Finally, remember to relate choices regarding camerawork, editing, sound and mise-en-scene directly to representation - how does, for example, a high angle shot, a zoom in, the pace of the editing, the breaking of one of the rules of continuity editing, the music, costume, make-up, figure behaviour, side lighting, voiceover, setting or props tell you anything regarding gender, age, ethnicity, sexuality, class/status, physical ability/disability or regional identity?

GENDER

• Which gender is dominant - male or female? How can you tell? Does this change throughout the sequence? 
• Are gender roles represented stereotypically? 
• Are the women represented as one of the following: vulnerable victim/damsel in distress, sex object, temptress, housewife, put-upon mother OR have they broken free from these stereotypes and are they represented atypically as assertive, powerful, in control? 
• Are the men stereotypically macho, misogynistic in their attitudes towards women OR do they represent a more modern view of masculinity where men are more in touch with their feelings and view women as their equals?

AGE

• How are young people represented - lacking morals, violent, sexually promiscuous, out of control OR more mature, sensible and responsible? 
• How are older people represented - as busybodies who frequently moan, frail individuals at odds with the world today OR do they challenge expectations with their attitudes towards sex/violence/drugs? 
• Are the young or old represented in a positive or negative light - do the representations conform to or break stereotypes?

ETHNICITY

• How are ethnic minorities represented - lacking power, submissive to the white ruling classes, a threat to dominant white society OR is the race/ethnicity of a character irrelevant? Does a character’s ethnicity become an issue to other characters?
• Does the scene present race stereotypically or atypically? Are all ethnic minorities represented in the same way?

SEXUALITY

• Are homosexuals/lesbians portrayed in a stereotypical way through their figure behaviour/costume/mannerisms OR are characters presented in either a more favourable light/their sexuality not an issue? 
• Think about the way that ‘straight’ characters react towards homosexuals and lesbians - what are these characters’ attitudes towards sexuality?

CLASS/STATUS

• Is there a noticeable representation of class/status - look out for elements of mise-en-scene and indicators such as setting, props, costume and character’s attitudes towards one another. Are characters treated differently as a result of their class or status?
• Are the working classes, middle classes and upper classes represented in a stereotypical way?
• Is there a clash between the classes? How does this manifest itself throughout the scene?

PHYSICAL ABILITY/DISABILITY

• Representations of disability, to a degree, continue to be taboo in British and US drama - but you should think about the way that disabled characters are represented compared to those who are able-bodied? Are they treated differently by the other characters OR are they presented as living the same kind of life as more able-bodied characters? 
• Does their disability become an issue? Who is the disability an issue for - the disabled character or able-bodied characters in the scene?

REGIONAL IDENTITY

• Is there any indication that a character acts differently because of where they come from? 
• How are locations represented - is the North, for example, represented as stereotypically glum/bleak AND the South represented as more affluent? 
• Look also at language and costume - are the representations stereotypical, maybe mocking a character’s area of origin?
• Look out for characters who find themselves living/working away from where they are from - think about the ways that they may struggle to fit in or adapt to their new surroundings. Are they prejudiced OR are others prejudiced towards them?

Textual Analysis - Camerawork 4 - Shot Composition

The final area of camerawork you will need to consider is shot composition. Often you will find yourself using these terms in conjunction with other areas of camerawork, such as shot distance, camera angles and camera movement.

Shot composition is just as important as the other areas of camerawork, and can be crucial when making comments about the chosen area of representation in the question for Section A: Textual Analysis and Representation on the G322 Key Media Concepts (TV Drama) paper.

Again, you should carefully learn the terms and try to relate them to the comments you make about age, gender, race, class, disability, sexuality or regional identity.

TWO SHOT

As the name of the shot suggests, a two shot includes two characters in the frame. It is not enough to simply label the shot (you do not get marks for being able to count!) - instead, you must think about the proxemics of the characters - where they are in the frame in relation to each other. If the characters are alongside each other (which could suggest that the characters are on an equal footing) you should think about the distance between them and what this suggests about the relationship - if they are near each other it may suggest a close relationship, if they are at opposite sides of the frame it may suggest their relationship is distanced, it has broken down or that there is animosity between them. You should also consider whether one character is in the foreground whilst the other is in the background, explaining what this may indicate about the respective characters. If a character is in the foreground it may indicate to the audience that they are more important or more powerful (they may be the central protagonist and the dominant character in the relationship). Characters in the background are often less important - they may be inferior to the character in the foreground OR their presence in the background may indicate that they are a threat, they are cunning and sneaky or sinister. Obviously, this all depends upon the context of the scene, and what is taking place in the action. You should also try and relate your comments to the chosen area of representation - what does the two shot indicate about age, gender, race, class or disability?

POINT OF VIEW SHOT (POV)

Point of view shots are shots from the perspective of a character - we see things literally as the character sees them, through their eyes. Point of view shots are often framed by shots of the character looking in a particular direction and are used to position the audience with that character (this will often be the narrative's central protagonist) and to make the audience feel more immersed in the action. When you relate this type of shot to the chosen area of representation you should discuss how POV shots help the audience experience what the character is experiencing - remember that the character's experiences may be directly related to age, class, gender, race, disability, regional identity or sexuality.

OVER THE SHOULDER SHOT

The camera will usually be positioned facing one character from behind a second character, with the second character's shoulder in the corner of the frame (though it is possible to have an over the shoulder shot with only one character in the shot, with landscape or a prop dominating the rest of the frame). Over the shoulder shots are commonly used during conversations and help position the audience with either the character who is talking (indicating that our focus should be on what they are saying) or on the character who is listening (indicating that we should be focusing on their reaction to what is being said). Over the shoulder shots are usually used in a shot-reverse shot pattern, allowing us to follow the conversation. Here, you should perhaps focus on what the conversation indicates about the chosen area of representation - how does what the characters are saying link to age, race, class or gender? Sometimes over the shoulder shots can work in a similar way to point of view shots, positioning the audience more clearly with a particular character.

TIGHT FRAMING

In tightly framed shots we see very little space around characters or objects - they dominate the frame. Tight framing can suggest unity or togetherness but is more commonly use to suggest tension or a sense of claustrophobia, unsettling the audience and making them feel the discomfort that the characters feel. Often tight framing implies that violence will erupt. You should try to relate these particular feelings and experiences to whichever area of representation is being discussed - is the sense of unity a result of shared experiences directly related to age, class or gender OR is any tension created as a result of race, disability or class?

LOOSE FRAMING

Loosely framed shots work in the opposite way to tight framing - there will be a great deal of space around the character or object, often making characters appear vulnerable, under threat and in danger. Loose framing can be used to indicate a sense of freedom BUT it is most commonly used to create anticipation that something terrible will happen to the character. You should try to link this vulnerability directly to the chosen area of representation - are characters vulnerable as a result of their disability, age, race, gender, regional identity, sexuality or class?

DEEP FOCUS

In deep focus shots everything in the foreground and everything in the background will clearly be in focus - this may lead the audience to make a connection between what is happening towards the front of the frame with what is taking place towards the back of the frame.

SHALLOW FOCUS

Shallow focus differs from deep focus as only part of the frame will be in focus whilst the rest of the frame will be blurred. Shallow focus draws the audience's attention to a specific area of the frame, emphasising the importance of the area that is in focus. Sometimes the foreground will be in focus, whilst the background is blurred. Alternatively, the foreground may be blurred whilst the background is in focus. In some instances the middle ground may be in focus whilst both the foreground AND the background are blurred. All of these shots is shallow focus - as only a portion of the frame is clearly visible to the audience. You must try to explain why your attention is being drawn to a particular area of the frame, linking these comments (wherever possible) to the area of representation you have been asked to discuss.

RACK FOCUS/FOCUS PULL

Rack focus is used to describe a shift from one type of shallow focus to another type of shallow focus - what is blurred will come into focus, whilst what is in focus will become blurred. This shift in perspective will lead the audience to change what it is within the frame that they are focusing on. Try to link any shift in focus to the area of representation you have been asked to discuss.