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.
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