I have split the discussion of camerawork into 4 separate posts - one each on camera distance, camera angles, camera movement and shot composition: I will begin with camera distance.
You must learn these terms and use them at all times throughout your essay. If you can relate camera distances directly to the area of representation, that is great. What is more likely, however, is that the camera distance will enable you to focus on some aspect of mise-en-scene (for example figure behaviour, facial expressions, setting or costume) and it is the mise-en-scene that you will be able to link to the chosen area of representation. Get into the habit of constantly using the terminology of camera distances, even when you are describing what is happening. Every shot will be one camera distance or another - so USE THE TERM! I never want to simply read "...the shot..." - instead, you must use the correct terminology.
Remember - there are 10 marks out of the 50 given over to the correct use of terminology - get into the habit of frequently using the terms!
ESTABLISHING SHOT
Establishing shots are usually found at the beginning of scenes (often indication a change in location) and help establish for the audience where the subsequent action takes place - they are very common in TV Dramas and it is likely that there will be one at the beginning of the clip you watch, and subsequent establishing shots for each new scene. Usually they will be extreme long shots and will focus on the location/setting. Establishing shots are used to orientate the audience BUT may also create expectations for the audience about themes or the action that will follow. Often establishing shots are followed by a series of shots that gradually get closer to where the action is taking place. Many filmmakers choose not to use conventional establishing shots to begin a scene, preferring to thrust their audience immediately into the action - if this happens in a scene you are viewing, you should think about why the director may have chosen to do this.
EXTREME LONG SHOTS (ELS)
In extreme long shots the setting will dominate and characters will often be relatively small in comparison, dwarfed by their surroundings. With extreme long shots it is likely that the director will be asking the audience to focus their attention on the setting - here, you should discuss what expectations the setting creates (in terms of the narrative and, possibly characters) and don't forget to describe the setting. Extreme long shots are often used to make a character appear vulnerable or isolated, and to make the setting appear threatening - if you are going to say something about the expectations created for the audience about character, try to link it to the area of representation. In the shot above you would want to mention the barren, icy setting, commenting on the both the beauty and hostility of the landscape. The characters appear small in comparison, and seem isolated and potentially vulnerable (this is compounded by the fact that they are loosely framed). Here, the extreme shot draws our attention to the setting and the way that it seems to envelope and dominate the characters.
LONG SHOT (LS)
If a long shot features a character, the character's head will be near the top of the frame whilst his/her feet will be towards the bottom of the frame. Long shots are not great for showing facial expressions BUT are useful for encouraging audiences to notice element of mise-en-scene, such as costume and characters' figure behaviour. Whilst characters are certainly more prominent in long shots than they are in extreme long shots, setting will still be reasonably important. If you are analysing the meaning created by a long shot, just remember that you may want to comment on both setting and character. In the shot above, our attention is drawn to the characters' positions in relation to each other, their costumes and their respective figure behaviour - here, you would think about the way that the long shot allows you too see aspects of mise-en-scene, before trying to link mise-en-scene to the area of representation.
MEDIUM LONG SHOT (MLS)
In a medium long shot (sometimes known as an American shot or a three-quarter shot), characters are shot from roughly the knees up. Here, the character will begin to dominate the frame and we will be able to see facial expressions more clearly. As with a long shot, the audience's attention will be drawn to aspects of mise-en-scene such as costume and figure behaviour - in the shot above, the character's costume and stance indicate much about him to the audience.
MEDIUM SHOT (MS)
In a medium shot, characters will be shown from roughly the waist up - dominating the frame much more obviously than the setting. Here, you should think about figure behaviour and facial expressions (alongside other elements of mise-en-scene such as props and costume). Medium shots, medium close ups and close ups are used to help position the audience with the TV dramas central protagonist (the main character will often get more of these closer shots than any other character - though you could be shown a clip that focuses on a villainous character and it is possible he/she will be shot from these closer distances).
MEDIUM CLOSE UP (MCU)
In a medium close up, characters are shot from roughly the chest up. The setting will be largely irrelevant (or, certainly much less important than in previous shot distances) and the focus of the audience's attention will be on the character's figure behaviour and, in particular, his/her facial expression. Here, you should first identify the shot and then discuss the way that the character's facial expression emphasises particular emotions - before relating this to the area of representation.
CLOSE UP (CU)
Characters in close ups are shot from the tops of the shoulders/neck up, and the head will dominate the frame. The focus here is most definitely on a character's facial expression, their emotions or reactions - think about the ways in which the emotions you spot can be linked to the area of representation. Often directors will use close ups (or extreme close ups) to draw the audience's attention to a prop, hinting that it will have some significance later in the narrative - here, you should think about the expectations created by such a shot.
EXTREME CLOSE UP (ECU)
Extreme close ups will emphasise a part of the face (for example the nose, eye or lips) or the body (for example a toe or a finger). Extreme close ups are often too close to show any real emotion or general reaction - so you should think about any specific reasons the director may have chosen this shot; though this may not necessarily help you in your analysis, extreme close ups are often used because they are aesthetically interesting shots.
Look out for the next post on camera angles, and further posts on all areas of film form.
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