Mock GCSE exam 2015

On Wednesday you will be sit a mock media studies exam.

You will only be required to complete section A. This is not the practical part of the exam.

You will watch a video clip and answer questions on it.

Viewing the DVD extract for Section A
You will be given 5 minutes to read through the questions in Section A (on page 2 of this Answer Book). You will be shown the DVD extract for the first time. You will not make notes.
You will watch the DVD extract for a second time. This time you will be allowed to make notes.
Make any notes on spare paper provided.
You will be allowed 10 minutes to make any further notes and to think about the answers to the questions.
You will watch the extract for a third and final time.
You will be allowed the remaining time (approximately 1 hour, depending on the length
of the extract) to complete the examination. 

The paper will ask you about the settings used in the clip so be prepared to discuss how and why these settings have been used. Also, see this post.

Settings in TV drama are used to give clues to the genre. For example you would recognise a medical drama through the mist-en-scene and iconography of hospitals, ambulances etc. This gives the text producer an opportunity to link characters and storylines typical of the genre. Settings give audiences expectations.

The paper will ask you about storylines in the clip.

Discuss the roles of the different characters in the clip and use media terms; connotations, implies, intertextuallity etc.
Look for Proppian characters hero, villain, helper, dispatcher etc.

The paper will ask you about audiences so be prepared to discuss audience pleasures.

Be prepared to discuss audience categories (NRS) and reasons for audiences to watch (Uses and Gratification theory). Also, you should discuss audience appeal and how they take pleasure from a text.
Audiences are positioned using technical codes such as framing. For example a close up might be used to show a character's emotions and make the audience feel sympathy for the character.

Look at the representation of class.

Ask how audiences might respond.

The paper will ask you about representation of age. You will be asked to discuss how age was represented in a television drama you have studied. 

Discuss the clip of Eastenders on this post. Answer the questions about representation that are shown here. 
Explore. What stereotypes of age are. How they are constructed using visual and technical codes.
If the particular representations challenge or conform to the stereotype.

Representation of age task

Learning objective:
To analyse a video clip and explore how age has been represented.

Key terms:
Stereotype - A generalisation of a group of people, event or place.
Conform - to use the usual, familiar genre conventions to construct a representation 
Challenge - to use unfamiliar genre conventions to construct a representation

When considering age representation in a clip, you should be thinking about the following :

• Can I identify what approximate age the characters are?
• Are people from different age groups shown as having different interests,       personalities, attitudes, behaviours?  If so, how?
• Is their age represented as being important in their life?
• Are people from particular age groups portrayed as being better, more powerful, than others?
• Are people from particular age groups portrayed as being abnormal /weaker/ more pathetic than others? 
• How do other characters in the clip treat the characters from different age groups?
• What is the message the clip is trying to portray about age?

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Task 1: Watch this video clip and write a paragraph (200 words) about how age has been represented
Use the questions above to help.

 Task 2: How would you say youth represented in this still from Waterloo Road? Consider the visual codes we have covered.

Preparing for the Mock Media Studies Exam

Learning objective: A revision session to prepare for my mock Media Studies exam which will take place on December 9th in the Media Studies room.

On Wednesday December 9th you will sit a mock exam which will give an indication of target grade for your real GCSE exam in June.

The mock exam will be audio visual rather than print based.
You will only be required to attempt section A of the paper.

Each question has the marks available in brackets after the question. 
Use this as an indication of how much time to spend on each question.

Your mock exam will be about TV drama. 
You will be asked to answer questions about the Audio-Visual piece shown at the start.

In preparation you should revise the concept of representation (gender, age, class, disability etc)
You need to be aware of visual and technical codes which are used to construct characters and settings.
You also need to be able to discuss the concept of audience with regards to TV drama.

For representation, candidates study:

 what makes representations - images plus points of view about them
 the processes of 're-presenting' mediated versions of the 'real' world
 stereotypes and representations - processes of categorisation, identification
and recognition
 the way people and groups of people are represented in the media - in terms
of gender, ethnicity, cultural diversity, age and nation
 the way events and issues are represented in the media.

Media Audiences/Users

For media audiences/users, candidates will study:

 issues raised by the media for a range of audiences and users, including fans, both in terms of audience/user engagement and audience/user response and interpretation.

This is likely to involve consideration of:
 ways of categorising audiences/users and audience/user composition
 organisational issues such as how audiences are targeted, appealed to,
created
 audience/user response issues such as everyday uses and pleasures
together with the different ways audiences and users interpret and interact with a variety of media.

In Addition to answering questions about the piece selected for you, you will be asked to write about another text, an example of a TV drama. You will be asked to explain the concept of representation through a text you are familiar with.

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You will be marked against the following WJEC Assessment objectives 

AO1
Recall, select and communicate their knowledge and understanding of media products and the contexts in which they are produced and consumed.

AO2
Analyse and respond to media texts/topics using media key concepts and appropriate terminology.

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 The Representation of settings 

Learning objective:
Explore the representation of settings in the Media and describe how different geographical markers are used and represented in the media.

Key terms: 
Geographical markers - easily recognisable settings that let the audience know where the narrative takes place. For example; Buckingham Palace, tells the audience the text is set in London.
Temporal markers - easily recognisable iconography that lets the audience know when the narrative takes place. For example; a girl wearing a mini skirt tells the audience the text is set in the 1960's.

By giving audiences information, media texts extend the experience of reality. 
Every time you see a wildlife documentary, or read about political events in a country on the other side of the world, or watch a movie about a historical event, you extend your experience of life on this planet. 

However, because the producers of the media text have selected the information we receive, then our experience is restricted: we only see selected highlights of the lifestyle of the creatures portrayed in the wildlife documentary, the editors and journalists decree which aspects of the news events we will read about, and the movie producers telescope events and personalities to fit into their own parameters. This is mediation and if repeated it constructs stereotypes.

When a text is set in a particular place then the producer needs to consider;
1. How the audience will be informed of the setting.
2. What the connotations of the setting might be for the audience.

Task 1:
Look at the following images and list what sort of narrative you think audiences would expect to happen in media texts set at these locations.
Consider: 

• The history of the setting.
• What the connotations are for the setting for the audience.
• What sort of narrative an audience would expect at these settings. Give specific examples.
• What text genre might be set here? Include the character types that an audience may expect.
• Explain why the setting would be used for a particular genre.

1. Buckingham Palace

2. Cairo back street

3. Oxford UK

4. Times Sq. NYC

5. Eiffel Tower

Setting and iconography

What is setting?

- Setting is the location, where a film is being set to make it conventional to the genre it belongs to.

- Setting is important to the thriller genre and can make the movie more conventional through connotations. For example, when a movie is being set in the forest with a house in the middle of nowhere, an old isolated looking house, this would help the audience to understand the genre of this movie and have certain expectations.
Audiences take pleasure when these expectations develop as they imagined.

For example, the connotations of the house would be haunted, abandoned, isolated, death, rape, loneliness etc.  Even though the denotation of the setting is just an old house.

This is scene from a thriller film called 'Saw'.

This scene is being set in a factory basement, the location suggests to the audience ideas of feelings of isolation and that the genre of the movie is thriller related, this helps to create fear and build suspense. The setting also helps the audience to anticipate that something horrific might occur here. 

In addition, the iconography in this scene; blood, has connotations. Perhaps the character is being tortured or brutally attacked. This would appeal to the target audience who expect this from the narrative when they are aware of the setting.

Task 2:

Write a paragraph about the typical setting from one of the following genres:

• Period drama
• TV crime drama

Explain why the genre would include a particular setting.

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Identifying storylines and how they appeal to audiences.

Each genre is constructed using visual and technical codes and conventions in order to appeal to a target audience.
Audiences expect certain things of a genre, narratives and representation.
To categorise these audience pleasures we as Media Studies students apply theory.
The main audience theory we have looked at is the Uses and Gratification theory (Bloomer and Katz).

Uses and Gratification Theory. Blulmer and Katz.

Uses and gratifications theory (UGT) is an approach to understanding why and how people actively seek out specific media to satisfy specific needs. UGT is an audience-centered approach to understanding mass communication. Diverging from other media effect theories that question "what does media do to people?", UGT focuses on "what do people do with media?"

• Diversion (escape from everyday problems - emotional release, relaxing, filling time etc.)

• Personal relationships (using the media for emotional and other interactions e.g. substitution soap opera for family life OR using the cinema as a social event).

• Personal identity (constructing their own identity from characters in media texts, and learning behavior and values – useful if trying to fit into a new country/culture)

• Surveillance (information gathering e.g. news, educational programming, weather reports, financial news, holiday bargains etc).

How do media texts position audiences?

The relationship between media and audience is fluent and changing.
Audiences are not a mass and their responses are complex and sophisticated.
Audiences are made up of individuals either PASSIVE OR ACTIVE.

Active Audience
This audience responds to and interprets the media text in different ways and actively engages with the messages.

Passive Audience
This is an audience that does not engage actively with the text. 
They do not question the text and therefore accept the preferred reading without challenge. 
They therefore might be more affected by the messages contained within the text.

In a moving image text. the camera shots and angles used place the audience in a particular position.
For example, the use of a close up shot at an emotional time in the narrative may encourage the audience to be sympathetic to that character.
A point of view shot positions the audience as a character and allows them to experience events from that perspective.
This may enhance audience pleasure in the text. However, the positioning may be an uncomfortable one.

For example, the use of an extreme close up shot of a character's face during a tense moment in the narrative may make the audience feel uncomfortable. The camera may take the audience where they do not want to go, for example in a horror film.

See this post on Framing to revise shot types before the mock exam.

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Audience pleasures

There are certain reasons why media texts are popular with audiences.

Regular timeslot
• The narrative and problems are always resolved at the end of the programme
• Intertextuality
• Use of celebrities
• Different types of humour
• Relatable characters and situations (so we can also laugh at ourselves/friends)
• Audience escapism
• Audience feels superior to characters as they never learn from their mistakes.
• Easy to watch (30 minutes long and self-contained episodes mean audience can ‘dip’ in and out of series).
• Pleasure gained from resolution at the end of episode
• Social and family issues often used (audience can relate to)
• Themes are easy for audience to understand
• Warm mode of address - everyone can watch and enjoy.
• Familiarity (e.g. Catchphrases)
• Predictability – For example: audiences know character well and know how they will react.
• New variations of the genre create interest 

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Audience responses.

Learning objectives: To consider how audiences respond to texts through the application of Stuart Hall's Reception theory.

Key words: 

The positioning of audiences by media texts suggests that the audiences shouls accept the messages contained within the text and decode the text in the way expected by the text's producers. 
However, audiences do not all respond to the texts in the same way.
They may accept or challenge the messages encoded within the text.
Stuart Hall accepted that audiences were active, not passive and suggested that there were three main ways in which audiences may respond to a media text.

There are a few important things to remember about the three different positions that we can take.

Preferred Reading

Is not just about 'liking' a text - you must understand what the purpose of a text is and agree with its ideologies and the messages it carries.

Oppositional Reading

Is not just 'disliking' a text - there are many reasons why someone may take an oppositional reading - but whatever these reasons are, the audience member must understand what the intentions of the text are, but reject them.

Negotiated Reading

Can be the case whereby an audience member agrees with some ideologies and not others, but it can also be the case where the audience doesn't fully understand the intentions of the text - or is confused about the purpose of the text.

Task 1:

Discuss reasons for the three different possible readings of the newspaper front page below.

Work in pairs. Bullet points.

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The Representation of age in the media.

Learning objectives: 
To Identify how media text producers consider the construction of age representation in media texts.

Key words: Representation, stereotypes, positive, negative, 

AGE ON TV

The representation of people of different ages has changed massively over the years.  Up until the 1950’s, there were really only two age groups shown in films and television (adult and child).  This was because that most children left school at a young age and went straight to work and became adults.  

In the 1950’s more young people started staying in education and began leading very different lives from both children and adults and so developed the idea of the “teenager”.

Having said that, there are still some stereotypes associated with different ages:

·      Children – often shown as being young, innocent, naive, pure, sweet, helpless, powerless.

Childhood
British children are often depicted in the British media in positive ways. Content
analyses of media products suggest that eight stereotypes of children are
frequently used by the media.

• As victims of horrendous crimes – some critics of the media have suggested that White children who are victims of crime get more media attention than adults or children from ethnic minority backgrounds.
• As cute – this is a common stereotype found in television commercials for baby products or toilet rolls.
• As little devils – another common stereotype especially found in drama and comedy, e.g. Bart Simpson.
• As brilliant – perhaps as child prodigies or as heroes for saving the life of an adult.
• As brave little angels – suffering from a long-term terminal disease or disability.
• As accessories – stories about celebrities such as Madonna, Angelina Jolie or the Beckhams may focus on how their children humanise them.
• As modern – the media may focus on how children ‘these days’ know so much more ‘at their age’ than previous generations of children.
• As active consumers – television commercials portray children as having a consumer appetite for toys and games. Some family sociologists note that this has led to the emergence of a new family pressure, ‘pester power’, the power of children to train or manipulate their parents to spend money on consumer goods that will increase the children’s status in the eyes of their peers.

·      Teenagers – Often shown as being aggressive, moody, lazy, criminals, hate school.

      It is significant when discussing the films to emphasise that they are representing working class youth, rather than youth generally. Middle class youths are absent from these type of representations.

There is a whole media industry aimed at socially constructing youth in terms of lifestyle and identity. Magazines are produced specifically for young people. Record companies, Internet music download sites, mobile telephone companies and radio stations all specifically target and attempt to shape the musical tastes of young people. Networking sites on the Internet, such as Facebook, Bebo and MySpace, allow youth to project their identities around the world.

Youth are often portrayed by news media as a social problem, as immoral or anti-authority and consequently constructed as folk devils as part of a moral panic. The majority of moral panics since the 1950s have been manufactured around concerns about young people’s behaviour, such as their membership of specific ‘deviant’ sub-cultures (e.g., teddy boys, hoodies) or because their behaviour (e.g., drug taking or binge drinking) has attracted the disapproval of those in authority.

·      20’s-30’s – Often shown as the ideal age for love, parties, fun, making money, being glamorous and attractive.  In films the heroes are often this age group.

·      Middle Aged – often shown as being past it, unattractive, not aware of popular culture, uncool, boring lives, dominant over others, no real connection to their kids, grumpy.  In films the villains are often from this age group.

·      Elderly – often shown as being unattractive, slow, weak, ill, confused, pathetic, powerless, not important, dependent on others.

Sociological studies show that when the elderly do appear in the media, they tend to be portrayed in the following one-dimensional ways.

• As grumpy – conservative, stubborn and resistant to social change.
• As mentally challenged – suffering from declining mental functions.
• As dependent – helpless and dependent on other younger members of the family or society.
• As a burden – as an economic burden on society (in terms of the costs of pensions and health care to the younger generation) and/or as a physical and social burden on younger members of their families (who have to worry about or care for them).
• As enjoying a second childhood – as reliving their adolescence and engaging in activities that they have always longed to do before they die.

When considering age in a text, you should be thinking about the following things:

• ·       Can I identify what approximate age the characters are?
• ·      Are people from different age groups shown as having different interests, personalities,      attitudes, behaviours?  If so, how?
• ·      Is their age represented as being important in their life?
• ·      Are people from particular age groups portrayed as being better, more powerful, than others?
• ·      Are people from particular age groups portrayed as being abnormal /weaker/ more pathetic than others? 
• ·      How do other characters in the clip treat the characters from different age groups?
• ·      What is the message the clip is trying to portray about age?
• 
  

      Task 1: discuss - How are youth represented in this still from Waterloo Road?

The wearing of the uniforms could symbolise rebellious nature, not wearing it properly according to school rules and not looking smart quite the opposite. Mixed cultures are portrayed and the idea of male aggression is evident. 
      This could raise the issue anti-social behaviour within a plot line which has been covered in the program. Waterloo road does focus on teen-related issues such as under age sex, binge drinking and youth aggression. 

      Task 2: 
      Watch the following clip and write a paragraph about how people of different ages have been represented. 

      Eastenders  http://www.youtube.com/watch?v=s7ohiEFW2e0

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     Representation of Age in the media today

Young people.

      The way in which young people are represented in the media today is often controversial and a topic for debate. This was never more so than during the riots in London in 2011. The main way in which the event was presented to the audience was through the news media and therefore we can say that it was mediated through the dominant ideology of the particular paper. The newspapers became opinion leaders offering a constructed view of young people and also of the events as they unfolded. As most of the audience could not have first hand experience of the riots, they relied upon the news and newspapers as their sources of information. Language is a very powerful communicator of ideology and is apparent in these front pages.

What points to make in your response about the representation of young people here?

Make general points in your introduction about what representation means and how representations are constructed by the media texts to elicit a response from an audience.

Demonstrate your understanding of how the ideology of the text may affect the representation of certain groups issues or events.

Comment on the use of hyperbole in the headlines and the specific, emotive vocabulary in the sub headings.

The main image used has been specifically chosen and appeared in both newspapers and others on the same day. Analyse the visual codes used including the clothing and the background. What are the connotations? 

Comment on how this image became iconic as a representation of young people during that event. How would audiences decode these images. (Use Stuart Hall's theory).

Comment on how the images, headlines, captions and copy are all constructed to create a negative representation of young people.

Consider the purpose and effect of the features of these front covers.

Although in this case we have considered how young people are represented in the media. This example can easily be used to explore the representation of events in the media.

Task 1: Answer the following questions using the points above and the links to other pages we have studied.

a) What kind of world is being constructed by these media texts?

Consider: That the “reality” of the world presented by texts is constructed
      That audiences respond to texts according to their experience and knowledge of the world presented to them

b) What ideologies / messages might be contained within the representation/s?

Consider: 
       The view being presented through the text.
       Question whether the particular interests / views of the world are being challenged, reinforced or promoted.
       Consider whether the texts are promoting, challenging or judging the roles of young people..

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TV Drama: Stories and Audiences

Bfi media-conference-2013-tv-drama-stories-audiences from aealey

Framing, camera angles, camera movement

Learning objective:

Define framing techniques which can be used to construct narrative.

http://www.bbc.co.uk/learningzone/clips/genre-analysis-drama/11108.html

Camera Angles

Describing Shots

When describing camera angles, or creating them yourself, you have to think about three important factors

— The FRAMING or how far away from the subject the camera is.

— The ANGLE of the shot

— If there is any MOVEMENT involved

When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. 
A change between two different shots is called a CUT.

Framing or Shot Length

1 . Extreme long shot

This is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie. 
There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.

2. Long Shot

This is the most difficult shot to categorise precisely, but is generally one which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall). 
This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. While the focus is on characters, plenty of background detail is still visible.

3. Medium Shot (Mid shot)

Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). 
NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.

4. Close-Up (C.U.)

This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, depending on the mood and usually uses a zoom lens in order to get the required framing.


5. Extreme Close-Up (E.C.U.)

As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.

Task 1:
Identify the shot types below
(name them 1 - 9)
and say why you think they have been used.

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Camera Angles 

The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot.



1. The Bird's-Eye view
This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs).
This shot does, however, put the audience in a godlike position, looking down on the action.
People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.

2. High Angle
Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often looks vulnerable from a high angle.

3. Eye Level
A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.

4. Low Angle
These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

5. Oblique/Canted Angle
Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see — a hand held camera is often used for this.

Task 2: 

Copy the names of each of the camera angles above.

Draw a small storyboard panel illustrating each.

Write down why each shot may be used.

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Camera Movement 

A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods:



1. PansA movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

 

2. Tilt
A movement which scans a scene vertically, otherwise similar to a pan.

 

3. Dolly Shots
Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character. 

 

4. Hand-held shots
The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup cameras into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.

This technique took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organised smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. 

No "walk and talk" sequence would be complete without one. 

Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.

 

5. Crane Shots
Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

 

6. Zoom Lenses
A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. 

Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod! 

7. The Aerial Shot
An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration — so long as you don't need to get too close to your actors or use location sound with the shots.

Task 3:
Watch this clip from the Official Teaser Trailer of Skyfall.
Identify 10 shot types as covered here.
Say what kind of shots they are and say why you think they are in place.
Orange books. You do not need audio for this task.
Use the timecode to indicate the shot you are discussing.