Analysis of Media Codes & Conventions: Visual, Audio, & Written Elements, Study notes of Acting

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Code & Conventions

CONTENTS

Page 2 Contents Page 3 From the study design Page 4 Code & Conventions – Moving Image Page 5 Code & Conventions - Print Page 6 Code & Conventions - Advertising Page 7 Code & Conventions – Narrative: Story telling Page 8 Media Codes - List Page 9 Media Conventions - List Page 10 Media Codes - Heading Page 11 & 12 Camera Page 13 & 14 Acting Page 15 Setting Page 16 Mise-En-Scene Page 17 Editing Page 18 Lighting Page 19 & 20 Sound Page 21 Special Effects Page 22 Typography Page 23 & 24 Colour Page 25 Visual Composition Page 26 Text and Graphics Page 27 Media Conventions Heading Page 28 Story Principles Page 29 Opening, Development, Closure Page 30 Form and Structure Page 31 & 32 Character – Character & Ideology Page 33 Story Arc Page 34 Cause & Effect Page 35 Point Of View Page 36 The Structuring Of Time Page 37 Elements Of Page Layout Page 38 Paper stock for print Page 39 Titles & Credits Sequence Page 40 Hyperlinking & Mounting Page 41 Framing of images

Code & Conventions of

Moving Image

Visual elements

Costume, camera angle and or position,

framing, lighting, location, setting, visual

composition

Audio elements

Music, sound effects, dialogue, jingles,

catch phrases

Technical elements

Acting, lighting, editing, colour grading

Written elements

Adjectives, headlines, subtitles

Code & Conventions to

Print

• Layout – White space / Negative space
• Colour
• Images - Size & Position
• Text - Typography
• Composition & Layout
• Paper stock
• Framing
• Distribution
• Readership

Code Conventions of

Storytelling

• Opening Development & Closure
• Multiple Storylines
• Narrative Possibilities
• Character Development
• Cause & Effect
• Setting
• Structuring of Time
• Point Of View

MEDIA CODES

Camera

Acting

Setting

Mise En Scene

Editing

Lighting

Sound

Special effects

Typography

Colour

Visual composition

Text and graphics

MEDIA CODES

Media codes are the physical elements that the audience experiences, which bring the narrative conventions to the media form.

CAMERA

Camera- Techniques & qualities including shot selection, movement & focus. The way the camera moves, pans, the angle and the framing helps tell the story. It can provide an insight to the characters and their lives, place importance on or emphasise certain objects, events and actions, help set the mood of a scene and/or provide a point of view. ANGLE The angle of the camera is the angle from which the image is viewed. The straight on angle is the most common. The camera angle can have a major impact of how the audience will perceive a character, object or place. The high angle positions the audience looking down and the low angle positions the audience looking up. Low camera angles will often emphasise height or power, making a character look large and domineering. A high angle will often make character or object appear small and vulnerable. Camera angles can also identify a character’s point of view (not to be confused with point of view from which the narrative is presented) by taking a position that corresponds to that which we imagine that the character’s sight line would occupy. We see what the character would be seeing. This can be very effective in enhancing audience identification with character’s experiences. MOVEMENT How the camera moves will reveal information the audience. Panning from left to right or vice versa can be used to follow action, an actor’s sight line or reveal something of significance to the audience. The speed of the pan can have a dramatic effect, fast (zip pan); to indicate quick paced action while slow can indicate the opposite. Panning the camera can also be used for point of view of a character as it can imitate the movement of the spectator’s eye as they survey the scene around them. If the camera is mounted on a crane the audience is able to zoom in at odd angles to gain a better look at characters, objects or places. They will feel as if they have a bird’s eye or intimate view of the action. Also if the camera is on tracks or dolly it is able to follow the action and further engage the audience by enabling them to move with the characters and the action. DISTANCE/PLACEMENT The distance of the camera in the scene will dictate to the audience how involved they will become with the characters or settings. In general the closer the camera is to the subject the more importance and attention that the subject is given. For example in a romantic scene the most logical place for the camera is close to the lovers so that the audience can experience the intimacy of the moment. If it was presented only in a long shot the audience would be distanced and wonder why it was shot in this manner. The height and the distance of the camera from the subject can also have an effect on the meaning of a shot. SHOT SELECTION Extreme close-up – can be described as a very tight shot. It is a very dramatic shot that can be used to draw attention to fine detail or places importance to the detail it captures. Close-up – a close-up is not as tight as an extreme close-up but there is still very little background shown in the shot. Medium shot – more than one object or subject can be show in a medium shot. Actors are captured from the waist up and this shot is commonly used when there are two actors in the shot. Medium long shot – in this shot the subject in the foreground is equally balanced with the background. Long shot – this allows the subject to still be prominent although the background dominates the scene. HEIGHT The height of the camera can give the audience a varied perspective. This is not referring to angle, for the angle in this type of shot is usually straight on. LENS/FOCUS Alterations in focus can have a signifying effect. Most films use a deep depth of field in which both the foreground and backgrounds are in sharp focus. Hard focus invokes a very real and sharp image while soft focus provides a dreamlike or romantic effect. This could be used for close ups or big close ups to provide a more flattering image of the actor. It will also suggest romance and mystery to the audience.

ACTING

Acting is the most obvious production element to observe and analyse when watching a moving image. An actor’s performance in a film consists of visual elements (appearance, gestures, facial expression) and sound (voice and effects). The character the actor creates is essential to the narrative of the film. Acting can be broken up into the following discussion points:

• Body language
• Tone of voice / Accent / Pace of speech
• Facial expression
• Any distinctive common movement by the character
• Stance / Walk / Movement It is important to note that Character & Acting are two different elements when looking at narrative. The actor or actress is playing a character. When analysing narrative for media it is crucial you write the Actor or Actress’s real name. For example, ‘Clint Eastwood’ not Dirty Harry. Films may contain a wide variety of acting styles. In a stylised film a realistic performance would seem out of place in the film’s context and vice versa. If the actor looks and behaves in a way that is expected to their character’s function in the film then the actor has given a good performance whether or not they have behaved as a real person. An actor’s performance can be analysed by the manner in which they use their voice, body and face. Other factors to consider are the reasons they may have been cast, attributes like physical appearance, acting skill and reputation can all play a role in this. When discussing an actor’s performance it is important to make reference to correct acting terminology. Casting is important in a film. The use of a star can have an influence on audience expectation. Stars are often watched for their own sake rather than for their representation of a scripted character. However there are actors who are stars but their trademark is a strong ability in characterisation. Previous roles/experience may also have an influence on why an actor is cast in a film. The physical appearance of the actor is also a significant aspect of acting, whether the actor is physically suitable in the role is just as essential as their acting ability. Is their voice, face or body suitable for the role? What is their prior work and does this have an influence on their casting? Are they renowned for playing particular types of characters?

Acting Terms Style Acting can be broken into three main styles: Classical Naturalistic Stylised Contemporary films employ naturalistic acting that is far more subtle and realistic. This style appears natural and doesn’t draw attention to itself. This is often referred to as Method acting where actors try to create in themselves the thoughts and emotions of their characters in an effort to develop lifelike performances. Stylised acting is when an actor deliberately exaggerates their acting style. They are not performing in a way that is natural. Performance - Use of Voice

• Volume – loud/soft Loud – Forceful, overbearing, shrill Soft - gentle, quiet, faint, muted, low, hushed
• Speed fast/slow – Slow - lingers on certain words, spoke in a careful/deliberate manner Fast - spoke in a rushed/manic manner
• Tone of voice Disturbing, chilling, intimidating, shaky, agitated, shrill, condescending, Calm, unruffled, serene, composed, self-assured, relaxed, refined Meek, childish, shy, whiny, emotional Collected, self-possessed, cool, calm and collected, self-possessed, relaxed, sympathetic
• Use of Facial expressions Gentle, eyes, evil eyes, wide eyed, sullen mouth, aggravated expression, grimace, wide smile, pained
• Use of Gestures/Body language/mannerisms Casual, tense, agitated, anxious, calm, cool, fidgeted, robotic, rigid, straight, slumped, relaxed

MISE-EN-SCENE

Mise En Scene refers to the composition of everything visually within the physical boundaries of the shot / frame. The way in which figures and elements are moved around within a frame can provide many effects. Mise-en-scène also includes the positioning and movement of actors on the set, which is called blocking. Mise En scene can also be described as a look or style of a film (for example gothic), a mood or atmosphere in a whole film or an individual scene (for example a threatening feeling). Mise en scene refers to the visual elements in a frame including: Set design The look and the feel of the set can help establish audience expectations about the film. Set design is the setting of a scene, the objects (props) and the decor. Props are often to use to provide clues to the audience about characters and storylines. Sometimes props reappear from scene to scene reminding the audience of it significance. Sometimes these props can become motifs in the narrative. Set design can be used to amplify character emotion or the dominant mood of a film, or to establish aspects of the character. Lighting The intensity, direction, and quality of lighting have a major effect on the way an image is perceived, including mood, time of day or night, season or atmosphere. Space & Shot Selection The representation of space affects the reading of a film. When a character fills a frame the audience can usually be assured that they are a major character central or important to the narrative. Equal space given to two actors within a frame would indicate equal importance in the scene to these characters. Cramming the frame can have a claustrophobic effect Costume & Make-Up Costume simply refers to the clothes that characters wear. Using certain colors or designs, costumes in narrative cinema is used to signify characters or to make clear distinctions between characters. Costume often gives important information about characters, including their background, profession, attitudes, personalities, their state of mind or their role in the narrative. For example black or dark clothing often suggest evil (antagonist) while white or light clothing suggests goodness (protagonist). Change in costume can represent an evolution of a character.

EDITING

Editing creates the illusion that a film is unfolding naturally, without the intervention of the film-maker. Good editing is invisible with seamless connecting shots that create the illusion of continuity of time and space. There are numerous editing techniques: Cut – where one shot is cut to the next. Sudden cuts can produce surprise, horror, and disruption. Fade - where the image disappears into black and generally represents a brief lapse of time Dissolve - where a fade coincides with the gradual superimposition of a new image and generally represents a longer lapse of time Wipe - where one image replaces another proceeded by a divisional line moving across the screen The fade, dissolve and wipe can be used to indicate the passing or expansion of time. The longer the edit techniques are can indicate more or less time passed. Shot-reverse shot – is used to represent a conversation. The characters speak to each other appearing on opposite sides of successive frames, each looking in the direction of the other. This is shot over a continuous sound track and edited together. Graphic match – shots are edited together in relation to how they visually correspond with each other. Visual relationships are significant but visual/aural relationships in editing are also very important this includes the overlapping sound from one shot to the next with an image depicting the dialogue spoken. Crosscutting – is cutting back and forth between scenes linking stories or events together or indicating events happening simultaneously. Timing - can be used to enhance the energy of the action, or to slow it down. Action sequences can take on greater drama if cuts occur within moments of high action. For example if a car is about to crash, the viewer may see several successive and separate views of the same moment. A cut in a moment of relative steadiness can slow down action. A character deep in thought may be shot from several positions in order to expand the moment and instill significance into it. R hythm of editing is important. Many films have a rhythm throughout their duration. The pacing and rhythm of the editing can dramatically affect single scenes. Editing can increase or decrease the pace of the film. Quick edits is editing brief shots together before cutting to the next shot while slow edits allow shots to continue for a long time before the cut to the next shot. The filmmaker may choose to construct a steady rhythm by making all the shots approximately the same length. An accelerating rhythm may arise from successively shorter shots; a spasmodic, irregular rhythm may be produced by a combination of shots of widely different lengths.

SOUND

Sound falls into three categories: Dialogue Music Sound effects Sound is important in a film’s narrative; it can provide powerful emotional accompaniment to a film’s high points; it enhances realism by reproducing the sounds one would associate with the actions and events depicted visually, draw attention to a particular aspect of a shot, enhances audience expectations of what might occur and sound can be used as a transitional device in editing with dialogue, music or sound effects carrying over from one scene to the next. In the moving image sound can come from only on of two sources. Either it comes from inside the story or it is happening outside the story: Diegetic sound – Sound from within the story is called diegetic sound because it happens within the diegesis (the world of the story). This means that the characters and the audience must be able to hear the sound. Usually the audience can see the source of the sound. Diegetic sound comes from the on-screen action that we observe and that the characters participate in. Nondiegetic sound – does not emanate from the story space. This is sound that is imported to the on-screen action. Non-diegetic sound may contribute to the story or it may build atmosphere or enhance the emotional power of the scene, but its source isn’t seen on screen. If the characters can’t hear it, it is non-diegetic. Voice-overs and narration are non-diegetic sound. MUSIC Music in films is usually non-realistic and the audience rarely sees its source in the frame. It is used to amplify the mood or atmosphere and conveys the emotional significance of a scene. Reference can be made to its: tempo/beat - how fast or slow the music is style – classical, rock, jazz volume – how loud or soft the music is or whether the volume changes. For example when dramatic events occurs the volume of the music may increase. Adjectives to describe music: Gripping Riveting Thrilling Suspenseful Mesmerizing Spellbinding Enchanting

DIALOGUE Through dialogue important information can be revealed about the storylines and/or characters. Often a significant line of dialogue in the text can convey important information about the narrative. It can provide a prediction of what may occur, help identify themes and assist in establishing or explaining a characters motivations or actions. Narration Conventionally the narrator of a film is usually the protagonist also audiences have the tendency to believe that if a character narrates a film then the narrative is from that character’s point of view. SOUND EFFECTS Sounds are added to improve the realism or impact of a scene or event. FOLEY Any kind of natural sound caused by movement or nature, which can be recorded in a studio. Any other sounds of this nature EG; the sound of engine of a car, which can not be recorded in a studio are called sound effects. These are also added to the soundtrack. SCORE The musical component of a movie's soundtrack, usually composed specifically for the film by a film composer ; the background music in a film, usually specially composed for the film; may be orchestral, synthesized, or performed by a small group of musicians; also refers to the act of writing music for a film Also particular soundtrack has the ability to convey the emotional significance of a scene by helping the audience to identify with the character’s emotions. Music can ‘feel’ for the audience by indicating when a powerful moment is occurring. Music can be used ironically by deliberately accompanying an image inappropriately. For example a happy, upbeat song contrasted with a violent event to make the violence seem more perverse.