TELEVISION SITCOMS TERM 1: 12EEM MRS PLACE 2015 This workbook is one of the support documents for this year s internal and external assessments. Standards taught this year are: INTERNALS AS 91249 AS 91250 AS 91102 AS 91107 Media Studies 2.2 Demonstrate understanding of narrative in texts (4 credits) Media Studies 2.3 Demonstrate understanding of representation in the media (3 credits) English 2.5 Construct and deliver a crafted and controlled oral text (3 credits) English 2.10 Analyse aspects of visual and/or oral text(s) through close viewing and/or listening, supported by evidence (3 credits) EXTERNALS (you will do ONE which will be decided upon in consultation with your teacher and dean) AS 91251 AS 91099 Media Studies 2.4 Demonstrate understanding of a media genre (4 credits) English 2.2 Analyse specified aspect(s) of studied visual or oral text(s), supported by evidence (4 credits)
THE CONVENTIONS SITCOM Form: Episodes tend to be between 24-30 mins, with self-contained narratives Sitcoms tend to be series not serials Sitcoms are reliant on a formula, repetition however within each story it is necessary to include new interesting aspects Style: Usually filmed in front of a studio audience Setting is usually a familiar location, most often inside Usually based in the workplace or home Limited amount of locations A conventional mis en scene (things look normal and in place ) Narrative: The narrative rarely continues from one episode to the next. Even if there are ongoing storylines the episode tends to open with a new situation and end with the resolution of that situation while the ongoing narrative weaves in and out of that story. Usually based on work or family life and the issues they involve. Follow a circular structure of a starting equilibrium, followed by disequilibrium and then returning to equilibrium but the episodes end.
Characters: Sitcoms tend to centre around two main characters or an ensemble The comedy in sitcoms grows out of the conflicts characters find themselves in, and the frustrations they experience Sitcom are heavily reliant upon stereotypes, especially in minor roles Characters in sitcoms are recognisable, plausible types who audiences can identify with. They often embody a set of ideas. Values or clichés, and it is these types that provide the catalyst for the humour that is central to the comedy The majority of the sitcom characters are frustrated by the situations they find themselves in and which they cannot escape. The situation can be physical or emotional, and although they often strive to change their situation, they are inevitably doomed to return to a similar starting point. Other: Through presenting us with familiar situations, sitcoms give us an opportunity to laugh at aspects of ourselves, our culture and our experiences of human relationships, family, work etc
SITCOM CATEGORIES Write a list of sitcoms against the numbers below. Write the number of each sitcom in one or more of the category boxes. Discuss with another student you decisions. 1 Friends 2 3 4 5 6 7 8 9 10
TYPES OF SITCOM Using the list on the other page, put the title of the sitcom on the side of the right category. Check glossary for definitions. JOHN HARTLEY S CATEGORIES ROBERT TAFLINGER s CATEGORIES HARTLEY TAFLINGER
CHARCTER TYPES Watch an episode of a sitcom and try to divide the characters into Taflinger s three categories. Which of these characters generate the most humour? Which are most likely to be stereotypes and why? What other generalisations can be drawn from your analysis? Name of Sitcom Name of Episode Main Characters Supporting characters Transients
SITCOM FAMILIES For each of the characters write down notes on HOW they are represented in an episode of Modern Family. Note who is a privileged character, a marginalised character and pay special attention to HOW the text is constructed to make the family look abnormal.
SITCOM FAMILY SITUATIONS Choose four sitcom families that you are familiar with. Make notes in the boxes below about the nature of the situation of each family, anything that is abnormal about them and how these abnormalities are resolved Sitcom title: Simpsons Family: Mum, Dad, 3 kids (Granddad and Aunties) Nature of the situation: Lisa has to make a diorama at school. She has met a new girl who is a bright as she is and she feels threatened because she likes being the smart, talented one. She sabotages the diorama contest. Abnormal features: Lisa is the smartest character in the show. She stands out because the show is usually about misfits like Homer and Bart. How it was resolved: Lisa feels guilty and confesses. She proves that she is a really good person and not naughty like her brother and dad. Sitcom title: Family: Nature of the situation: Sitcom title: Family: Nature of the situation: Abnormal features: How it was resolved: Sitcom title: Family: Nature of the situation: Abnormal features: Abnormal features: How it was resolved: How it was resolved:
TV SITCOM AND GENDER To what extent is gender influential in the formation of stereotypes we recognise? Using five of the sitcoms you collected on the previous page, list the main male and female characters. In the next box list all the qualities these characters have. Programmes: 1. Friends 2. 3. 4. 5. Male Characters Male qualities Macho Female characters Monica Female characteristics Good at cooking Sporty Pretty
GENDERED SITCOM Imagine you have been commissioned to write two new sitcoms for mainstream television. One of these is to be based around a male protagonist and the other around a female protagonist. Use the boxes to formulate a concept that you think would make a good TV series. Name of Sitcom Setting (male) Character (describe) Story ideas Name of Sitcom Setting (female) Character (describe) Remember that the most successful sitcoms function around a circular narrative structure in which the basic situation remains the same week after week. Story ideas
SITCOM CHARACTERS Watch another episode of Modern Family in class and identify one female and one male in it. Make notes on how each characters gender is represented through narrative, mise en scene, form and style, and character construction. Name Narrative Mise en scene Form and style Character construction Name Narrative Mise en scene Form and style Character construction
REPRESENTATION OF NEW ZEALANDNESS Watch an episode of Bro Town and make notes under the questions below Characters: Are the characters stereotypes? Do they have typical qualities? To what degree is their New Zealand-ness a defining feature? Are there a range of groups represented? Which groups are privileged or marginalised by their identities? Location: Where is the programme set?
Is it a real location or made up? What sort of assumptions are made out of the location and its values? How are cultural/regional differences indicated through the location chosen? Narrative: To what degree is the narrative dependant on the cultural, regional and national issues? What kind of equilibrium is constructed at the start of the text? How is the disruption of the equilibrium determined by national/regional forces? Ideology: What is an ideology?
An ideology is a world view, a system of values, attitudes and beliefs which an individual, group or society holds to be true or important; these are shared by a culture or society about how that society should function. Dominant ideologies Ideologies that are told to us repeatedly by important social institutions such as the church, the law, education, government, and the media are called dominant ideologies. Dominant ideologies are ideologies or beliefs that we live by in our day-to-day lives and often do not question they have become 'natural, common sense' things to do. This effectively dissuades people from rebelling against these beliefs, and keeps a sense of stability in society. Dominant ideologies include beliefs about gender roles, about the economy, about social institutions. Consumerism has been a dominant ideology in the western world since the industrial revolution. Consumerism is a world view that a person has more worth if she or he has more material possessions and that we are made happier by consuming more goods. How ideology relates to media studies Media texts always reflect certain values or ideologies though sometimes we may not be aware of this. An example might be that in some texts, such as action films like the Die Hard or the Lethal Weapon series, solving problems with force is seen as an acceptable value and reflects a certain ideology. The media is a successful carrier of ideology because it reaches such a huge audience. The study of the media allows us to consider and question dominant ideologies and look for the implications of different ideology and value systems. When studying a media text you may look for the dominant ideology present and question whose world view is represented and which group(s) and their associated world view(s) have not been represented. Ideology: What sorts of values and attitudes are linked to national identity? Which cultural identities are privileged by the text? Which are marginalised? What generalisations can be drawn about national identity from the text?
SITCOM CONVENTIONS Think about the typical characteristics of the sitcoms you watch and jot down notes under the headings. Give examples from each point you make. Characters Storylines Themes Target audience Locations/settings The sitcoms you watch Why are they funny?
ACHIEVEMENT STANDARD Subject Reference English 2.10 Title ANALYSE ASPECTS OF VISUAL AND/OR ORAL TEXT(S) THROUGH CLOSE VIEWING AND/OR LISTENING, SUPPORTED BY EVIDENCE Level 2 Credits 3 Assessment Internal Subfield Domain English English Visual Language Status Registered Status date 17 November 2011 Planned review date 31 December 2014 Date version published 17 November 2011 This achievement standard requires analysing aspects of visual and/or oral text(s) through close viewing and/or listening, supported by evidence. Achievement Criteria Achievement Achievement with Merit Achievement with Excellence Analyse aspects of visual and/or oral text(s) through close viewing and/or listening, supported by evidence. Analyse aspects of visual and/or oral text(s) convincingly, through close viewing and/or listening, supported by evidence. Analyse aspects of visual and/or oral text(s) perceptively, through close viewing and/or listening, supported by evidence. EXPLANATORY NOTES 1 Analyse aspects of visual and/or oral text(s) involves making developed interpretations of meanings and effects of visual and/or oral text(s), such as: ideas (eg themes, attitudes, beliefs, experiences, feelings, insights, meanings, opinions, thoughts, and understandings within the text)
language features (eg cinematography, editing, production design, sound, performance, rhetorical devices) other oral language techniques and structures (eg part text, whole text, narrative sequence, beginnings and endings) as used for particular audiences and purposes. Analyse aspects of visual and/or oral text(s) convincingly involves demonstrating understanding of how significant aspects of visual and/or oral text(s) work together to create meaning. Analyse aspects of visual and/or oral text(s) perceptively involves demonstrating insightful and/or original understanding of significant aspects of texts. 2 Close viewing and/or listening involves a detailed exploration and consideration of aspects of text(s). 3 Supported by evidence refers to the use of specific and relevant details from the text to support analysis. 4 One or more of the following text types (either as complete texts or as extracts) may be selected: film/television production/music video drama production multi-media text graphic novel drama production radio production oratory song performance documentary/interview. 5 The text(s) used must be visual and/or oral and used in its original form. SITCOM ANALYSIS For homework you are required to watch a sitcom of your choice and answer these questions. Name of sitcom: Name of episode: Schedule (channel):
Where is the sitcom set: What is the plot (storyline) of the episode? Summary: What are the themes being addressed in the episode? (love, honesty, friendship etc. ): Who is the target audience for this show? How do you know? (think age, gender, education, economic status, race, occupation, interests): What emotional appeals do the producer of the show use to get its viewers hooked? Consider for example, power, family life, humour, emotions. Why is the show popular?:
In each of the shapes give a description of each of the main characters: Consider age, gender, sexuality, relationship to other characters.
Make some notes on the personal relationships among the characters the characters ie how each person treats others in terms of their gender, sexual orientation, race, behaviour etc How are issues relating to gender roles handled? What roles do men play? What roles do women play? Consider occupation and status. Are the roles realistic? Are they fair? Do they accurately reflect society? Do they conform to or subvert gender stereotypes? How are issues of diversity handled? What ethnic groups are represented? How are they represented? Consider occupation and status. Are the roles realistic? Do they conform to or subvert racial stereotypes? Is this sitcom (circle): 1. A DOMCOM (domestic comedy set around a family unit)? 2. An ACTCOM (action comedy emphasis placed on the action rather than the characterisation)? 3. A DRAMEDY (a more serious dramatic comedy)? Give evidence to support this below:
SHOT SIZES: TELLING WHAT WE SEE What really differentiates movies from plays is the way filmmakers manipulate the audience s field of view. With plays, the audience is in a wide shot, always looking at entire stage and all the actors on it. In cinema, the filmmaker directs what the public sees and how. While a long shot can show a sweeping vista of Mount Everest, an extreme close-up can show the silent despair of child learning that his mother has passed away. Wide/Long Shot Long shots are used to emphasize a vast location around the subject. Oftentimes, a wide shot comprises of sweeping land or cityscape. Long shot and wide shot can be used interchangeably. The frame below is from Gone with the Wind (1939). A long shot is employed to emphasize the tragedy of the Civil War and its death toll. Establishing Shot and Master Shot An establishing shot and a master shot are not the same per se. But they were combined under the same subheading because the framing and composition are usually the same for both of them. A establishing shot introduces a new location a church, a city street, a rooftop, a hospital room from a vantage point that allows the audience to see all the relevant characters in the filmic space. A master shot would probably be recorded from the same position, with the same lens, also showing all the characters. The difference is the duration. A master shot records the entire action, a complete run-through from that same camera position. This way if a tighter shot is forgotten or messed up during coverage, the director knows her editor will have enough material to show the scene in its entirety by cutting back to the master shot. In most movies, an establishing shot will last a few seconds before the editor cuts to medium shots and close-ups. However, if for someone reason the director decides that the cuts are not good enough, he
may use the master shot of a scene to show the action unfold, in which case there would few to no cuts in that scene, which can a be a pleasant style. To a sense, master shots are usually part of cinematography terminology because they should be standard practice for every new scene. Establishing shots, in the other hand, refer more to the editing phase of the movie, when the editor selects one quick angle to reveal the location. Also, note that an establishing shot doesn t necessarily mean that we see the character s full body. Basically, the establishing shot displays the elements needed for the scene to function. Long Shot (LS) A long shot displays the character from head to toe, without showing much of his surroundings (or else it would be considered a long shot). These shots were very popular in the beginning of cinema before filmmakers had understood the power of medium shots and close-ups. A long shot distances the character from the viewer both physically and psychologically. They carry less emotional weight, and therefore they are not the best choice during emotional scenes. Whenever the director wants to convey someone s anger, fear, or joy, close-ups are way more effective. A long shot would be more appropriate during a character s entrance or a foot pursuit, for instance.
Mid Shot (MS) Mid shots are the most common types of shots in the movies. Showing most of the subject s body, medium shots are halfway between long shots and close-ups. The medium shot also includes two other famous shot types: The two-shot, with two actors facing the same screen direction, and the over-the-shoulder shot, showing a conversation in which the actors sit or stand across from each other: Over the shoulder
Close-Up (CU) In close-up shots, the subject occupies most of the frame, allowing very little observation on the environment. Close-ups are much more dramatic than long or medium shots. They are preferred when emphasizing someone s emotion: Extreme Close-Up (ECU) Often labeled as a detail shot, extreme close-ups do exactly that: show a small detail that would otherwise be missed in a winder shot. Insert Shots Insert shots don t focus on people. They are utilized to emphasize a relevant object, such as a letter, an envelope with money, or a gun that would otherwise be lost in the grand mise-en-scène. Insert shots are tight shots in which objects fill most of the frame. Even if inserts don t reveal anything new, they are still welcome during the editing phase, as they smooth transitions between shots, often serving as a neutral shot that allows a breach of the 180 degree rule.
Reaction Shots Simply put, reaction shots are a cutaway usually a close-up of an actor reacting to the main scene, like a conversation or an event, though it can be pretty much anything. The reaction may be conveyed by a sneer, furrowed browns, a grin, or any other gesture that conveys an emotion. The logic of the reaction shot is that the emotional reaction of the actor depicted will move the story forward or reveal his traits. Why are reaction shots important? 1. For Story As the name implies, a reaction shot contains someone s reaction, which is a quick emotional beat. Above you have a reaction shot from L.A. Confidential. Without the context, you can tell that Russell Crowe is not happy. Quite the opposite actually; he looks angry and frustrated. This quick reaction shot is enough to convey his feelings. If you watch it in context, that shot will make even more sense and thus more powerful. 2. For Editors The reason why reaction shots are needed is because they allow the editor to cut away from the main action, thus allowing some flexibility on the assembly of shots. Suppose that the camera operator captured two takes of an actor s speech that lasted 1 minute long. Now imagine that the first half of the actor s speech is more powerful in the first take, while the second half is better in the second take. Without the reaction shot, the editor only has two choices: take 1 or take 2. However, with the reaction shot of a secondary character, the editor has a third choice: he can bridge the first take and the second take by cutting away to the reaction shot during the transition from one take to the other. 3. For Performance Imagine if there was a device that allowed you to point to a person a know what they are feeling at an specific moment. Well, with reaction shots, the camera is such device. When you point it to someone responding to something, you can get a glimpse of what they are feeling. And this puts the actor s in a great position to showcase his performance, which also advances the story.
CAMERA ANGLES: THE ART OF MANIPULATION Whereas shot sizes direct who and what we see, camera angles affect how we perceive it. Is a character going to appear dominant and tall? Or short and weak? A strong weapon in the cinematographer s arsenal is the ability to position the camera in relation to the subject or scenery. Eyelevel Angle An eyelevel angle is the one in which the camera is placed at the subject s height, so if the actor is looking at the lens, he wouldn t have to look up or down. Eyelevel shots are incredibly common because they are neutral. They often have no dramatic power whatsoever, thus they are ideal for romantic comedies and news casting. Low Angle Low angles are captured from a camera placed below the actor s eyes, looking up at them. Low angles make characters look dominant, aggressive, or ominous.
High Angle In a high angle, the camera is above the subject, looking down. This position makes characters look weak, submissive, or frightened. They are also good POVs of an adult looking at a child: Dutch Tilt Also called canted angle, a Dutch tilt has the camera leaning sideways, transforming the horizon into a slope. A Dutch tilt changes horizontal and vertical lines into diagonals and creates a more dynamic composition. Though rare, canted angles can be employed with great artistic effect to disorient and disturb the viewer.
Point-of-View (POV) As the name suggests, point-of-view shots are angles in which the camera incorporates a character s eyes. POVs are usually preceded by a close-up of the character s eyes. Needless to say, cinematographers will choose different angles for different scenes within the same movie depending of the scene goal or purpose. When analysing the camera angles used in a movie, it is wise to note how different angles are used in each scene. Sometimes different angles will be chosen to emphasize different elements in the screen. For example, if an airplane flying overhead is of importance to the story, then filmmakers may choose to use a low-angle shot to show the sky and the plane. MISE-EN-SCÈNE The arrangement of everything that appears in the framing actors, lighting, décor, props, and costume is called mise-en-scène, a French term that means placing on stage. The frame and camerawork are also considered part of the mise-en-scène of a movie. In cinema, placing on the stage really means placing on the screen, and the director is in charge of deciding what goes where, when, and how. Even though many professionals are involved in its creation, the director is the one who oversees the entire mise-en-scène and all of its elements. Not just that, but during the early stages of pre-production, the director or his AD sits down with set designers, prop masters, location managers, costume designers, and scenic artists to determine the look and feel intended.
In some instances, the mise-en- scène is designed to evoke emotions that permeate the whole movie. For example in the German expressionist film The Cabinet of Dr. Caligari (1920), distorted shapes and claustrophobic scenery are implemented to disturb the audience and enhance the horror. Set Design The set design refers to the decor of the set, or how it s dressed, comprising mainly of the furniture, props, and the set itself. Instead of just placing objects here and there, the director must be savvy to fathom how these elements may bear significance in a deeper level, while also emphasizing themes, creating meanings, and provoking thoughts. To illustrate: an early scene from The Graduate (1967) opens with a close-up of Benjamin Braddock (Dustin Hoffman) alone on his bed. Behind him is a fish tank, which symbolically represents Ben s entrapment in a life that he doesn t want. Later in the movie, Ben finds himself at the bottom of a swimming pool, thus further elaborating on that concept. In Rear Window (1954), an enlarged photograph placed in the living room offers exposition on the accident that made L.B. Jeffries (James Stewart) handicap:
Lighting Unarguably one of the film elements that has the greatest power to evoke emotions, lighting must be manipulated by the director to accommodate his or her desires for the movie. The two broad types of lighting approaches are: low-key lighting and high-key lighting. High-key lighting is often seen in romantic comedies and musicals, encompassing an even lighting pattern and avoiding dark areas in the frame. Everything looks bright with little to no shadow at all. High-key lighting has little dramatic effect itself. Low-key lighting is often seen in horror movies and thrillers, comprising of a lighting pattern that has both bright and dark areas in the frame. The chiaroscuro (Italian: bright-dark) technique, long used by painters, is characterized by strong contrast, often employed to unnerve the audience. Note that this terminology is counter-intuitive as low-key lighting is high contrast and high-key lighting is low contrast.
Costume The obvious purpose of costuming is to dress an actor according to his character. Lawyers wear suits, nurses wear scrubs, and a drifter could wear worn out shoes, ragged shirt, and baggy pants. But, more than that, costuming can also be used to establish someone s hierarchic level. Regimentals, for instance, bear the status of the person who wears it. And even the colour may distinguish an enemy from a friend. In The Good, the Bad and the Ugly (1966), a comic situation arises when Blondie (Clint Eastwood) heads toward the enemy cavalry that was covered in dust. When the enemy general slaps his gloves on his sleeve, his apparently grey uniform changes to blue. Costuming may also be used to emphasize a theme. In the first scene at the Taft Hotel in The Graduate, Mrs. Robinson wears a fur coat that makes her look like a predator hunting for her pray. Her coat bears a pattern that resembles the fur of a cheetah. Or could it be a cougar? Location In Witness (1985), on the day after declining Rachel s (Kelly McGillis) seduction, John Book (Harrison Ford) explains to her why nothing could have happened between them the night before. Quiet conveniently, the confrontation takes place in a barn, while Rachel is collecting eggs. The location emphasizes Rachel s responsibilities as a woman. If they had made love and Rachel gotten pregnant, she would have to carry the baby and eventually give birth. Also, during the conversation, John stands outside the barn, thus being physically separated from Rachel by the barn s door. In this case, the door functions as a metaphor of the social and cultural barriers that keeps them a part. The final confrontation in The Graduate takes place in a church. Ben tries to prevent Elaine (Katherine Ross) from getting married, but he arrives too late. Nonetheless, when Elaine sees him, she runs to him, and they run away. When the couple is cornered by infuriated parents and relatives, Ben starts swinging a cross to avoid them. Stepping out, Ben uses the cross to hold the church s doors shut. The prop (cross) and location (church) offer a comment on religious institutions, perhaps implying that Elaine s parents are trapped by traditional believes and practices.
THEME: WHAT TIES IT ALL TOGETHER On the surface of every movie, there s plot a central line of action that determines structure. The plot is often so easily understood by viewers that it is used to summarize movies in TV guides and reviews. Under the surface, a movie has theme. Theme gives layers of complexity to an otherwise simple story, while also unifying many script elements such as plot, characters, and dialogue. A theme is often subtle and subjective, open to interpretation. Theme is NOT the Same as Conflict! I wanted to make a special note of this because I have seen many professors and publications make this error. If you ask someone for an example of a theme, they might answer: Man vs. Nature or Man vs. Himself. These are not themes but types of conflict. Types of conflict are the framework for any plot, but they are different from the theme. Below are the four most famous types of conflict: Man vs. Man (Dirty Harry, The Terminator, Witness) Man vs. Himself. (Finding Forrester, The Truman Show) Man vs. Nature (Dante s Peak, Noah) Man vs. Society (High Noon, Milk) Some of these overlap. High Noon, for instance, is both a Man vs. Society and a Man vs. Man kind of plot. Theme as Unity Alfred Hitchcock s Rear Window (1954) tells the story of a handicap photographer (James Stewart) who suspects a murder has happened in his apartment complex after noticing abnormal events unfold from his living room window. This is the forefront of the movie; its plot. Nobody gets out of the theatre not knowing that. Even the preview establishes it. The theme, however, is subtle. Most people that have watched Rear Window may or may not have grasped what its theme is. Since themes are delicate and subjective, scholars and critics may occasionally debate. But I think that in Rear Window, the prominent theme is relationship. Even more so than romance because romance implies good moments. But relationship also encompasses the nitty-gritty arguments, despair, and solitude. In Rear Window, the apparently disjointed string of events is held together through this theme, which furnishes it with unity. The romance between Jeff and Lisa (Grace Kelly) is too obvious an example, but even a superficial analysis of some of the neighbors is enough to elaborate the underlying relationship theme: In the beginning of the movie, a newlywed couple moves into an apartment. All joy. Blinds drawn implies a honeymoon in progress. But as the story unfolds, their marriage deteriorates. Miss Torso, a lovely ballet dancer, is often doing a woman s hardest job: juggling wolves. With so many suitors, her options are plenty, though she often dismisses them all. Mrs. Lonelyhearts is an old, single woman who seemingly failed to attract a man into wedlock during her prime years. Clearly disturbed, she hosts dinners for two even though no one joins her. Alone, she addresses an invisible man, product of her imagination, with whom she dines.
Clearly all these side characters and sub-plots were created to develop the theme. Furthermore, the heart of the plot the murder also draws a parallel to it, as one of the possible causes for the assassination was the bitter relationship in which the murderer and his victim lived in. Theme as a Lesson Besides providing unity and tying the story together, theme can also exist to send a message or teach a lesson to the audience. In the 2009 movie (500) Days of Summer, one of the lessons expressed is: if someone wants love, then they need to take action and chase it. Like in Vertigo, one of the themes in (500) Days of Summer is relationship. From the beginning, the movie builds this lesson until it s clearly stated in the ending: Love doesn t just happen. This concept also illustrates the main character s arc. At the movie s beginning, Tom (Joseph Gordon-Levitt) is the type of guy who waits for love instead of making it happen. At the end, Tom finally takes action and is rewarded. Task: With your phone, go out and collect these images 1. Sadness 2. Power 3. Love 4. Infinity 5. Math 6. Mature 7. Teach 8. Learn 9. Surprise 10. Feeling No people allowed in your shots!!
STORYBOARDING WHAT IS A STORYBOARD? Once a concept or script is written for a film or animation, the next step is to make a storyboard. A storyboard visually tells the story of an animation panel by panel, kind of like a comic book. Your storyboard will should convey some of the following information: What characters are in the frame, and how are they moving? What are the characters saying to each other, if anything? How much time has passed between the last frame of the storyboard and the current one? Where the "camera" is in the scene? Close or far away? Is the camera moving? WHY MAKE A STORYBOARD? Creating a storyboard will help you plan your animation out shot by shot. You can make changes to your storyboard before you start animating, instead of changing your mind later. You will also be able to talk about your animation and show your storyboard to other people to get feedback on your ideas. HOW DO I MAKE A STORYBOARD? Most commonly, storyboards are drawn in pen or pencil. If you don't like to draw you can also take photos, cut out pictures from magazines, or use a computer to make your storyboards. Keep in mind that your drawings don't have to be fancy! In fact, you want to spend just a few minutes drawing each frame. Use basic shapes, stick figures, and simple backgrounds. If you draw your storyboard frames on index cards, you can rearrange them to move parts of the story around.
STORYBOARD LANGUAGE CLOSE-UP SHOT: A close range of distance between the camera and the subject. DISSOVLE: A transition between two shots, where one shot fades away and simultaneously another shot fades in. FADE - A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. HIGH CAMERA ANGLE: A camera angle which looks down on its subject making it look small, weak or unimportant. JUMP CUT: A rapid, jerky transition from one frame to the next, either disrupting the flow of time or movement within a scene or making an abrupt transition from one scene to another. LEVEL CAMERA ANGLE: A camera angle which is even with the subject; it may be used as a neutral shot. LONG SHOT: A long range of distance between the camera and the subject, often providing a broader range of the setting. LOW CAMERA ANGLE: A camera angle which looks up at its subject; it makes the subject seem important and powerful. PAN: A steady, sweeping movement from one point in a scene to another. POV (point of view shot): A shot which is understood to be seen from the point of view of a character within the scene. REACTION SHOT- 1.: A shot of someone looking off screen. 2.: A reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the other person speak. TILT: Using a camera on a tripod, the camera moves up or down to follow the action. ZOOM: Use of the camera lens to move closely towards the subject. GO BACK TO THE SECTION IN THIS BOOKLET THAT DESCRIBES EACH SHOT TYPE, ITS PURPOSE AND ITS EFFECT.
STORYBOARD EXAMPLES From the Jane Animation Project - Hunting Sequence
A simple storyboard made using stick figures A storyboard for a TV Western
INTERNAL ASSESSMENT TASK STUDENT INSTRUCTIONS Introduction This assessment activity requires you to analyse significant aspects within an excerpt from a television series episode. You will select, closely view, and make developed interpretations of the meaning and effects of one or more excerpts of your chosen television episode. You will present your analysis of significant aspects in the form of a storyboard with accompanying analysis paragraph. Your teacher will provide guidance on how to go about this. You will be assessed on your ability to analyse significant aspects in a television series episode, using supporting evidence. You may complete this assessment both in and out-of-class. Your teacher will provide further details. Your teacher will specify a due date. Task This task has several parts. See Resources A and B for further ideas that may assist you. Part 1: Select and view the visual texts Select the television series that you will use for your analysis. View your chosen episodes (at least four episodes form one series). Select an extract or extracts to analyse in more detail. Part 2: Carry out your analysis Analyse significant aspects of: ideas visual language features oral language techniques Structure Consider the significance of the particular audience(s) and purpose(s) of each extract in relation your analysis. Part 3: Review your analysis Review your analysis as a whole (storyboard and analysis). Revise your responses as necessary. Part 4: Present your analysis Present your analysis in a form that will give you the opportunity to achieve the standard at every level.
RESOURCE A You may find these ideas helpful: Analysis involves looking at how and why techniques have been used to develop meaning. Perceptively means making links between the text and you, society, and the wider world. Selecting and viewing your texts Your selection could come from: your independent theme or research study a visual text you have viewed on a personal basis. You may not select a television episode(s) that you have studied in class. You may view your television epsiode(s) at home. Your analysis can be from the same or different extracts of the episode(s). Any extract you select needs to be long enough to contain enough information that is worth analysing and for you to be able to write in detail about it. View your extract(s) several times. Carrying out your analysis Analysing means you must make detailed interpretations, focusing on the meaning and the effects created by your chosen aspects. Take detailed notes about meaning, effects, and specific aspects, such as ideas, language features, oral language techniques, structure, etc. Here is one process you might use each time you analyse a different aspect: View the extract. Refer to Resource B and select an aspect to analyse. View the extract again. Make notes on the aspect you are analysing. View the extract again. Write your analysis. View the extract a final time. Revise your analysis. What could you add? What links can you make with your own life, ideas, and opinions? Reviewing your analysis Consider the following questions: Have I written about at significant aspects of visual language features used in the film(s)? Have I linked the use of specific language features to their effects? Have I noticed how language features have been used together? Have I linked the ideas that the language features help develop to myself or the wider world? Have I linked the ideas that the language features help develop to human experience and society? Have I understood the director s purpose? Have I thought about how the text s genre might influence the text?
Have I got specific supporting evidence for my points from the text(s)? If you answer No to any of these questions, revise your analysis to provide the missing detail. Presenting your analysis You might choose one of the following ways to present your analysis: written paragraphs where each paragraph might focus on a different significant aspect of film a presentation to your class, where, for example, you could use a slide show or you could show each extract of film and talk through your analysis. Focus on different significant aspects in your presentation. Each aspect must include supporting evidence. RESOURCE B: ANALYSIS SHEET You could use this resource to help you develop your analysis. Answer at least four of the following questions on the extract/s of film you have chosen: Analyse the key idea (theme) in the extract. How is each key idea developed? What links with yourself or the world can you identify? Analyse the purpose of the extract. What is the director aiming to achieve, and how? What links with yourself or the world can you identify? Analyse the attitudes of the characters in the extract. What do they tell us about society and how do you know this? Analyse the context of the extract. What does it show about the social, cultural, political, or historical context and how? What links with your own world can you identify? Analyse the genre of the extract. How are elements of the genre being shown and why? What links with other films in the genre can you identify? Analyse the use of at least two shots and/or camera movements in the extract. What is the purpose of each and how is this developed? Analyse the use of lighting in the extract. How does it create mood or develop character/ideas in the extract? How does it manipulate or affect the audience? Analyse the use of music in the extract. How is it used to develop character, ideas, or mood? Analyse the use of at least two costumes in the extract. How are they used to develop character or ideas? Analyse the use of at least two pieces of dialogue and/or voiceover in the extract. How is each piece used to develop characters or ideas? Analyse the use of mise-en-scene in at least two shots in the extract. How is it developed to convey meaning? Analyse the use of setting combined with camera shot in the extract. How is it developed to convey meaning? Analyse the way two film elements work together to create meaning. How do they compliment/contrast with each other, and why? Analyse the editing in the extract. How are the shots sequenced, and why? How does the editing contribute to meaning? Analyse how any other film convention(s) not mentioned above have been used to develop the characters or ideas in the text. Use supporting evidence in each answer. Your answers must show analysis. Information should not be repeated, so choose the focus of each answer carefully.
EXEMPLARS Commentary Student response To achieve this standard at Achievement the student needs to: analyse aspects of visual and/or oral text(s) through close viewing and/or listening supported by evidence. The student analyses aspects of sound, theme, camera work and editing by interpreting meanings and effects in the following: Making developed interpretations, meanings and effects about how and why questions from the game show are shown on the screen for the audience through editing. There are many different editing techniques (Frame 1); making developed interpretations, meanings and effects about how and why a
mid-shot of Jamal demonstrates his shock at winning and the audiences excitement. In the mid-shot of Jamal (Frame 4); making developed interpretations, meanings and effects about how and why the idea of love is emphasised through Jamal s flashbacks to show the audience how much he has been through to be with her. The theme of love is emphasised (Frame 5). To meet Merit the student could further develop analysis as shown in Frame 2: The sound is very important as it helps the audience get an idea of what is going on around them (Frame 2). Convincing understanding is demonstrated about how a sense of anxiety is created through the ticking clock and the sound of the heartbeat for the audience. To see other exemplars at Merit and Excellence use this link: http://www.nzqa.govt.nz/qualifications- standards/qualifications/ncea/subjects/english/annotated-exemplars/level-2- as91107-a/