TECHNICAL METHODS : Camera shots , angles and movement

SHOT TYPES 

Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to set the scene. 

Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): 

Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen.

Over the Shoulder ( OSS) shots are often used to show conversations as you are able to see a virtual closeup of the person talking but also the person they are speaking to.

Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in adverts to show people in a state of emotional excitement, sadness or joy. 

CAMERA ANGLES

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action. 

Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot. 

CAMERA MOVEMENT

Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible. It may be used to surprise the viewer. Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can be disconcerting. 

Pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 

Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed. 

Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself. 

Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment. 

Iconography explained

Understanding Iconography

Definition

Steve Campsall’s definition of iconography is useful. (Steve Campsall – Media – GCSE Film Analysis Guide (3) – SJC)

‘Iconography is an important aspect of genre. We expect to see certain objects on screen when we see a particular genre, for example, in a Western, dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, guns, etc..
In a modern horror film, we expect young girls, ‘normal’ objects, use of dark and light, etc. These ‘genre indicators’ are called the iconography of the mise-en-scene or genre.’

So iconography can be defined as those particular signs ( or conventions) we associate with particular genres. 
Adverts may also be parodies of or refer to existing film or television genres.

Within television adverts ,  an audience expects to see different genre indicators in different genres (types) of adverts. For instance , three men in a pub = beer advert. Woman in bathroom=shampoo advert. These may be used so often that they become stereotypes.

As television adverts are so short ,  genre indicators and conventions are usually very clear and shown within a couple of seconds of  the start of the advert.

 Some of the elements of an advert's mis-en-scene  that make up genre iconography include:

Costume

 

 The way characters in adverts are dressed is very important in selling the product. If we are meant to identify with the main character ( e.g in a dramatic realistic advert) they will normally dressed in a plain and traditional way e.g t-shirt, jeans. Such a character is known as an 'everyman' or 'girl-next-door'.  Text on clothes is rarely used as this is distracting and can be a product in its own right.

If we are meant to aspire to be a character in an advert , the lifestyle appeal of the advert can be represented by having the main character dress in clearly expensive ( but tasteful) clothes and accessories . In contrast, characters we are meant to look down on or laugh at ( often because they have not bought the product) can be dressed in cheap, tatty or strange clothing.

In surrealist or humorous adverts , costume is often exaggerated and more unusual to add to the effect of the advert.

Settings

 Traditional settings for different types of advert include the kitchen , an expensive flat , a restuarant or a sports changing room . As soon as we see them we have an expectation about the type of product that will be advertised.

Also, the setting can be used to help sell the product. If the character who owns the product lives in an expensive flat, this is clearly an example of lifestyle appeal.


 Car adverts are often set in the countryside on empty roads.  Why ? What does this setting represent and how does it connect with the persuasive techniques of the advert ?

Props

Successful businessmen in adverts often have an expensive briefcase, expensive but tasteful jewellry, and a  modern and expensive phone. If they are representing the idea of a family man, the advert may show a closeup of his wedding ring.

So meaning works in two distinct ways.
1. A sign has a basic meaning literal overt meaning – for example – a wedding ring  is a piece of jewellry. This is called its denotation.
2. A sign can also have another second ( or hidden) meaning related to something completely different, which is often related to its context. This is called its connotation. In our example, the wedding ring's connotation is family life, stability and security. 


Have  a look at this humorous look at the cliches used in iconography in American advertising here 

SELLING TECHNIQUES

           
Advertising taps into the emotional responses ( fears and desires ) of its target audiences, such as attractiveness, ageing, loneliness, self-esteem and desire to look after your family.

Advertisers treat men and  women differently and the industry has been accused of focusing and provoking women's fears while simply feeding men's desires.

Top 50 TV adverts


Different brands use  mise-en-scene , form, style , persuasive techniques  and other methods to provoke different emotional responses in different audiences based on ( for example )income and class . Compare and contrast these two supermarket adverts.

Other brands play with our expectations of conventions and stereotypes  to create humorous and parodic adverts that still appeal to their main target audience.

                       



MORE CLICHES AND STEREOTYPES

Here is a list of cliches used in advertising , often to do with men and women. How many do you recognise ?

Introduction

Assignment Description:

For this unit , you will be first be analysing the forms , styles and techniques used in television advertising to sell products, services and events to a range of target audiences.  This will involve close analysis of a range of advertisements and demonstrating your knowledge of key terms such as representation, stereotypes and iconography, as well as the technical codes used  such as mis-en-scene, use of camera, editing , lighting and use of sound and music.


You will then be creating a concept for a television advert for an original product. To help you plan and deliver this effectively , you will be   completing  a detailed research portfolio containing primary, secondary, quantitative, qualitative, audience, product and market research evidence. , 


After the portfolio is complete and your concept fully developed, you will then be planning, shooting, editing and evaluating  your final  television advertisement.  

RESEARCH : TV advertising examples and conventions

RESEARCH : Television advertising codes and conventions

Lynx : using humour to exaggerate the effect of the product. However , men and women are still represented in the iconography of the advert in clear and stereotypical ways.

 Mountain Dew :  withdrawn for it's racist stereotyping and treatment of domestic violence.

LIGHTING

The general rule is that brown lighting(which uses lots of sunlight and brown colours ) provokes a warm mood and atomosphere in the advert , and that blue lighting produces a cold mood and atmosphere . Look at the examples below.

HOVIS : brown warm lighting

 

COCA-COLA : Cold blue lighting