Section A - Exemplar A grade answer - REPRESENTATION OF GENDER

1. Discuss the ways in which the extract constructs the representation of gender using the following:

• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scene (50 marks)

The first shot sees a women handing over a mythical flying beast to a man who is seen to control it with his strength. This then cuts to a two shot of two vulnerable looking women. This concern is revealed by their facial expressions. Their vulnerability is in binary opposition to the weight of masculine numbers in this scene (the army) but also the physical dominance of the male representation. Even the courtiers wear armour and carry swords while the army also has shields and metal helmets; the two women wear simple stereotypically feminine robes and are unarmed. The blonde character initially arouses cultural stereotypes of gender as she is young, blonde and attractive and arguably is framed for the male gaze. She seems fragile against the brutality of the implied male violence and dominance in this scene. Audience identification with character representation through narrative enigma is evident however as the blonde character (Daenerys Targaryen) is constantly framed in sharp focus against the blurred focus of the army in the background. The camera is informing the audience that she is the central character and bringing into question her initial feminised representation before dialogue and narrative action anchors her dominance.




In a series of close ups intercut between Daenerys and the man holding the beast a hand over of power is established as it becomes evident she has inherited an army. This challenges the gender stereotype that her physical representation suggests as her authority and supremacy is slowly established. She walks away and is immediately shot in low angle signifying her dominance. Reaction shots of men reflect their fear as Daenerys walks out to meet her army. She is framed as sensual and sophisticated in a flowing blue robe with significant flesh showing in contrast to the black armour, black shields and black helmets of her army. This male representation has inevitable exaggerated masculine connotations. The camera cuts back to an establishing shot of the castle to again highlight her command and influence. Her role is beginning to take on a regal like connotation as her body movement and facial expressions reveal a new form of physical superiority.




In close up she commands her army as the speed of the editing increases to reflect their masculine obedience to her will. Close ups and medium shots show whole lines of each platoon moving in sync reflecting her instructions. Daenerys’s facial expressions reveal an enjoyment of her new power as she stands in front of the massed ranks of soldiers. This clearly subverts stereotypical gender roles, particularly as the fantasy tv drama Game of Thrones is set in a historical past that would have ordinarily not seen women in this role. Xena is the obvious exception. For the second time the man holding the beast uses the demeaning and offensive word ‘bitch’ to address Daenerys revealing his extreme historically embedded patriarchal ideology. He is then taken aback to discover she can speak his language. At this point brooding low level non-diegetic music is heard which serves to strengthen her representation and resolve as she is framed in low angle close up, again in front of her men. This is an iconic shot as the visual codes reveal her status and respect as the spears point into the air as she speaks using a forthright authoritative tone. The speed of the editing increases again as she demands the army slay their masters revealing her absolute control.




As the violence and destruction commences Daenerys remains standing seeming untouchable as men do her bidding. The violence is stereotypically associated with male physical power and strength but commanded by a woman. Her strength now seems beyond question as she is ‘protected’ by an army she now has control over. She is represented again in low angle as the violence ends and she is shown in silhouette surveying the destruction. Game of Thrones ensures that in every shot, Daenerys’s feminine lines are apparent, which ensures her power over men has a higher impact. On one level she is a strong female representation while on another it suggests she uses her sexuality to gain control. The male character in armour dutifully follows her as a wide establishing shot reveals the extent of her gendered dominance over her vast male army. Her power is foregrounded in this scene as a tracking shot sees her walk amongst her army in a show of ownership but also unity. A high angle shot reveals a symbolic white horse with its connotations of purity that Daenerys walks towards and mounts again taking ownership and control. This then cuts back to the only other woman in this scene who also seems passive and dutiful like the men, her body language revealing her role as supporter and helper which we have seen before in the first shot.




Daenerys’s status and power sitting on a horse legitimises her next command as she demands of her army that they fight for her but as free men. Her position on the horse has regal connotations as she now appears physically higher than her men who were and are subservient. A point of view shot sees Daenerys look down on her courtiers as close ups of spears thrust into the ground confirm the allegiance of her army. Menacing warring non-diegetic sounds increase in volume as Daenerys is seen to lead her platoon away. She throws away a symbolic object, which it is implied she needed, to gain power, a power which has now become absolute. Her representation as powerful matriarch is now complete as we see shots of the massed ranks of her army following obediently. A final shot shows her courtiers, now also on horseback, importantly behind her as she leads. The extract makes clear use of binary opposition as the physical sexual stereotype of a young attractive woman is subverted to reveal a challenge to patriarchal dominance.




(44 marks)

• Explanation/analysis/argument: Good understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking to the question.
• Use of examples: Good range of examples and appropriate sequences analysed to reveal a representation. All four key aspects covered with an excellent understanding of their use and application to create meaning, in terms of constructing a representation. Reference to editing however is limited.
• Use of terminology: Excellent use of media language and technical terminology.
• Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.

Section A - Exemplar A grade answer - REPRESENTATION OF SEXUALITY

1. Discuss the ways in which the extract constructs the representation of sexuality using the following:

• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scene (50 marks)

The opening scene in this tv drama represents a stereotypically male workplace environment where audiences may not immediately expect to see themes of male homosexuality explored. The director deliberately constructs a series of representations through sound and mise-en-scene that, using Levi-Strauss’ theory of binary oppositions, would be in conflict with the next scene, shot entirely in a gay bar. In a building site hut we see exaggerated male stereotypes including hard hats, a gruff foreman paying wages in cash to the builders with a cigarette hanging out of his mouth and men with tattoos talking in working class northern accents. The camera pans from right to left to reveal the two central characters and the foreman framed in medium close up.




As the other builders walk out of frame two men are left in two shot with diegetic dialogue and facial expressions suggesting a friendship or an understanding. Charlie asks in low level mutters what the other man is doing later with narrative enigmas suggesting to an audience he is lacking confidence. This is reinforced by his body language as he looks down at the floor. The other younger man seems more confident which is revealed by his body language, pitch and tone of voice and dialogue as he invites Charlie for a pint but “on my terms”. This again suggests a prior friendship. Their sexuality is immediately anchored by the camera, which cuts to the next scene, a vibrant gay club that they are both attending. Before this abrupt transition we hear stereotypical non-diegetic high-energy gay club music. This music becomes diegetic as the shot cuts to the bar/club but is non-diegetic briefly to act as a sound bridge to enable audiences to fully understand both men are there.
The mise-en-scene of the gay bar swiftly establishes the preferred sexuality of the partygoers as the high energy music continues. We see low angle long shots and also extreme close ups of young semi naked male bodies dancing lit using low key lighting and flashing neon with close ups of men dancing together who are embracing and kissing. Fast paced editing is used to show the upbeat tempo of the club but also to intercut with the two protagonists as they meet at the bar. The younger man appears at the bar in close up. Again his body language more confident while a close up of Charlie sees him walking nervously through the crowd (anchored by his facial expression) with the camera cutting to the direction of his gaze as he looks around anxiously. The preferred reading of this particular scene is that the younger man is more comfortable with his sexuality while Charlie is not.




A high angle establishing shot shows the whole bar and dance floor while the rhythm of the editing parallels the diegetic music as Charlie begins to relax into his environment. Montage editing shows a series of shots of feet in low angle dancing, close ups of drinking pints, close ups of gyrating groin areas dancing and two shots of Charlie and the young man embracing. As Charlie moves away from the bar he is framed in slow motion emphasising his isolation surrounded by a large intense crowd of people. As the camera cuts to the club foyer area Charlie walks into the frame from right to left in long shot and moves into a toilet stall. Here he is shown about to urinate in high angle; the camera angle reinforces the vulnerable situation he is in as he begins to come to terms with his sexuality but also represents the vicious homophobic attack that takes place. A fast paced series of cuts using hand held camera shows extreme close ups of the attacker’s hands and head but also a close up of Charlie’s head as he is pushed against the toilet wall. Sound combines with the editing to reinforce the shock of the attack as we hear a violent thud but also homophobic dialogue from the attacker/thief. An extreme close up depicts the theft.




Slow motion is used again as Charlie returns to the bar blood dripping from a head wound. He is framed as vulnerable and as the victim of a homophobic attack as his friend shouts for the bar staff to call the police. Charlie’s lack of confidence with his own sexuality is suggested by his repeated requests for no police to be involved perhaps because he is either ashamed of his sexuality or that he has a family. The end of this particular scene has a number of negotiated readings but on the coach in the next scene he does question why he was singled out as the victim. This has implied connotations that the attack is linked in some way to his acceptance of his sexuality. The club scene cuts to a point of view shot from inside a coach looking out at greenery while travelling along a road and then pulls back to long shot inside the coach to reveal the passengers inside. In two shot (in medium close up) the two men are seen sitting together. The younger man tries to reassure and help Charlie who continues to question the previous night’s events. Charlie reinforces his traditional male stereotype by stating: “I’m a demolition man, I swing sledgehammers” while he refers to some of the men in the club as “tarts” creating a binary opposition between two different physical representations of masculinity. (48 marks)

• Explanation/analysis/argument: Excellent understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking directly to the question but also exploring some media theory.
• Use of examples: Sophisticated range of examples, with appropriate sequences analysed to reveal a representation. All areas of study have been exclusively covered as part of an intelligent, holistic examination of text.
• Use of terminology: Sophisticated use of media language and technical terminology.
• Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.

Section A - Exemplar A grade answer - REPRESENTATION OF ETHNICITY

1. Discuss the ways in which the extract constructs the representation of ethnicity using the following:

• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scene (50 marks)

An establishing shot shows what looks like a prison which then cuts to a bleak barren wide shot. Negative representations are immediately apparent with the camera then cutting to a hand held shot of a prison officer walking from long shot into close up to open a door. The non-diegetic music is disturbing and enigmatic while the scene is shot using low-key lighting with grainy resolution. The diegetic sound of the clanking of bars anchors the prison setting while a cell door is unlocked to reveal a wide shot of two prisoners. A young white working class prisoner is lying on the top bunk, which is symbolically within the narrative, while on the bottom bunk is a young Asian prisoner.
The white prisoner has confident body language and immediately responds to the authority of the white prison officer by jumping off his bunk while the Asian prisoner remains on his bed framed in long shot as vulnerable and isolated. Objects and props in the cell as part of the mise-en-scene reinforce the emotional binary opposition between the two prisoners already established. On the top bunk pictures and photographs of semi naked women adorn the walls while on the well-ordered table next to the bottom bunk is a chess set and water. The dominant reading of this shot is that the young Asian prisoner is sophisticated and educated while the young white prisoner is represented as an ignorant thug with no respect of diversity. This is revealed by his racist comment to the Asian prisoner on leaving the cell, “You eat pork chops Muslim boy” which is ignored by the prison officer who then makes a negative statement himself telling Hazad he “needs to get acclimatised”. At this early point it is clear that the representation of ethnicity has so far been negative focusing on stereotypes but in terms of dominant preferred readings it is made clear to the audience that this lack of equality and diversity is unacceptable.




A close up of the door slamming shut cuts to a close up of Hazad who is then framed in high angle (in long shot) sitting on his bed; he is represented as desperate and alone. The non-diegetic music becomes bleaker emphasisng his situation as the victim of racism while the next shot cuts to an extreme close up of his thumbs twitching nervously through fear and anxiety. The camera then tilts up to close up revealing a distressed look on his face while a wide shot of the outside of the prison acts as a change of vista before we see the next series of shots: a night scene in a house lived in by an Asian family.




Disruption is by way of the riot police smashing their way into the property. Initially we see a medium shot of a young Asian couple lying in bed in the dark which then cuts to chaotic jerky hand held camera as the police enter the house and come up the stairs. The lighting is dark and the camera whip pans to reveal close ups of a scared family. Children are crying and a mother shouting while the male members of the household are restrained with the young man taken away. The next scene in the prison links with Hazad in low angle close up trying to convince another Asian prisoner who is weightlifting that they are being persecuted. Although the other prisoner is shot using a high angle it subverts the stereotypical connotations of this angle by representing him as confident but dismissive of Hazard’s words as he rests the dumbbell on the stand after bench pressing exertions. His diegetic dialogue to Hazad, “do your time bro”, almost suggests that he is accepting of the ethnic inequality in the prison.




The next scene shows a wide shot of two white prosecutors watching video footage with an Asian prisoner in a white jump suit sitting next to his Asian solicitor across the table. While there is no dialogue it is implied that there has been a set up with implied parallel editing showing a long shot of Hazad on the phone to possibly his father who is framed to the right in medium close up revealing his domestic interior. Both men look anxious as disturbing non-diegetic music punctuates the conversation. As the phone call intercuts between both the long shot of Hazad cuts to a medium close up which then becomes a close up reaction shot to reveal his fear.




The final scene anchors the constructed negative representation of ethnicity as Hazad is framed in high angle, this time with high angle clearly encoding vulnerability, kneeling on a prayer mat on the floor of his cell. The scene cuts to the young white working class prisoner on the top bunk who is reading a book on WWII aircraft, itself encoding traditionally British connotations. Bemoaning his praying he utters the dialogue “Muslim terrorist” which is the catalyst for Hazad’s breakdown as jerky hand held camera, again using whip pans, sees him smash up his cell. A final close up reveals his desperation and isolation.


(43 marks)

• Explanation/analysis/argument: Good understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking to the question but with at times a little narrative description.
• Use of examples: Good range of examples, and appropriate sequences analysed to reveal a representation. All four key aspects covered with an excellent understanding of their use and application to create meaning in terms of constructing a representation.
• Use of terminology: Excellent use of media language and technical terminology.
• Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.

AS EXAM - Section A - Editing terminology

EDITING TERMINOLOGY

Action match: A shot that cuts to another continuing a piece of action or movement between the shots. Allows audience to see a smooth action despite a cut in the shot.  For example we might see someone shoot a gun, and the editor would perform an action match so we then see the bullet hit someone else and they fit together seamlessly so we see both people’s perspectives. http://www.youtube.com/user/Sarahmediafilm#p/c/9A8A1640CC2BB752/1/laUPi7MPOSQ

http://www.youtube.com/watch?v=ONMSe_zhq70

Continuity Editing: an editing style that aims to present the text in a chronological manner to emphasize the real-time movement of the narrative and to create a sense of realism for the viewer by giving the impression of continuous filming.  Continuity editing creates a narrative that approximates to the real experience of moving through time, even though screen time usually covers a much longer period.  Audiences feel comfortable with a linear progression that reflects their everyday experience. http://www.youtube.com/watch?v=qoaw7iTPlZc

Cross cutting (also known as Parallel editing) – Where an editor cuts between two separate scenes happening in two separate locations at the same time.  This serves to illustrate a contrast or a link between them.  For example, cross cutting between adults having a quiet drink in a pub, and a wild teenage party will contrast the two age groups.  Another example is in the Godfather where the editor cut back and forth between the christening of a child in a catholic church, and the violent killing of several men.  The cross cutting in this sequence emphasises the violence as we see it juxtaposed against childlike innocence and religion. http://www.youtube.com/user/FilmSchoolOnline#p/u/13/A7SLL9esQOA

Cut – The move from one shot to another can tell us lots of things.  For example, it can draw our attention to things.  If a woman is day dreaming at her desk and the editor cuts to a scene of a man, we can assume that she may be dreaming about him.

Cutaway: a brief shot that is not totally necessary but is cut into a scene showing a related action, object or person, not necessarily part of the main scene, before cutting back to the original shot.  For example a couple may be having an argument which is the main scene but the editor may choose to include a cutaway shot of their child’s crying before cutting back to the couple arguing.  This emphasises the child’s emotions and helps the audience to understand that we are to disapprove of these people’s argument. http://www.youtube.com/watch?v=ONMSe_zhq70

Dissolve -  Dissolve is when the first shot is on screen and the 2^nd shot starts appearing on top of it more and more until all you can see is the 2^nd shot.  Often used to link two scenes or two people together.  Sometimes used to show time moving on etc.. http://www.youtube.com/watch?v=qoaw7iTPlZc

Ellipsis: the removal or shortening of elements of a narrative to speed up the action.  For example an editor might use ellipsis in a sequence about a young man taking a drink by cutting straight to him as an old man, drunk and alone.  The editor has missed out the story in the middle to speed up the action and show us how quick this man’s life has passed.

Eyeline Match: a type of editing that maintains the eyeline or level when cutting from a character to what’s the character sees.  The effect of the edit is to create a sense that what the camera sees is what the character sees.  It puts us in the position of the characters and helps us feel empathy for them.  http://www.youtube.com/watch?v=qoaw7iTPlZc

Fade: a type of moving image editing where the image gradually fades and disappears, leaving a white or black screen.  A fade to black often suggests that time has passed or a situation has ended.  A fade to white often suggests a dream sequence.

Graphic match – A cut from one shot to another that look visually the same (possibly linked by a similar shape, a similar colour etc.  They are there to show us a clear link between two scenes.  Often this is making a comment on the issue.  For example, a young girl playing with a red doll then is cut together using a graphic match with a woman holding a baby dressed in red.  This might suggest that the young girl has grown up into the woman.  Or it might emphasise the gender stereotype of women looking after babies. http://www.youtube.com/watch?v=qtbOmpTnyOc

Jump Cuts – a cut that moves to a very similar part of the same scene but missing a piece of action out (eg a character is on one side of the room, and then is on the other and we don’t see him walking).  They are often used to disorientate the viewer, or show how disorientated a character is.  For example, if a party of young people was being shown and included lots of jump cuts, it would represent the young people as disorientated, implying they were drunk and wild. http://www.youtube.com/watch?v=ONMSe_zhq70

Linear Narrative: a sequential narrative with a beginning, a middle and an end-in that order.  Linear narratives provide a straightforward, sequential representation of events leading to a single resolution.  As such, easily accessible to audiences and are the dominant form in mainstream media representations.

Long take: each time a shot is recorded it is called a take.  A long take is one that is allowed to remain on screen for a long duration before it is cut.  Long takes are often used to slow the pace of the scene down, making it calmer and more peaceful http://www.youtube.com/user/Sarahmediafilm#p/c/AACD3B2246DAEFF3

Montage – a montage is a series of shots edited together to show time passing and something happening in that time.  Famous examples are in Rocky where we see a montage of shots of Rocky training and getting better and better before his fight. http://www.youtube.com/watch?v=DP3MFBzMH2o http://www.youtube.com/watch?v=CQvNu8LoTo0

  

Parallel Action (Cross-cutting) the narrative technique of showing two or more scenes happening at the same time by cutting between them. 

http://www.youtube.com/watch?v=zn05SNN9p3g

http://www.youtube.com/user/FilmSchoolOnline#p/u/13/A7SLL9esQOA

Short take: a short take is one that is allowed to remain on screen for a short time before the editor cuts to something else.  Short takes are often used to speed the pace of the action up, making it more dramatic and exciting. http://www.youtube.com/user/Sarahmediafilm#p/c/AACD3B2246DAEFF3

Shot / Reverse Shot – cutting between two people having a conversation (rather than including them both in one static mid shot) can help to contrast them and make them seem different.  It highlights their differences and also allows us to see the reactions of characters.

Slow motion: used in the editing process to slow down the action for emotional or comic effect.

Split Screen: an editing technique which involves the cinema screen being split into two or more parts to allow the showing of events that are taking place at the same time.

Superimpose: the appearance of writing/symbols or images on top of an image so that both are visible at once, increasing the amount of information the viewer has in one shot.

Visual effects – depends on what it is.. Often it depends on what the character’s reactions to these special effects are.  For example, a man who has no reaction to a massive fiery explosion will seem brave and masculine.  Graphics on screen (eg numbers and facts as seen in CSI, may represent someone as intelligent or competent in their work.  Showing someone in colour when  the rest of the image is in black and white emphasises them and draws the audience’s attention to them as important.

Wipe: a moving image editing technique that involves one image wiping another off the screen.  This suggests that whatever scene / character pushes the other one off the screen, is more important or powerful.  Wipes can go left or right, up or down and even be in shapes like stars! http://www.youtube.com/watch?v=VnixMJvOtpI

AS EXAM - Section A - Camera terminology

CAMERA TERMINOLOGY

Aerial shot (or crane): a view from directly overhead to afford a clear view – sometimes used to emphasize the spectacle.  A crane shot is usually necessary to achieve this (sometimes called a bird’s eye shot) http://www.youtube.com/user/FilmSchoolOnline#p/u/9/8tZiFwSmhBI

Canted Angle – A shot which is tilted to one side.  This is often used to create a feeling of disorientation.

Close up (and variations): close ups, including extreme, big and medium close ups, are used to draw the viewer closer and to involve them in what is happening; they also used to observe reactions and emotions, such is happiness, elation or tension.  These shot often used to privilege the protagonist over other characters and position the audience with him or her

Crab Shot: a type of shot which involves the camera being placed in a confined space.  e.g.  A shot taken from inside a cupboard is the subject opens the cupboard door.

Crane Shot (or Aerial): a type of shot in which a camera is positioned on a specially designed crane, which can be raised and lowered and will.  A crane shot is a high-angle shot but the versatility of the equipment allows a director to start a shot from a high-angle and then swoop down toward the subject at ground level.  http://www.youtube.com/user/FilmSchoolOnline#p/u/9/8tZiFwSmhBI

Deep Focus: a camera technique that allows objects both near and far from the camera to be in focus at the same time.

Establishing shot: the shot (usually wide or long), often used at the start of a programme or film, a new section of a programme or at the start of a new scene to establish the relationship between the set/location and the characters and to show the whole view

Hand-Held shot:  A shot filmed with the camera not on a trpid but instead held by the camera man, often whilst walking.  This makes the shots seem quite shaky.  This can make the audience feel the scene is more realistic, or can make us feel like we are part of the action

Head-On Shot: for a type of shot in which the action comes directly toward the camera.  Head-On shots are often used in war or action movies to enhance the sense of involvement and excitement of the audience, for example, charging cavalry may be directed at the camera.

High angle: to provide a view from above the subject(s), often making the subject look vulnerable, isolated or powerless.  This is sometimes combined with a crane shot into a closer shot of the subject(s).

Long Shot: a distance shot where the camera is a long way from the subjects being filmed.  A long shot can be effective as an establishing shot that sets the scene for the action and roles in the viewer.

Loose Frame – Describes a shot where there is a lot of room around an object or person.  Usually used to show them as being alone or isolated or unimportant.

Low-Angle Shot: a shot where the camera approaches a subject from below eye level.  A Low-Angle shot can emphasize the size of the object being filmed and add to a point of view perspective.  It can make the character shown seem big and powerful and it can make us or the character we are seeing through, seem small and weak.

Master Shot: a camera shot used at the beginning of a sequence to establish the component elements and relationships in such a way as to allow the audience to make sense of the action follows.

Pan: camera action involving gently moving the camera 180°across the subject matter in a horizontal plane

Point-of-View Shot (POV or Subjective Filming): a camera shot taken from the position of the subjects, used to enhance a sense of realism and audience involvement in the action.

Pull Focus – Describes a shot where one thing was on focus, and then the lens is changed so that something else stops being blurry and becomes in focus.  Often used to show how something has become more important.

Rule Of Thirds – Describes a technique used to make a shot look interesting.  Rather than placing a person or object in the middle of the frame, they are placed at the sides, or where the lines cross on this imaginary grid.

Shallow Focus – Describes a shot where an object near the front is in focus, and everything else behind is out of focus (blurry).  Often used to make one thing seem more important.

Soft focus: in images, the use of a special lens or filter to create a hazy light around the subject.  Soft focus shots are associated with the romantic or sentimental treatment of subject matter.

Subjective Filming (or POV): a type of shot in which the camera is positioned as if looking at the world through the character’s eyes.

Tight Frame:  Describes a shot that is composed with the person or object given very little space around them.  Often used to make them seem important, or trapped.

Tilt: a camera movement that involves moving the camera vertically up and down from a fixed position.

Tracking Shot: a camera shot in which the camera moves along rails to follow the subject.  When the rails are replaced by a moving platform on wheels, the shot is called a dolly shot.  As you wont know how this shot was filmed you can call it either a Tracking OR a Dolly shot.

Whip Pan: a very fast pan between two or more characters all points of interest.  He gives the impression camera has been ‘surprised’ by activity and is used in the place of a more conventional cu or shot/reverse shot.

Wide shot: this can be used as an establishing shot of a set or location or to show a large crowd of people.  They can also emphasize the isolation of a single figure.

Zoom/Reverse Zoom: the adjustment of the camera lens to allow the operator progressively to move in close off or to pull away from the subject.

180 degree Rule – Where, during a scene featuring two people or more, we can imaging an imaginary line joining those two people together.  Adhering to the 180 degree rule would mean you would always ensure your camera was on one side of that line and the camera would never be crossed to the other side.  Sticking to the 180 degree rule allows the viewer to feel comfortable, helps us understand the positioning of the characters and makes it feel like real life. ihttp://www.youtube.com/user/Sarahmediafilm#p/c/6A39684E8F4376B7/0/HdyyuqmCW14

Breaking the 180 degree rule (Crossing the Line) – Where, during a conversation or a scene between two people, the camera does NOT stick to one side of the line (see above) and crosses over at some point.  This disorientates the viewer as we are unable to work out the position of the characters within the room.  It makes the scene seem odd or strange and may reflect the feeling of the characters.  ihttp://www.youtube.com/user/Sarahmediafilm#p/c/6A39684E8F4376B7/0/HdyyuqmCW14

To see video examples of various shot types:

http://www.youtube.com/watch?v=fe2PqbUk0bU&feature=related