Life on Mars Camerawork and Editing


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Life on Mars Camerawork and Editing

  1. 1. Life on Mars<br />Analysis of Camerawork<br />
  2. 2. Close up<br />
  3. 3. Medium Close Up<br />
  4. 4. Medium Shot<br />
  5. 5. Long/Wide Shot<br />
  6. 6. High Angle Long Shot<br />
  7. 7. Low Angle<br />
  8. 8. Low Angle Medium Close Up<br />
  9. 9. Focus Pull<br />
  10. 10. Focus Pull<br />
  11. 11. Canted Angles or Dutch Tilts<br />
  12. 12. Over the Shoulder Shots<br />Also can be referred to as Shot/Reverse/Shot if repeatedly used to film a conversation<br />
  13. 13. Shot/Reverse/Shot<br />
  14. 14. Pan<br />
  15. 15. Crane Shot<br />
  16. 16. 360° Turn<br />
  17. 17. 360° Turn<br />
  18. 18. Composition of Frame<br />What meanings could be interpreted from the shots in front of you?<br />Connotations<br />Consider where the camera is placed – Who’s perspective is the camera taking? Is this significant?<br />Consider what is in the foreground/background, in/out of focus/distortion...<br />Division of frame / Rule of Thirds<br />
  19. 19. Rule of Thirds<br />
  20. 20. Rule of Thirds<br />
  21. 21. Rule of Thirds<br />
  22. 22. Rule of Thirds<br /> Eyes ‘read’ from left to right<br />
  23. 23. Composition of Frame<br />
  24. 24. Composition of Frame<br />
  25. 25. Composition of Frame<br />
  26. 26. Analysis of Camerawork<br />Using the Worksheet of Camera stills and the extract in action, analyse and write a detailed exploration of the meanings constructed from the sequence<br />You should:<br />Identify camera shots/angles/movement<br />Discuss how Sam’s disorientation is reflected in the camerawork<br />Discuss the visual signs that construct a 1973 setting and how this contributes to the atmosphere of the scene<br />Discuss what is being signified/symbolised [connotations] through the visual images<br />
  27. 27. Analysis of the whole episode<br />Analyse episode 1 of Life on Mars and comment on how it is constructed as a Police Drama<br />In your answer you should discuss:<br />Generic expectations of TV Drama<br />Realistic in performance/narrative/filming style. Where it sways away from realism and why you think this is <br />Analysis of specific key scenes in terms of <br />Camerawork<br />Mise-en-scéne<br />Narrative style and performance<br />The representation of the police force<br />Compare/contrast policing in 2005 and 1973<br />Procedures and Organisation – how things are ‘done’ <br />Set/costume/props<br />Compare and contrast Sam Tyler and Gene Hunt<br />
  28. 28. The billboard illustrations acts as a short-hand device to reinforce the date and location of this scene. For non-Mancunians, this location will simply mean some time in the past; for locals it will root the scene precisely in a time and place, and will remind older viewers of the trials and frustrations of trying to drive around Manchester before the road was built.<br />[Also a subtle intertextual reference to Back to the Future]<br />
  29. 29. Close up<br />Sam’s distress is clearly visible and demonstrated by the use of the close up. It allows Sam’s anguish to be emphasised in his body language – most notably with facial expression and the manner he grasps the steering wheel. The abduction of Maya has hit him hard – which is precisely how the car then hits him, taking him into another time.<br />
  30. 30. High Angle Long Shot<br />The surrounding concrete and tarmac environment reinforces the urban location. Sam’s emotional state, the hard-edged surroundings and the brutality of the hit-and-run all lead the audience to expect a hard-hitting piece of gritty realism.<br />