This document provides guidance on analyzing representations in TV drama through close analysis of film techniques. It outlines the exam structure, with 30 minutes to watch a clip and make notes and 40-45 minutes to write a response. It emphasizes using examples to analyze how camera shots, angles, movement, composition, editing, mise-en-scene, and sound construct representations of characters. It provides tips on note-taking and relating techniques to narrative, genre and representations. Key terms are defined to aid analysis, such as protagonists, antagonists and binary oppositions.

2. TV Drama and Representation
• Section A of the exam.
• 30 minutes to watch clip (4 times) and make
notes.
– Viewing 1 – no notes
– Viewing 2 – make notes
– Viewing 3 – make notes
– Viewing 4 – make notes
• 40-45 minutes to write your response.

3. The Mark Scheme
– Explanation/analysis/argument (20 marks)
– Use of examples (20 marks)
– Terminology (10 marks)

4. Remember your aim……..
Camera shots, angles, movement and
composition.
How do these things
construct a
Editing. representation
of ? Sound.
Mise-en-scene

5. Possible Approaches
• You could structure your note around the micro
concepts (Camera, Editing, Mise en Scene, Sound)
to ensure you cover lots of detailed examples.
• Alternatively you could pick three or four key
points in the clip and structure your detailed
analysis around how the micro features are used
in those sections of drama.
• How do the micro contribute to macro (the
three macro being narrative, genre and
representation).

6. Note Taking
Split your paper into 3
Technique Used Example Explain/Meaning
Created/Impact on
audience

7. In summary:
Write down what technique is used
Give an example from the extract
Explain how meaning is being created for the specific
representation
(can you refer to how its working with another technique)

8. Additional Learning
• Todorov Narrative theory
– Disequilibrium – the period of instability and
insecurity in a film’s narrative.
Equilibrium – a state of peace and calm, which
often exists at the beginning of a film’s narrative.
• Enigma – the question or mystery that is posed
within a film’s narrative.
• Iconography – the objects within a film that are used
to evoke particular meanings

9. Other keywords you should mention
include…
• Realism – do the different techniques used work to make the piece
realistic?
• Verisimilitude – the construction of a believable world.
• Stereotypes – how we expect people and places to be
• Protagonist – is the main character (the central or primary personal
figure), around whom the events of the narrative's plot revolve and
with whom the audience is intended to most identify. Is also known
as the hero
• Antagonist - opponent, competitor, enemy, rival; is a character,
group of characters, or institution, that represents the opposition
against which the protagonist must contend. In other words, 'A
person, or a group of people who oppose the main character, or the
main characters. Is also known as the villain

10. Camera angle, shot, movement and
composition
• Angle – high, low,
• Framing – inside, outside
• Focus – deep, shallow
• Movement – tilt, pan, track
• Shot distance – ECU, CUM, MS, LS

11. Editing
• An important factor is the way that the editing of the sequence grants or
witholds narrative information from the audience in order to encourage
identification or rejection of particular characters/representations.
• How are screen time, p.o.v. or reaction shots distributed? How hierarchies
are established, leading to certain representations being privileged where
others are marginalised?
• Does editing frequently shifted the viewer's relationship to dominant
views of gender in different scenes?
• Shot/reverse shot can be used to reinforce relationships - sometimes by
exaggerating opposition
• Jump cuts can connote disorder
• Eyeline match can provide insight to a character's private thoughts, though
mainly through camera and mise en scene, actually.
• Pace of editing can imply character qualities - fast pace suggests energy,
for example.

12. Sound
• Sound is typically about narrative, genre and the
audience's emotional response to a scene. Then
there's editing, which for me is primarily about
narrative.
• Choice of music can imply character qualities -
fast pace suggests energy, for example (as with
editing)
• Crescendo implies a build-up of power or
emotion, be it in dialogue or non-diegetic music.

13. Mise en Scene
• Costume (and everything about a character's appearance including height, hair colour, makeup etc)
• Body Language
• Props
• Location
• Set Design
• Lighting
• Remember that everything you see has connotations - that is, messages or values which are
communicated beyond the literal object being shown. For example, if a character wears glasses it
carries connotations of intelligence, cleverness, or possible geekiness. Even colours have
connotations - at its simplest level, black=evil and white=good.
• You are looking for connotations which have something to do with gender, or age, or disability etc…
• How does the content/mise en scene suggest a representation?
• Is this a stereotypical view?

14. Additional Support
1. Interpreting the question…How is the representation of age constructed in this extract?“
2. What do I expect? Once you have read the questions, when you find out what representation you are
being questioned on; consider society's expectations of … and consider this when watching the extract
for the first time…..Is the extract challenging/subverting dominant ideologies/stereotypes?
3. The importance of Binary Oppositions (Levi-Srauss) - There can be no Drama without conflict, and
those conflicts are usually between two opposite things: male vs female, young vs old, rich vs poor etc.
These are called binary oppositions (BINARY = two things).
Ask yourself: which characters in the extract seem to be the main participants in this conflict?
This will help you to avoid spending too much time writing about minor characters. You should also be
able to compare one character to another
4. Practise note-taking
5. Ensure you understanding technical codes/knowing media language
6. Relate technical codes to representation
7. Backing up points with examples
8. Keep it readable – leave a gap between paragraphs
9. Write it in the time
10. Have a system for your notes
11. Be selective from the text- richest moments
12. Know your terms- media language
13. Constant reference to representation
14. Don’t generalise – there are lots of CU’s…be specific with your use of examples from the extract
15. Not every one of the above technical areas will feature in equal measure in any given extract; the
examiners will bear this in mind

15. How to Revise
• http://blackpoolmedia.wordpress.com/category/repres
entation/
• Watch any 5 min extract from TV Dramas you like and
particularly ones you don’t
– Identify terminology
– Identify comments to make on all 4 areas
• Choose an area of representation and practise,
practise, practise......
• Practise your terminology here -
http://quizlet.com/2302961/textual-analysis-flash-
cards/