This document provides definitions and explanations of various film techniques related to camera work, editing, sound, mise-en-scene, and costume/makeup. It discusses how different camera shots like aerial shots or close-ups are used to frame subjects. It also explains how editing techniques like montage or continuity editing can impact narrative flow and meaning. The document outlines how sound, both diegetic and non-diegetic, can be manipulated to convey genre, character, and setting. Finally, it discusses how elements of mise-en-scene like lighting, props, decor, and body language/blocking contribute to establishing mood, atmosphere and conveying information about characters.

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Section A
Tina Hartnell

2. Camera work
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing
shot.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole
frame/dominates the frame. Also can be a shot of an object where only a small part of it
dominates the frame.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to
signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually
edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character
facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director
wants to create (for example, if the subject is an inferior character, the character facing them may
take up more of the frame to emphasize this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character,
action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an
event within the sequence.

3. Editing
Montage editing – the sequence contains many different images quickly edited. Does not provide a sense of the narrative
moving on but can be full of meaning.
Continuity editing – the most common type of editing, as it retains realistic chronological order and generates a feeling
that time is moving forward.
Elliptical editing – When a cut does not go straight to the next instant of drama but leaves a gap which could be any length
of time.

4. Sound
SOUND and CHARACTER - non-diegetic sound tracks can be used to effectively generate a sense of character,
whether they are good or evil, a victim or hero. Can use character themes that indicate their presence on screen,
or if not but the theme is being played might be that another character is thinking of them or that they have
considerable influence over what's happening.
Diegetic sound can also be used to indicate a nervous state of mind by the crashing of the washing up etc.
Non-diegetic sound can create a situation of peril in which a character find themselves by long held low cords.

5. Sound
SOUND and GENRE - sound can be a key indicator to an audience of the genre of a programme or film that
they are watching. Both diegetic and non-diegetic sound can be used in this way. For example a significant
amount of gunshots, explosions, screeching car tyres, an shattering glass might be indicating an action
programme rather than romantic comedy, whereas screams, knife slashes, howling winds, screeching doors
might lead to think it is a horror.
Non-diegetic music can also be used to indicate genre like Gregorian chants are being associated with horror
after The Omen film
SOUND and SETTING - both diegetic and non-diegetic sound can be used in indicate setting. Whether a
setting is safe or not, past or present, or what country it is in can all be indicated through sound and add to the
information that the audience uses to create meaning. Howling winds, creaking doors and branches hitting
windows might well indicate a sense of unease and threat leading you to think of horror.
Non-diegetic sounds can also evoke settings such as countries, seas, cities etc.
SOUND and NARRATIVE - sound can be used to generate narrative meaning in a number of ways. Voice
over, example of non-diegetic sound, allows the audience to receive information about the narrative, either one
character or a complete outsider. When a character the thoughts or perspective are just those of one person, and
my be biased. But they also might be an accurate picture. The viewer has to work this out of themselves.
Another sound technique used is the sound bridge - which is when the sound from one scene carries over an
edit , or introduced before the edit. For example, a boy sits in a park, watching his dog play in the autumn
leaves, and the sound heard is that of a doorbell ringing. The front door is visible in the next scene. It can link
scenes and suggest connections.

6. Mise-en-scene
Mise-en-scéne is a French term which translates as 'put into scene'. It can be used to read still as well as
moving images. It covers the elements of setting, decor, lighting, body/language/movement, props
costume and make-up. A range of different meaning can be created using mise-en-scéne. Information
regarding genre, character, mood , time atmosphere and narrative points can all be relayed through
elements of mise-en-scéne.
Costume can also be used to indicate changes in character
situations. characters state of mind. For example the 'rags to
ballgown' narrative movement in Cindrella is at the basis of
many films indicating a change in circumstances or status.
The costume change is primarily for the female character
who them attracts male attention.
Make-up can also recreate historical time. SCience fiction and
fantasy often adopt costume and make-up in order to signal a
futuristic or other worldliness context.
PROPS - are the objects within a scene that contribute to
narrative information. Props can also indicate genre, and an
audience for that film genre would expect to see them.
Western might have guns bows arrows, stetsons and sheriffs
badges for example. Knives and masks might also indicate
that the audience is watching a slasher movie.

7. Mise-en-scene
SETTING - this can be a geographical backdrop as well as emotional one or psycholgical one. The place
in which the programme or scene is set can be indicative of a historical time or of a region. An
recognisable urban setting may be used to indicate a fast frenetic cityscape which would have an
influence on the people that lived or visited there. A rural or urban setting will lead to significant
difference in meaning. Urban deprivation may be shown through rubbish on streets, graffiti, homeless
people, boarded up house etc.
Settings can also be used to indicate the psychological state of a character. Rain soaked, squalid, or very
busy setting might be used to indicate a characters panic, confusion or desperation.
DECOR - how a room is decorated and all the objects that furnish the room is another way meaning can
be evoked. The decor of a room can relay information regarding character, genre and atmosphere to the
viewer. A persons room can reveal details about what sort of personality they are, or what type of
character they are. A room which the walls are covered in torn-out sections of newspapers tends to
indicate horror. Futuristic furniture might indicate sci-fi genre.
Decor can also help create the atmosphere of a scene. For example darkly lit and decorated rooms, and
maybe an absence of furniture can evoke a threatful and ominous atmosphere.
LIGHTING - this plays an important role in the generation of mood and atmosphere. Characters, objects
and settings can all be lit for effect. Foe example lighting a person from up high will have a flattening
effect, whilst lighting them from below will have a scary, dangerous or threatening effect and lighting
from behind will create a silhouette creating mystery and suspense in a scene. Shadowy dark lighting will
create threat, feeling of unease and suspense.

8. Mise-en-scene
BODY LANGUAGE/MOVEMENT and BLOCKING - body language can be an indicator of how a character is
feeling at any given point, can indicate their response to another character. Can reveal them to be relaxed, tense,
aggressive, panic stricken and help the audience create meaning from it .
Blocking is when one character is shot with either an object or another character partly obscuring the audiences
view of the chararacter they are trying to focus on. It might be that this is meant to show them as trapped,
vulnerable confused or dangerous
COSTUME and MAKE-UP - can evoke historical time relate information about the character or help create
fantasy. Costume drama is a genre on its own right and costumes have to appear to be historically accurate to
sustain audiences willingness to belief that it came from a time gone by.
Period. What era does the costume fall into? Is it accurate reconstruction? If not, why? Class. What apparent
income level of the person wearing the costume?
Sex. Does a woman’s costume emphasize her femininity or is it neutral or masculine? Does a man’s costume
emphasize his virility or is it fussy or effeminate?
Age. Is the costume appropriate to the character’s age or is it deliberately too youthful, dowdy, or old- fashioned?
Silhouette. Is the costume formfitting or loose and baggy?
Fabric. Is the material coarse, sturdy, and plain or sheer and delicate?
Accessories. Does the costume include jewelry, hats, canes, and other accessories? What kind of shoes?
Color. What are the symbolic implications of the colors? Are they “hot” or “cool”? Subdued or bright? Solids or
patterns?
Body exposure. How much of the body is revealed or concealed? The more body revealed the more erotic the
costume.
Function. Is the costume meant for leisure or work? Is it meant to impress by its beauty and splendor, or is it
merely utilitarian?