Key Terms
OCR: http://www.ocr.org.uk/qualifications/as_alevelgce/media_studies/
Introduction: Media Literacy for AS
This course is designed to offer students the opportunity to develop a critical awareness and understanding of the media and the role it plays in society. Throughout the course, students demonstrate understanding of technical skills in their own media production and engage in creative, imaginative and aesthetic activity.
Media Literacy
It understands the process of media and the techniques and the ability to read media texts and hence decode their messages and values.
Advanced Media Literacy
Advanced Media Literacy is a combination of ‘thinking’ and ‘making’ – responding and creating media.
Media Language
It refers to written, verbal, non- verbal, aural and aesthetic communication and are usually a combination of these.
Camera Angles: These can give a different perception of a character and a relationship between many characters. E.g. wide shot could be and establishing shot of a group so you can instantly understand that these are a group of school friends or even a group of people who don’t like each other. A tight two – shot can give deeper understanding between conversions and can show way the characters think and react to a particular situation.
Facial expressions: Can be vital in revealing to the audience a character’s personality or moving the story alone.
Dialogue: Speech can indicate a person’s perception and also portray the characters lifestyle in their dialect.
Diegesis
Diegetic material is what the characters are aware of and notice in their world e.g. door shutting. Non – diegetic material is what the characters are not aware of but the audience are e.g. background music which is there to create an atmosphere. Voice- over are a combination of both – the character is aware of what they are saying and so are the audience but the other characters are not aware of their thoughts
Micro and Macro origination
/When studying a particular style or genre the micro elements have to be taken into account first, such as: camera work, music, style of titles, dialogue, setting and pace.
If someone was creating a romantic comedy a three – stage process would need to be taken into account when creating it.
1. study the common conventions of a romantic style
2. spend time developing a romantic comedy narrative
3. plan to shoot and edit material which looks right for the genre
Camera work and framing
To keep a steady shot the best tool to use is a tripod unless the shot needs more of a documentary and realist look. Zooming is rarely used in film unless the look of the piece is designed to look amateur.
A combination of shots are essential to the ‘language of film’, from long shots to mid – shots to close –ups. This enable the audience to remain engaged to the action.In film they uses fewer close – ups than in TV and mainly sit to mid-shots, long shot with close- ups sparingly, however the different styles of shots are:
• long shots
• extreme long shots
• mid- shots
• close- ups
• extreme close-ups
• over- the- shoulder shots
• point- of – view shots
When filming the ‘rule of thirds’ applies
The eye is usually drawn to the off- centre marks (red) so if filming a person then you should move them to the sides of the screen.
Camera angles alter the power and neutrality of a character. High- angled shots reduce the ‘power’ of the character and low – angled shot increase it. The standard principles of framing is not make sure the character has space above their head and they do not look strange due to objects behind them and that there is space around them to show direction if they are moving.
Avoid ‘unforced errors’ by: practice moving shots several times before recording, shoot far more footage than you need to make editing easier, test microphones are working before filming and make sure your batteries are changed.
Mise en scene
It is about atmosphere, continuity and detail. Carefully choose costume, lighting, location and props to create a verisimilitude and continue this through each shot. For continuity make sure that the costume stays the same, the actors appearance is the same e.g. hair cuts, same lighting and choose convincing props and actors.
Lighting
Although there will not be access to profession lighting there are many ways to overcome this problems, the five tips are:
Use natural light – sunlight, shadow, weather e.g. rain. However the time taken to wait for this type of may be pushes the time constraints
Use cheap and cheerful artificial light – as long as risk assessments have been carried out
Create colour filters – to give a particular mood.
Position the light source for effect – lighting above or from below can create different atmospheres
Experiment with the interaction of light with objects in you frame.
Combining sound, image and titles
When editing footage, careful decisions are needed to create appropriate sounds and titles for the genre. Deciding whether the title will go over a black spot, over action and how long the title will stay on screen are all of the things that will need to be considered. Each title must have some relevance to the genre so that the audience quickly understands the narrative of the piece.
Music is also a subtle but vital micro element which add ambience to the footage and allows the audience to understand and follow the change of tone and pace. It is a good idea to test out the music at an early stage of post – production so changes can be made.
The Grammar of non – liner editing
Non- linear video editing is the software package that will be used for the post – production work and there will be an assessment of how well the material is edited. Creating continuity and the right rhythm and pace is essential. Avoid choosing transitions that are exciting to use but do not reflect the conventions of the type of film that will be constructed. Use hard cuts for at least 90% of the sequence.
The ideal outcome is to make the editing invisible. A fade may be used to signify the passing of time and a greater number of edits can create more tension or action. Editing is all about the manipulation of the time and space, because it allows you to do things that are not possible in real life. Editing and manipulation should remain discrete so that it doesn’t confuse the viewer – this is called ‘grammar of the edit.
Composing Digital images
All of the images for both the preliminary and main task much be original and photography is a critical part of print production for AS.
Any camera (film or digital) is just a capturing and the technology in a modern digital camera is just as fantastic just don’t forget to use the prints as well.
Generating a Front page
The front cover needs to be eye- catching so that the reader is intrigued enough to buy the magazine. This is a world where identity is clearly constructed to make the reader feel sense of belonging, or a desire to belong to the community of readers that is established.
Semiotics
It is the study if signs, meaning and how and image is perceived. It is best to use semiotic as a way of developing your own thinking about ‘polysemic’ meaning rather that assuming that signs mean single things to everyone.
There are three kinds of signs in semiotic theory:
1. Iconic signs which actually look like what they represent. - (A no smoking sign)
2. Symbolic/ arbitrary signs which have a meaning that must be culturally learned because they don’t actually look like what they represent. – ( An Arsenal football shirt)
3. Indexical signs which have a connection to what they represent and are suggestive rather that directly resembling what they represent. – ( A Crucifix)
OCR: http://www.ocr.org.uk/qualifications/as_alevelgce/media_studies/
Introduction: Media Literacy for AS
This course is designed to offer students the opportunity to develop a critical awareness and understanding of the media and the role it plays in society. Throughout the course, students demonstrate understanding of technical skills in their own media production and engage in creative, imaginative and aesthetic activity.
Media Literacy
It understands the process of media and the techniques and the ability to read media texts and hence decode their messages and values.
Advanced Media Literacy
Advanced Media Literacy is a combination of ‘thinking’ and ‘making’ – responding and creating media.
Media Language
It refers to written, verbal, non- verbal, aural and aesthetic communication and are usually a combination of these.
Camera Angles: These can give a different perception of a character and a relationship between many characters. E.g. wide shot could be and establishing shot of a group so you can instantly understand that these are a group of school friends or even a group of people who don’t like each other. A tight two – shot can give deeper understanding between conversions and can show way the characters think and react to a particular situation.
Facial expressions: Can be vital in revealing to the audience a character’s personality or moving the story alone.
Dialogue: Speech can indicate a person’s perception and also portray the characters lifestyle in their dialect.
Diegesis
Diegetic material is what the characters are aware of and notice in their world e.g. door shutting. Non – diegetic material is what the characters are not aware of but the audience are e.g. background music which is there to create an atmosphere. Voice- over are a combination of both – the character is aware of what they are saying and so are the audience but the other characters are not aware of their thoughts
Micro and Macro origination
/When studying a particular style or genre the micro elements have to be taken into account first, such as: camera work, music, style of titles, dialogue, setting and pace.
If someone was creating a romantic comedy a three – stage process would need to be taken into account when creating it.
1. study the common conventions of a romantic style
2. spend time developing a romantic comedy narrative
3. plan to shoot and edit material which looks right for the genre
Camera work and framing
To keep a steady shot the best tool to use is a tripod unless the shot needs more of a documentary and realist look. Zooming is rarely used in film unless the look of the piece is designed to look amateur.
A combination of shots are essential to the ‘language of film’, from long shots to mid – shots to close –ups. This enable the audience to remain engaged to the action.In film they uses fewer close – ups than in TV and mainly sit to mid-shots, long shot with close- ups sparingly, however the different styles of shots are:
• long shots
• extreme long shots
• mid- shots
• close- ups
• extreme close-ups
• over- the- shoulder shots
• point- of – view shots
When filming the ‘rule of thirds’ applies
The eye is usually drawn to the off- centre marks (red) so if filming a person then you should move them to the sides of the screen.
Camera angles alter the power and neutrality of a character. High- angled shots reduce the ‘power’ of the character and low – angled shot increase it. The standard principles of framing is not make sure the character has space above their head and they do not look strange due to objects behind them and that there is space around them to show direction if they are moving.
Avoid ‘unforced errors’ by: practice moving shots several times before recording, shoot far more footage than you need to make editing easier, test microphones are working before filming and make sure your batteries are changed.
Mise en scene
It is about atmosphere, continuity and detail. Carefully choose costume, lighting, location and props to create a verisimilitude and continue this through each shot. For continuity make sure that the costume stays the same, the actors appearance is the same e.g. hair cuts, same lighting and choose convincing props and actors.
Lighting
Although there will not be access to profession lighting there are many ways to overcome this problems, the five tips are:
Use natural light – sunlight, shadow, weather e.g. rain. However the time taken to wait for this type of may be pushes the time constraints
Use cheap and cheerful artificial light – as long as risk assessments have been carried out
Create colour filters – to give a particular mood.
Position the light source for effect – lighting above or from below can create different atmospheres
Experiment with the interaction of light with objects in you frame.
Combining sound, image and titles
When editing footage, careful decisions are needed to create appropriate sounds and titles for the genre. Deciding whether the title will go over a black spot, over action and how long the title will stay on screen are all of the things that will need to be considered. Each title must have some relevance to the genre so that the audience quickly understands the narrative of the piece.
Music is also a subtle but vital micro element which add ambience to the footage and allows the audience to understand and follow the change of tone and pace. It is a good idea to test out the music at an early stage of post – production so changes can be made.
The Grammar of non – liner editing
Non- linear video editing is the software package that will be used for the post – production work and there will be an assessment of how well the material is edited. Creating continuity and the right rhythm and pace is essential. Avoid choosing transitions that are exciting to use but do not reflect the conventions of the type of film that will be constructed. Use hard cuts for at least 90% of the sequence.
The ideal outcome is to make the editing invisible. A fade may be used to signify the passing of time and a greater number of edits can create more tension or action. Editing is all about the manipulation of the time and space, because it allows you to do things that are not possible in real life. Editing and manipulation should remain discrete so that it doesn’t confuse the viewer – this is called ‘grammar of the edit.
Composing Digital images
All of the images for both the preliminary and main task much be original and photography is a critical part of print production for AS.
Any camera (film or digital) is just a capturing and the technology in a modern digital camera is just as fantastic just don’t forget to use the prints as well.
Generating a Front page
The front cover needs to be eye- catching so that the reader is intrigued enough to buy the magazine. This is a world where identity is clearly constructed to make the reader feel sense of belonging, or a desire to belong to the community of readers that is established.
Semiotics
It is the study if signs, meaning and how and image is perceived. It is best to use semiotic as a way of developing your own thinking about ‘polysemic’ meaning rather that assuming that signs mean single things to everyone.
There are three kinds of signs in semiotic theory:
1. Iconic signs which actually look like what they represent. - (A no smoking sign)
2. Symbolic/ arbitrary signs which have a meaning that must be culturally learned because they don’t actually look like what they represent. – ( An Arsenal football shirt)
3. Indexical signs which have a connection to what they represent and are suggestive rather that directly resembling what they represent. – ( A Crucifix)
Motivated Signs
A more motivated sign just has a more limited range of possible interpretations and have more of a fixed meaning however no meaning is ever totally fixed as each human will have a slightly different take on what they see as a result of cultural experience.
Using Captions
Captions have the obvious effect of making the meaning less abstract and in semiotic terms this is known as ‘anchorage’. The sign is anchored by the caption, the meaning is pinned downs`
Developing a Music Magazine
You need to ensure that the language used, mode of address, layout font and colour range are right for the audience you have identified. Mode of address is the style of language you choose, or ‘register’
Shot/ reverse shot
Usually used when filming dialogue and a medium close shot as a character recites a line. A shoulder or profile of the listening character can be seen in the frame. As a viewer we normally are in the point of view as the listener and a visual logic occurs when the conversation unravels. Shot/ reverse shot observe the way in which speakers words affect the recipient. When a negative statement is made the camera will turn the frame to listener and the emotions of the other character are absorbed through visual responds.
180 degree rule
This is when two characters should always maintain the left/ right relationship to each other. If the camera passes over the imaginary line (crossing the line) then the new shot from the opposite side is called a Reverse angle. Sometimes a line of action may be broken to disorientate the viewer.
A more motivated sign just has a more limited range of possible interpretations and have more of a fixed meaning however no meaning is ever totally fixed as each human will have a slightly different take on what they see as a result of cultural experience.
Introduction: Media Literacy for AS
This course is designed to offer students the opportunity to develop a critical awareness and understanding of the media and the role it plays in society. Throughout the course, students demonstrate understanding of technical skills in their own media production and engage in creative, imaginative and aesthetic activity.
Media Literacy
It understands the process of media and the techniques and the ability to read media texts and hence decode their messages and values.
Advanced Media Literacy
Advanced Media Literacy is a combination of ‘thinking’ and ‘making’ – responding and creating media.
Media Language
It refers to written, verbal, non- verbal, aural and aesthetic communication and are usually a combination of these.
Camera Angles: These can give a different perception of a character and a relationship between many characters. E.g. wide shot could be and establishing shot of a group so you can instantly understand that these are a group of school friends or even a group of people who don’t like each other. A tight two – shot can give deeper understanding between conversions and can show way the characters think and react to a particular situation.
Facial expressions: Can be vital in revealing to the audience a character’s personality or moving the story alone.
Dialogue: Speech can indicate a person’s perception and also portray the characters lifestyle in their dialect.
Diegesis
Diegetic material is what the characters are aware of and notice in their world e.g. door shutting. Non – diegetic material is what the characters are not aware of but the audience are e.g. background music which is there to create an atmosphere. Voice- over are a combination of both – the character is aware of what they are saying and so are the audience but the other characters are not aware of their thoughts
Micro and Macro origination
/When studying a particular style or genre the micro elements have to be taken into account first, such as: camera work, music, style of titles, dialogue, setting and pace.
If someone was creating a romantic comedy a three – stage process would need to be taken into account when creating it.
1. study the common conventions of a romantic style
2. spend time developing a romantic comedy narrative
3. plan to shoot and edit material which looks right for the genre
Camera work and framing
To keep a steady shot the best tool to use is a tripod unless the shot needs more of a documentary and realist look. Zooming is rarely used in film unless the look of the piece is designed to look amateur.
A combination of shots are essential to the ‘language of film’, from long shots to mid – shots to close –ups. This enable the audience to remain engaged to the action.In film they uses fewer close – ups than in TV and mainly sit to mid-shots, long shot with close- ups sparingly, however the different styles of shots are:
• long shots
• extreme long shots
• mid- shots
• close- ups
• extreme close-ups
• over- the- shoulder shots
• point- of – view shots
When filming the ‘rule of thirds’ applies
The eye is usually drawn to the off- centre marks (red) so if filming a person then you should move them to the sides of the screen.
Camera angles alter the power and neutrality of a character. High- angled shots reduce the ‘power’ of the character and low – angled shot increase it. The standard principles of framing is not make sure the character has space above their head and they do not look strange due to objects behind them and that there is space around them to show direction if they are moving.
Avoid ‘unforced errors’ by: practice moving shots several times before recording, shoot far more footage than you need to make editing easier, test microphones are working before filming and make sure your batteries are changed.
Mise en scene
It is about atmosphere, continuity and detail. Carefully choose costume, lighting, location and props to create a verisimilitude and continue this through each shot. For continuity make sure that the costume stays the same, the actors appearance is the same e.g. hair cuts, same lighting and choose convincing props and actors.
Lighting
Although there will not be access to profession lighting there are many ways to overcome this problems, the five tips are:
Use natural light – sunlight, shadow, weather e.g. rain. However the time taken to wait for this type of may be pushes the time constraints
Use cheap and cheerful artificial light – as long as risk assessments have been carried out
Create colour filters – to give a particular mood.
Position the light source for effect – lighting above or from below can create different atmospheres
Experiment with the interaction of light with objects in you frame.
Combining sound, image and titles
When editing footage, careful decisions are needed to create appropriate sounds and titles for the genre. Deciding whether the title will go over a black spot, over action and how long the title will stay on screen are all of the things that will need to be considered. Each title must have some relevance to the genre so that the audience quickly understands the narrative of the piece.
Music is also a subtle but vital micro element which add ambience to the footage and allows the audience to understand and follow the change of tone and pace. It is a good idea to test out the music at an early stage of post – production so changes can be made.
The Grammar of non – liner editing
Non- linear video editing is the software package that will be used for the post – production work and there will be an assessment of how well the material is edited. Creating continuity and the right rhythm and pace is essential. Avoid choosing transitions that are exciting to use but do not reflect the conventions of the type of film that will be constructed. Use hard cuts for at least 90% of the sequence.
The ideal outcome is to make the editing invisible. A fade may be used to signify the passing of time and a greater number of edits can create more tension or action. Editing is all about the manipulation of the time and space, because it allows you to do things that are not possible in real life. Editing and manipulation should remain discrete so that it doesn’t confuse the viewer – this is called ‘grammar of the edit.
Composing Digital images
All of the images for both the preliminary and main task much be original and photography is a critical part of print production for AS.
Any camera (film or digital) is just a capturing and the technology in a modern digital camera is just as fantastic just don’t forget to use the prints as well.
Generating a Front page
The front cover needs to be eye- catching so that the reader is intrigued enough to buy the magazine. This is a world where identity is clearly constructed to make the reader feel sense of belonging, or a desire to belong to the community of readers that is established.
Semiotics
It is the study if signs, meaning and how and image is perceived. It is best to use semiotic as a way of developing your own thinking about ‘polysemic’ meaning rather that assuming that signs mean single things to everyone.
There are three kinds of signs in semiotic theory:
1. Iconic signs which actually look like what they represent. - (A no smoking sign)
2. Symbolic/ arbitrary signs which have a meaning that must be culturally learned because they don’t actually look like what they represent. – ( An Arsenal football shirt)
3. Indexical signs which have a connection to what they represent and are suggestive rather that directly resembling what they represent. – ( A Crucifix)
OCR: http://www.ocr.org.uk/qualifications/as_alevelgce/media_studies/
Introduction: Media Literacy for AS
This course is designed to offer students the opportunity to develop a critical awareness and understanding of the media and the role it plays in society. Throughout the course, students demonstrate understanding of technical skills in their own media production and engage in creative, imaginative and aesthetic activity.
Media Literacy
It understands the process of media and the techniques and the ability to read media texts and hence decode their messages and values.
Advanced Media Literacy
Advanced Media Literacy is a combination of ‘thinking’ and ‘making’ – responding and creating media.
Media Language
It refers to written, verbal, non- verbal, aural and aesthetic communication and are usually a combination of these.
Camera Angles: These can give a different perception of a character and a relationship between many characters. E.g. wide shot could be and establishing shot of a group so you can instantly understand that these are a group of school friends or even a group of people who don’t like each other. A tight two – shot can give deeper understanding between conversions and can show way the characters think and react to a particular situation.
Facial expressions: Can be vital in revealing to the audience a character’s personality or moving the story alone.
Dialogue: Speech can indicate a person’s perception and also portray the characters lifestyle in their dialect.
Diegesis
Diegetic material is what the characters are aware of and notice in their world e.g. door shutting. Non – diegetic material is what the characters are not aware of but the audience are e.g. background music which is there to create an atmosphere. Voice- over are a combination of both – the character is aware of what they are saying and so are the audience but the other characters are not aware of their thoughts
Micro and Macro origination
/When studying a particular style or genre the micro elements have to be taken into account first, such as: camera work, music, style of titles, dialogue, setting and pace.
If someone was creating a romantic comedy a three – stage process would need to be taken into account when creating it.
1. study the common conventions of a romantic style
2. spend time developing a romantic comedy narrative
3. plan to shoot and edit material which looks right for the genre
Camera work and framing
To keep a steady shot the best tool to use is a tripod unless the shot needs more of a documentary and realist look. Zooming is rarely used in film unless the look of the piece is designed to look amateur.
A combination of shots are essential to the ‘language of film’, from long shots to mid – shots to close –ups. This enable the audience to remain engaged to the action.In film they uses fewer close – ups than in TV and mainly sit to mid-shots, long shot with close- ups sparingly, however the different styles of shots are:
• long shots
• extreme long shots
• mid- shots
• close- ups
• extreme close-ups
• over- the- shoulder shots
• point- of – view shots
When filming the ‘rule of thirds’ applies
The eye is usually drawn to the off- centre marks (red) so if filming a person then you should move them to the sides of the screen.
Camera angles alter the power and neutrality of a character. High- angled shots reduce the ‘power’ of the character and low – angled shot increase it. The standard principles of framing is not make sure the character has space above their head and they do not look strange due to objects behind them and that there is space around them to show direction if they are moving.
Avoid ‘unforced errors’ by: practice moving shots several times before recording, shoot far more footage than you need to make editing easier, test microphones are working before filming and make sure your batteries are changed.
Mise en scene
It is about atmosphere, continuity and detail. Carefully choose costume, lighting, location and props to create a verisimilitude and continue this through each shot. For continuity make sure that the costume stays the same, the actors appearance is the same e.g. hair cuts, same lighting and choose convincing props and actors.
Lighting
Although there will not be access to profession lighting there are many ways to overcome this problems, the five tips are:
Use natural light – sunlight, shadow, weather e.g. rain. However the time taken to wait for this type of may be pushes the time constraints
Use cheap and cheerful artificial light – as long as risk assessments have been carried out
Create colour filters – to give a particular mood.
Position the light source for effect – lighting above or from below can create different atmospheres
Experiment with the interaction of light with objects in you frame.
Combining sound, image and titles
When editing footage, careful decisions are needed to create appropriate sounds and titles for the genre. Deciding whether the title will go over a black spot, over action and how long the title will stay on screen are all of the things that will need to be considered. Each title must have some relevance to the genre so that the audience quickly understands the narrative of the piece.
Music is also a subtle but vital micro element which add ambience to the footage and allows the audience to understand and follow the change of tone and pace. It is a good idea to test out the music at an early stage of post – production so changes can be made.
The Grammar of non – liner editing
Non- linear video editing is the software package that will be used for the post – production work and there will be an assessment of how well the material is edited. Creating continuity and the right rhythm and pace is essential. Avoid choosing transitions that are exciting to use but do not reflect the conventions of the type of film that will be constructed. Use hard cuts for at least 90% of the sequence.
The ideal outcome is to make the editing invisible. A fade may be used to signify the passing of time and a greater number of edits can create more tension or action. Editing is all about the manipulation of the time and space, because it allows you to do things that are not possible in real life. Editing and manipulation should remain discrete so that it doesn’t confuse the viewer – this is called ‘grammar of the edit.
Composing Digital images
All of the images for both the preliminary and main task much be original and photography is a critical part of print production for AS.
Any camera (film or digital) is just a capturing and the technology in a modern digital camera is just as fantastic just don’t forget to use the prints as well.
Generating a Front page
The front cover needs to be eye- catching so that the reader is intrigued enough to buy the magazine. This is a world where identity is clearly constructed to make the reader feel sense of belonging, or a desire to belong to the community of readers that is established.
Semiotics
It is the study if signs, meaning and how and image is perceived. It is best to use semiotic as a way of developing your own thinking about ‘polysemic’ meaning rather that assuming that signs mean single things to everyone.
There are three kinds of signs in semiotic theory:
1. Iconic signs which actually look like what they represent. - (A no smoking sign)
2. Symbolic/ arbitrary signs which have a meaning that must be culturally learned because they don’t actually look like what they represent. – ( An Arsenal football shirt)
3. Indexical signs which have a connection to what they represent and are suggestive rather that directly resembling what they represent. – ( A Crucifix)
Motivated Signs
A more motivated sign just has a more limited range of possible interpretations and have more of a fixed meaning however no meaning is ever totally fixed as each human will have a slightly different take on what they see as a result of cultural experience.
Using Captions
Captions have the obvious effect of making the meaning less abstract and in semiotic terms this is known as ‘anchorage’. The sign is anchored by the caption, the meaning is pinned downs`
Developing a Music Magazine
You need to ensure that the language used, mode of address, layout font and colour range are right for the audience you have identified. Mode of address is the style of language you choose, or ‘register’
Shot/ reverse shot
Usually used when filming dialogue and a medium close shot as a character recites a line. A shoulder or profile of the listening character can be seen in the frame. As a viewer we normally are in the point of view as the listener and a visual logic occurs when the conversation unravels. Shot/ reverse shot observe the way in which speakers words affect the recipient. When a negative statement is made the camera will turn the frame to listener and the emotions of the other character are absorbed through visual responds.
180 degree rule
This is when two characters should always maintain the left/ right relationship to each other. If the camera passes over the imaginary line (crossing the line) then the new shot from the opposite side is called a Reverse angle. Sometimes a line of action may be broken to disorientate the viewer.
A more motivated sign just has a more limited range of possible interpretations and have more of a fixed meaning however no meaning is ever totally fixed as each human will have a slightly different take on what they see as a result of cultural experience.
posted by Azzees Minott | 10:10 AM
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