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Euphoria	The clear sign is a close up of the main actress. It has some sort of galaxy/trippy filter to it, giving off the idea that she is hallucinating, which could be a major part to the plot. The logo of the streaming platform it is found on is clearly shown at the top of the page. The signifier (title) ‘Euphoria’ tells the audience what the movie is going to be about. The tears are an iconic sign as it provides extra information about the show.
Jumanji	The sign in this poster is the group standing in some sort of cave. The way in which they are smaller than the background tells us that they are less significant than the forest, suggesting that they are to conquer it. The movie title ‘Jumanji’ is the main signifier as it tells you what it will be about. The jungle vines are an iconic sign as they allow the audience to gain extra knowledge about the movie.
Palm Springs	The sign in this movie poster is the two main characters in a pool. The way in which the pool is never ending, connoting that it has a lot to do with the meaning of the movie. The main signifier ‘Palm Springs’ suggests that a key part of the movie will be set in or about Palm Springs, allowing the reader to have a clearer understanding of it. The blow up pool rings are iconic signs as it has links to a part in the film and is giving the audience extra information.
The Story of Castlerock	The sign is a close up shot of the main character with grey/eerie makeup and hair, denoting that it is a horror movie. The title ‘The story of castlerock’ is a signifier as it allows the audience to have an understanding of what it will be about. Having the thing on the girl’s forehead alludes to the fact that it has a key part of the movie, which is an iconic sign.
Dora and The Lost City of Gold	The sign in this is the main character standing back to the camera to show off her bag. This denotes to the fact that her bag and the monkey has some significance to the plot. The main signifier in this movie poster is the title as it alludes to what may happen in the film. The iconic sign in this movie poster is the monkey and the backpack. This is because it links to the story/plot and gives off extra information about it.

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Hunger Games: This poster contains Katniss alone in the centre of the poster aiming her bow towards whoever is looking at it, behind her is the mockingjay symbol – a symbolic sign for Katniss. Katniss aiming her bow signifies aggression towards someone or something – that she is ready to kill if needed.

Baby Driver: This poster is very minimalistic, it contains a gun “shooting” a car that is driving away. The gun and car are symbolic signs for what the plot of the film is. This poster is quite radical due to its minimalistic design, something not commonly seen in film posters.

Bohemian Rhapsody: This poster contains Freddy Mercury alone on the left side of the poster

Ferdinand De Saussure promoted the idea of ‘semiology’ in Course in General Linguistics (1915): he saw language as a cultural creation, rather than something innate; a social system
governed by a set of identifiable rules/codes.

Saussure coined the term ‘semiology’: ‘a science which studies the life of signs at the heart of social life’.

Dr Sassuer would say this poster is a sign, as it made of the two layers/key components; the signifier (the printed poster itself/physical existence) and something signified (the idea that this is a scarier more thrilling film compared to others, elaborated on with the use of comparisons.)

Some arbitrary/symbolic signs used in this poster are the run down walls and chickened floor- to which we could associate to run down clown scenery, further amplified in the fact the clown would usually be a symbolic sound of happiness and children however looking deeper into it and analysing the poster we can infer that it is an indexical sign to death (blood on gloves) and horror. Lots of red/dark tones to represent blood and shadows- associated with darkness and fear.

Some symbolic signs are the rosary and the nun both representing the religion of Christianity, however indexical signs are more apparent in this poster; light at the end of the corridor has strong connotations to either freedom, or death (light at the end of the tunnel.) The rosary and nun can also be an indexical sign to combat or opposing forces as it seems like the rosary is being used as a protection against the nun/spirit. Once again the majority of this poster is deep and dark tones with some blue- connoting the sadness and darkness showing the audience how deep the story will dive.

This poster takes advantage of indexical signs quite a lot and thrives off of us trying to analyse it instead of it being given to us in the forms of symbolic signs, for example a beehive represents bees, worker bees, but looking deeper into it- beehives are all function around the leader- the queen bee, we can now make the observation that a beehive connotes to/is an indexical sign to a cult which works in a similar way (the title of series 7). The lady also could be seen as brainless- natural way of life replaced by a bee/cult like lifestyle. Her skin is washed down and pale and the only form of colour on her face is red, red is an indexical sign to danger, love, anger, or death (blood) we can suggests that a lot of these categories will be included in this season while the white skin also doubles as a way to show how brainwashed the character is. The syntagm of signs working together to produce a cult idea is finalised by the anchorage title “cult”

Another poster for the series above which cleverly acts in the same way that the season 7 poster did- relying on indexical symbols to incise viewers and make them engage the curiosity into watching the series. The indexical symbol or connotation of white shows purity which also links in with the symbolic sign of a nun which represents purity or religion, this is harshly juxtaposed against the leaking black ink coming from the eyes, eyes have a connotation or indexical sign as to being the windows of the soul, therefore this harsh dark liquid compared to the purity of the nun could represent the purity of the nun becoming corrupted from the soul, corruption of the soul could also infer to possession or demonic ideas- which also links in with the nun theme and the plot of the season which involves possession.

The language of moving image suggests that there is a grammar or convention or set of rules. It deals with the aesthetic concepts of shape and size.

One of the most important camera tools in a movie is focus and depth of field. The focus is used to direct the audience’s eyes and prioritise the elements in a shot to present certain information.

Editing:

process of putting together/ stitching different shits and pieces

But the key question is WHEN TO EDIT ie when is it best to move from one shot to another? The answer is usually found in the following list:

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Shot Sequencing 1: Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

parallel editing: two events editing together – so that they may be happening at the same time, or not?

flashback / flash-forward – allowing time to shift

Shot Sequencing 3: Invisible Editing / Continuity Editing

Continuity editing can be seen as the opposite of montage editing as the main aim is to create a sense of realism or ‘believability’ known as verisimilitude and has it’s own structure of rules where shots are edited together at particular times or on particular shots, as previously highlighted above.

Shot sequencing 4: Shot progression

Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).

establishing shot / ES, moving to

wide shot / WS,

to medium shot / MS,

to close up / CU,

to big close up / BCU;

and then back out again

Shot Sequencing 5: Shot / Reverse Shot

The Shot / Reverse Shot a really good starting point for students to both think about and produce moving image products. The basic sequence runs from a wide angle master shot that is at a 90′ angle to (usually) two characters. This sets up the visual space and allows the film-maker to to then shoot separate close-ups, that if connected through an eye-line match are able to give the impression that they are opposite each other talking. The shots are usually over the shoulder.

The concept of space, side and scale while linking it to narrative theory. In other words key terminology – which also suggests that there is a GRAMMAR or CONVENTION or set of rules.

The focus is used to direct and prioritise elements in a shot and therefore prioritise certain information. For example, it will determine who the audience should look at (even if we are not listening to them).

• High angle / Low angle / bulls-eye / birds eye / canted angle
• Tracking / Panning / Craning / Tilting / Hand held / Steadicam
• Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up (students often struggle with the first and the last again issues with SCALE, SIZE & SPACE, so practice is really important)
• Insert Shot

Editing is stitching things together and connecting different images. It is the concept of putting one thing next to another.

But the key question is WHEN TO EDIT ie when is it best to move from one shot to another? The answer is usually found in the following list:

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Shot Sequencing 1: Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

• parallel editing: two events editing together – so that they may be happening at the same time, or not?
• flashback / flash-forward – allowing time to shift

Editing is stitching things together connecting different images, therefor chronological and linear, it is the concept of putting one thing next to another and how to target the audiences attention of viewpoint onto a specific thing.

But the key question is WHEN TO EDIT ie when is it best to move from one shot to another? The answer is usually found in the following list:

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Shot Sequencing 1: Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

• parallel editing: two events editing together – so that they may be happening at the same time, or not?
• flashback / flash-forward – allowing time to shift

Montage: A collection of images edited together in a cut metaphorically to display a long period of time in a short sequence. Linear.

The Shot / Reverse Shot a really good starting point for students to both think about and produce moving image products. The basic sequence runs from a wide angle master shot that is at a 90′ angle to (usually) two characters. This sets up the visual space and allows the film-maker to to then shoot separate close-ups, that if connected through an eye-line match are able to give the impression that they are opposite each other talking. The shots are usually over the shoulder.

Firstly, they include both characters – which are called EXTERNAL REVERSES. As the drama increases, the framing of each shot then excludes the back of the head of the other character and moves in to a much closer over the shoulder shot – which are called INTERNAL REVERSES. Remember that these shots are not creating a direct look to camera. To look directly at the camera creates a very different relationship between the characters and the audience and is a technique that is only used for specific techniques / genres / film-makers.

These type of shots are known as Point of View Shots – POV shots, or even direct address to the camera, and are quite different to over the shoulder shots, close-ups, reaction shots, internal and external reverses etc. All of which are deliberately used to create a range of subjective / objective positions for the audience as they engage with characters in the moving image products. AND NOT FOR THE CHARACTERS TO LOOK DIRECTLY AT THE AUDIENCE (ie directly into the camera)

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The language of moving image suggests that there is a grammar or convention or set of rules. It deals with the aesthetic concepts of shape and size.

One of the most important camera tools in a movie is focus and depth of field. The focus is used to direct the audience’s eyes and prioritise the elements in a shot to present certain information.

Different MEDIA FORMS have different MEDIA LANGUAGES 

camera – the most important tool in a camera is the focus and depth of field (ie how much is in focus). The focus is used to direct and prioritise elements in a shot and therefore prioritise certain information. For example, it will determine who the audience should look at (even if we are not listening to them). It may switch our focus (known technically as a pull focus / rack focus / follow focus) between one element and another. Remember that the elements may not be people, but could be objects, spaces, shapes or colours, which may represent an idea, theme, belief etc (see the post on Semiotics)

• High angle / Low angle / bulls-eye / birds eye / canted angle
• Tracking / Panning / Craning / Tilting / Hand held / Steadicam
• Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up (students often struggle with the first and the last again issues with SCALE, SIZE & SPACE, so practice is really important)
• Insert Shot

Sizes:  Establishing shot – Insert shot – Long shot – Medium shot – Close-up – Extreme close-up.

Angles: High – Low – balls-eye – Birds eye – Canted angle

Movement:  Tracking – Panning – Craning- Tilting – Hand-held – Steadicam

Distinguishing Editing from Camera work (theory)

Moving image products (like other media products: print, radio, on-line) are clearly constructed around the concept of putting one thing next to another. This can be found in both camera work and in editing. Editing is the process of manipulating separate images into a continuous piece of moving image which develops characters, themes, spaces and ideas through a series of events, interactions and occurrences. As such, it is (usually) LINEAR and SEQUENTIAL, although, it must be remembered that moving image products often parachute the audience into a particular moment (IN MEDIA RES) and usually leave them at an equally unresolved moment.

Moving from Camera to Edit, would be to compare the way that the camera can frame and position characters and thereby the audience by creating ‘subjectivity‘ and empathy. This is so important for creating a story, characters, a theme and of course COMMUNICATING MEANING. Similarly, the way in which images are edited together has a massive significance in terms of communicating an idea and of creating meaning.

Moving image products (like other media products: print, radio, on-line) are clearly constructed around the concept of putting one thing next to another. This can be found in both camera work and in editing. Editing is the process of manipulating separate images into a continuous piece of moving image which develops characters, themes, spaces and ideas through a series of events, interactions and occurrences. As such, it is (usually) LINEAR and SEQUENTIAL, although, it must be remembered that moving image products often parachute the audience into a particular moment (IN MEDIA RES) and usually leave them at an equally unresolved moment.

As such BACK STORY, FORESHADOWING, REPETITION, ELLIPSIS, DEVELOPMENT, ENIGMA, DRAMATIC IRONY and other concepts are really important to always bear in mind. As such, NARRATIVE THEORY is really important to an understanding of moving image products.

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Shot Sequencing 4: Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

Montage consists of number of shots put together to inform the audience context to a character or situation.

parallel editing : two events editing together – so that they may be happening at the same time, or not?

• parallel editing: two events editing together – so that they may be happening at the same time, or not?
• flashback / flash-forward – allowing time to shift

i would use parallel editing to show the past life of the dead character

Shot sequencing 1: Montage

Editing is the process of putting one element / idea next to another. It was first conceptually theorised as the Kuleshov effect, in that adding one element / idea to another actually produces a third idea / element, which if constructed well can produce in the audience an idea that isn’t actually present! This is the basis of MONTAGE EDITING – often the connection of images / ideas to create a new meaning (1 + 2 = ?). It is often seen as an allegorical, metaphorical way of editing to create symbolism, in the same way COLLAGE and MONTAGE ART creates meaning through putting ideas and objects next to each other.

Shot sequencing 4: Shot progression

Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).

• establishing shot / ES, moving to
• wide shot / WS,
• to medium shot / MS,
• to close up / CU,
• to big close up / BCU;
• and then back out again

The use of these shots allow the audience to understand SPATIAL RELATIONSHIPS between locations, people, movements etc. The length of shot will determine the drama, empathy, theme etc. The choice of how to sequence each shot will determine the AESTHETIC QUALITY of the product. The next sequence will then follow a similar pattern, which again allows the audience to understand concepts such as SPACE, TIME, DISTANCE, MOVEMENT, MOTIVATION, PLOT, THEME etc.

Shot Sequencing 5: Shot / Reverse Shot

The Shot / Reverse Shot a really good starting point for students to both think about and produce moving image products. The basic sequence runs from a wide angle master shot that is at a 90′ angle to (usually) two characters. This sets up the visual space and allows the film-maker to to then shoot separate close-ups, that if connected through an eye-line match are able to give the impression that they are opposite each other talking. The shots are usually over the shoulder. Firstly, they include both characters – which are called EXTERNAL REVERSES. As the drama increases, the framing of each shot then excludes the back of the head of the other character and moves in to a much closer over the shoulder shot – which are called INTERNAL REVERSES. Remember that these shots are not creating a direct look to camera. To look directly at the camera creates a very different relationship between the characters and the audience and is a technique that is only used for specific techniques / genres / film-makers. These type of shots are known as Point of View Shots – POV shots, or even direct address to the camera, and are quite different to over the shoulder shots, close-ups, reaction shots, internal and external reverses etc. All of which are deliberately used to create a range of subjective / objective positions for the audience as they engage with characters in the moving image products. AND NOT FOR THE CHARACTERS TO LOOK DIRECTLY AT THE AUDIENCE (ie directly into the camera)

to use a reverse shot i would create a tense conversation.

Different forms of media have different languages that go along with them, the languages of moving image consists of the key terminology, grammar and conventions of the media languages.
The conventions deconstruct moving images into languages that we can use to describe what they are.

The most important tools in a camera are focus and depth of field, the focus is used to direct the viewers eyes and prioritise certain information. Switching the focus between one element and another is known as a pull focus or a rack focus. In my sequence, when I redo it I want to use rack focus during the shot where the character is walking through a forest, changing the focus from the forest to the character when he enters the shot.

Sizes, Angles and Movements

• High angle / Low angle / bulls-eye / birds eye / canted angle
• Tracking / Panning / Craning / Tilting / Hand held / Steadicam
• Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up (students often struggle with the first and the last again issues with SCALE, SIZE & SPACE, so practice is really important)
• Insert Shot

My first shot was a tilting shot from a low angle to a bulls-eye angle

Insert shots

I could use an insert shot of a note when I redo my sequence to tell the audience why the character is in a forest.

Editing

Editing is the stitching of the shots together, this is used to create context for the story and to allow the audience to understand what is happening and why it is happening.

Generally, there are key times when you should have an edit

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

I edited my sequence when the actions edited, e.g. when my pan ended or when the character finished walking I edited to a different shot to keep the sequence flowing instead of leaving it hanging.

Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

• parallel editing: two events editing together – so that they may be happening at the same time, or not?
• flashback / flash-forward – allowing time to shift

Montage
First conceptually theorised as the Kuleshov effect, montages are the process of compressing time, through editing shots together in a very quick sequence you can cut out irrelevant details and show progress of an event in a fast manner.

Shot progression

Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).

• establishing shot / ES, moving to
• wide shot / WS,
• to medium shot / MS,
• to close up / CU,
• to big close up / BCU;
• and then back out again

Shot / Reverse Shot
Shot / Reverse Shot includes the directions that both characters are facing