Difference between pages "Beyond and Beside Narrative (Discussion)" and "Style and the Camera (Discussion)"

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==Bill Nichols' terms==
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<P>'''Group 3'''</P>
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Explain film scholar Bill Nichols' sense of the following terms:<ref>Bill Nichols, ''Representing Reality''.</ref>
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<UL>
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*'''Groups 1 and 2:''' ''historical world'' or ''historical reality''
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  <LI>Explain what <strong>focal length</strong> is -- using the textbook illustrations.</LI>
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**Why does he prefer this term to "reality"?
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  <LI>How does a zoom in/out look different from a track in/out?</LI>
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*'''Groups 3 and 4:''' ''social actor''
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</UL>
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**Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?
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<P>'''Group 4'''</P>
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<UL>
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  <LI>Explain what <strong>depth of field</strong> is -- using the textbook illustrations.</LI>
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  <LI>What is the difference between deep focus and deep space (as in mise-en-scene)?</LI>
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</UL>
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<P>'''Group 1'''</P>
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<UL>
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  <LI>Explain what <strong>aspect ratio</strong> is -- using the textbook illustrations.</LI>
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  <LI>Also explain letterbox and pan-and-scan. </LI>
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</UL>
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<P>'''Group 2'''</P>
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<UL>
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  <LI>Explain the significance of camera <strong>framing, height, and movement</strong> -- using the textbook illustrations.</LI>
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  <LI>When might movement be used that does <I>not</I> follow a character? How is a Steadicam shot different from a handheld shot? </LI>
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</UL>
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<P>If you were a cinematographer reshooting the <em>Northern Exposure</em> shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).</P>
  
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==Modes of representation==
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http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG
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Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.
 
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Explain the principles behind each mode:
 
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#'''Group 4:''' Expository (or rhetorical)
 
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#'''Group 1:''' Interactive
 
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#'''Group 2:''' Observational
 
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#'''Group 3:''' Reflexive
 
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==Applying "modes of representation" ==
 
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News coverage of an incident in Goražde, ''The Daily Show'' in Iraq, ''Two-A-Days'', ''Cops'', Ole Miss vs. Alabama football (2004), ''Who Wants to be a Millionaire''
 
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===''Deadliest Catch''===
 
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#'''Group 4:''' Expository (or rhetorical)
 
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#*How does it argue for a certain interpretation of these events?
 
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#*How does it shape our understanding of them?
 
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#'''Group 1:''' Interactive
 
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#*Does the TV world ''interact'' with the historical world?
 
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#'''Group 2:''' Observational
 
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#*Do the producers just ''observe'' these events?
 
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#*How is this show different from ''Cops''?
 
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#'''Group 3:''' Reflexive
 
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#*Is it TV about TV? Does it make you aware of TV ''as'' TV?
 
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==College Football: Mississippi at Alabama on ESPN2==
 
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2005 season. Announcers: Eric Collins (play-by-play), Andre Ware (color), Jimmy Dykes (sideline)
 
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#'''Group 1:''' How is the expository mode apparent in this game?
 
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#*What function do statistics, graphics and replays serve?  Be as specific as possible.
 
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#'''Group 2:''' How is the game turned into a narrative, a story?
 
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#*Do Andre Ware's comments in this game fit the generalization? Be as specific as possible.
 
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#*Are the "social actors" turned into characters?
 
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#'''Group 3:''' Do the book's generalizations about the play-by-play announcer apply to Eric Collins this broadcast?  Be as specific as possible.
 
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#'''Group 4:''' How do football's time and space fit the time and space of television?
 
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#*Provide examples from this broadcast.
 
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===''Two-a-Days: Hoover High''===
 
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*How does ''Two-a-Days'' impose elements of narrative on “reality”? What specific aspects of serial narrative structure does the program employ?
 
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*How does it bring together several different genres?
 
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*How is its use of sport/competition different from that of ''Survivor'' or ''The Amazing Race''?
 
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*How is its representation of sports (specifically football) different/similar to how ESPN covers sports?
 
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*"It is possible that there will be some stereotyping going on with all the editing," [Blair] Blanton said. "But I just hope people will get to know the ''real'' me and not the ''show'' me." (CW article, ending line).
 
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**What term would Nichols use instead of “the show me”?
 
  
 
== Bibliography ==
 
== Bibliography ==
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
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==References==
 
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<references />
 
  
 
==External links==
 
==External links==
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*[http://www.tcf.ua.edu/tvcritgallery/main.php/v/chapter04/ ''Television'' Chapter 4 illustrations]
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*[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter06 Illustrations from ''Television'' chapter 6.]
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*[http://www.tcf.ua.edu/tvcritgallery/main.php/v/tvprograms/TwoADays/ ''Two-a-Days'' illustrations]
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*[http://camerasim.com/camera-simulator.html CameraSim Camera Simulator]
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*[http://www.tcf.ua.edu/EO/DV/NewsClips.htm "The Road to Goražde": news video clips]
 
  
 
[[Category:TCF311]]
 
[[Category:TCF311]]
 
[[Category:TCF311 Discussion]]
 
[[Category:TCF311 Discussion]]

Revision as of 14:52, 10 November 2011

Group 3

  • Explain what focal length is -- using the textbook illustrations.
  • How does a zoom in/out look different from a track in/out?

Group 4

  • Explain what depth of field is -- using the textbook illustrations.
  • What is the difference between deep focus and deep space (as in mise-en-scene)?

Group 1

  • Explain what aspect ratio is -- using the textbook illustrations.
  • Also explain letterbox and pan-and-scan.

Group 2

  • Explain the significance of camera framing, height, and movement -- using the textbook illustrations.
  • When might movement be used that does not follow a character? How is a Steadicam shot different from a handheld shot?

If you were a cinematographer reshooting the Northern Exposure shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).

http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.

External links

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