Glossary

135Doing TV Drama © English & Media Centre, 2009

Glossary

A Glossary of Technical TermsAsynchronous SoundSound not matched to the images on the screen, although usually related.

This mismatch can be caused by poor sound editing or by the intentional

addition of sound, such as an unexpected train whistle, to cause surprise. It

also can refer to voiceover narration.

BacklightingLight that originates from behind fi gures in a scene. This type of lighting

creates silhouettes of people’s shapes, often to sinister or frightening

eff ect.

Blue ScreenA process in which actors are fi lmed while standing in front of a blue

screen. In post-production diff erent backgrounds are added where the

screen was to create an illusion of the actors physically being in that

location. Today, this screen is often green.

Canted FramingA tilt, either to the left or to the right, that slants objects or people

diagonally within the frame.

Cinema VéritéFrench for ‘cinema truth,’ this documentary style movement emphasised

the use of available light, hand-held cameras, and long takes. Drama

shot in this style tends to strive for as much realism, and as little director

intervention, as possible.

Continuity EditingA style of editing that emphasizes the continuous and seemingly

uninterrupted fl ow of action in a story. It constructs the illusion of events

happening in real time, and avoids drawing attention to cuts and edits.

Crane ShotA very high angle shot taken with the use of a crane. Generally, these shots

give an overhead view of a scene. (See hospital shot in Cutting It.)

Cross CuttingCutting between two separate sequences as they unfold in order to show

a relationship between them. Frequently used to show parallel action, or

simultaneous events, but sometimes also used to show time elapsing.

CutAn editing transition, or change, from one shot to another.

CutawayA quick shot that temporarily redirects audience attention away from the

main action in order to provide commentary, to construct the illusion of

continuity, or to hint at an impending change.

Cut-inA quick shot that moves away from the main action to provide a close up

of an object, such as a clock.7. G

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136 Doing TV Drama © English & Media Centre, 2009

Glossary

Depth of FieldThe part of a scene that is in sharp focus within an image. In photography, this is determined

by the distance of the camera, the type of lens used, and the size of the camera’s aperture. In

a shallow focus shot, only areas closest to the camera are in sharp focus; a deep focus shot

is one in which everything, including the far background, is sharply focused – made more

possible through digital technology. (See the 1922 Oliver Twist extract for an example of

shallow focus.)

DiegeticAny element, usually sound, that originates from action within the frame or the immediate

world of the drama.

DissolveOne image fades out while another fades in so that the two are briefl y superimposed. Often

used to signify passage of time, or changes in mood or mental state. A variety of editing

transitions such as wipes, keyholes, page turns etc can also be used between scenes.

EllipsisThe compression of time within a moving-image narrative. The viewer fi lls in the narrative

gaps, using cues from editing transitions such as wipes, dissolves, and fades. Time can also be

expanded, using editing devices such as slow-motion, parallel action, or montage.

Establishing ShotA shot that provides us with a view of the setting, to establish the location for the action.

Eye-Level ShotA shot taken with a camera placed at approximately the same eye-level as the fi lm subject, not

the equipment operator. This type of shot places the viewer on the same level as the subject.

(See the BBC version of Oliver Twist.)

Eyeline MatchA cut between two shots that creates the illusion of a person in the fi rst shot looking at

something or someone in the second shot.

Fill LightPart of the three-point lighting system, this lower-powered light helps erase or soften

shadows created by the key light.

Fly-on-the-WallA phrase used originally in documentary referring to a fi lmmaker’s role as an unobtrusive

observer. (The fi ght sequence in Criminal Justice arguably ‘borrows’ this eff ect.)

Hand-Held ShotA shot taken with a camera held in an operator’s hand, usually appearing wobbly or unsteady

as a result. A convention of news reporting and documentary and frequently used in realist

drama. (See The Cops.)

High AngleA shot taken from above the subject, usually from overhead. (See the Oliver Twist extracts.)

High ContrastSharp delineation between the bright and dark areas in a scene.

High-Key LightingA type of lighting with bright, even illumination and minimal shadows. Often used in musicals

and comedies.


Incidental MusicMusic specifi cally composed to accompany the action of a drama or to fi ll intervals between

scenes.

IntercutAn editing technique that intersperses two perspectives on the same scene; for example, a

couple talking at a cafe table and a killer setting a bomb in the corner.

LocationThe physical place or setting (outside a studio) where a fi lm or TV sequence is shot.

Low Key LightingA lighting style using only one key light which creates a high contrast or chiaroscuro eff ect

accentuating shadow, drama and a sense of alienation. Often used in horror, fi lm noir, or

suspense; frequently associated with the visual concept of Expressionism. (See the David Lean

Oliver Twist extract for a classic example.)

Master ShotAn establishing shot used as a cover for an entire scene, into which further more specifi c

shots are edited to draw attention to detail, point of view, etc. The master shot is returned to

throughout the scene, thus creating a sense of coherence and avoiding lack of continuity.

Non DiegeticAny element, usually sound, that does not originate from action within the frame or the

immediate world of the drama; for example, background mood music, a voiceover from a later

or earlier date commenting on action. An important way of building atmosphere or mood.

Nonsynchronous SoundA situation when the soundtrack fails to match the image on the screen; for example, we see a

person open his or her mouth in a scream but we hear a train whistle instead.

PanA shot in which the camera moves from left to right or vice versa in order to follow the action.

Parallel EditingA type of editing that cuts between two sequences taking place at diff erent locations and

possibly diff erent times. (See Cutting It.)

Point of ViewThe perspective from which the camera sees the action. The point of view can be either

objective (from the standpoint of a spectator outside the narrative) or subjective (from the

standpoint of a particular character experiencing events in the story).

Point of View ShotA PoV shot shows the scene subjectively, from the perspective of a character, as above.

Production DesignThe overall look and visual style of a moving image text, including all aspects of set design

and locations, costume and styling, lighting, colour palette, special eff ects and art direction.

A hugely important aspect of the emotional and visual impact of a narrative, involving

collaboration with director, producers, director of photography, and editor. (See Skins trailer or

Oliver Twist extracts.)

Glossary


Rule of ThirdsAn aesthetic guideline drawn from art and photography which suggests that the most

important points of interest within an image, shot or frame should be situated about 1/3 of the

way down. For example, a horizon looks best 1/3 from the top or bottom of a shot, rather than

bang in the middle; in a close-up shot or portrait, the eyeline looks most pleasing a third of

the way down the frame.

Shot Reverse ShotAn editing convention used frequently in dialogue where A is shown looking (often off -

screen) at B, and then B is shown looking ‘back’ at A. A and B are shown facing in opposite

directions; thus the viewer assumes that they are looking at each other. This is a feature of the

‘classical’ Hollywood style of continuity editing, which aims to ‘disguise’ editing transitions to

create the eff ect of a continuous action that develops linearly, chronologically, and logically.

(See Cutting It.)

Synchronous SoundSound that appears to match the image on the screen, such as a person’s lips moving as we

hear dialogue; or a music score, bridge or motif cut to time with action.

SequenceA series of shots linked by time, place, and action that forms a coherent unit of narrative with a

specifi c start, middle, and end.

Shallow FocusA shot focusing sharply on a small area of the frame while the rest of it is blurry.

SteadicamA professional harness supporting a camera and counterweights worn by a camera person

that allows the camera to be moved anywhere with graceful, gliding movements. Frequently

used in both drama and documentary to acquire a 360-degree shot, it can create a sense of

freedom, disorientation or surveillance. (Possibly used in the Skins’ trailer.)

Three-point LightingA system of lighting that uses light from three sources: one bright (called ‘key’), one behind

(called ‘backlight’), and one fi ll.

TiltThe upward and downward movement of the camera.

Tracking ShotA shot taken while the camera moves on a wheeled platform.

Two ShotA medium shot with two people in it.

Wide Angle LensA type of lens that exaggerates the disparity between the foreground and background within

a fi lm frame. Objects in the foreground become disproportionately larger, while those in the

background become disproportionately smaller.

WidescreenAny image ratio greater than 1.33:1. Academy standard, a type of widescreen image, is 1.85:1,

the one used in most 35mm pictures.

WipeA visual eff ect in which one image replaces another by seemingly pushing it off the screen.

Glossary


BooksCasey, Calvert, French and Lewis: Television Studies: the Key Concepts

(Routledge, 2002)

Cooke, Les: British Television Drama (BFI, 2003)

Creeber, Glen (ed): The Television Genre Book (BFI, 2001)

Day-Lewis, Sean: Talk of Drama: views of the Television Dramatists now and

then (ULP/John Libbey Media, 1998)

Fiske, John: Television Culture (Methuen 1987)

Holland, Patricia: The Television Handbook (Routledge, 2007)

Martin, Roger: TV for A Level Media Studies (Hodder, 2000)

Nelson, Robin: State of Play: Contemporary High-End TV Drama (MUP, 2007)

Points, Jeremy: Teaching TV Drama (BFI, 2006)

Branston and Staff ord: The Media Students’ Book (Routledge, 2007; 4th

edition)

WeblinksThe BBCPortal for the BBC’s databases on TV and radio drama:

http://www.bbc.co.uk/drama

Excellent source of promotional material and links to microsites for past

and present BBC drama output: http://www.bbc.co.uk/pressoffi ce

Fascinating insiders’ glimpse into BBC audience research and

commissioning practices: http://www.bbc.co.uk/commissioning/marketresearch/

Broadcast MagazineThe website of the trade magazine for the television industry is well worth

an occasional (pricey) trawl through the print version to identify what’s

coming up, identify current institutional issues, budget and production

trivia, and industry gossip: http://www.broadcastnow.co.uk

Channel 4Microsites, clips, interviews, blogs, and downloadables for a range of

popular C4 dramas: http://www.channel4.com/entertainment/drama

See also http://www.channel4.com/more4/drama/ and

http://www.e4.com/search.e4?query=e4+tv+shows for more of the

same, including the Skins website.

Off the TellyLively site covering a range of drama review, topics and debates:

http://www.off thetelly.co.uk/drama

MediaMagazineThe website of the English and Media Centre’s MediaMagazine contains an

archive of over 400 articles, including material on The Sopranos, Lost, Ugly

Betty, Shameless, Six Feet Under, Bleak House, examples of textual analysis of

TV drama, and examiners’ guidance: http://www.mediamagazine.org.uk

Bibliography

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BFIAn extensive and well-documented TV archive and commentary site, with many useful

background articles: http://www.screenonline.org.uk/tv/id/482184/index.html

Television HeavenArchive of material on popular TV programmes past and present with useful links to reviews, a

television history resource site, a forum, features and downloadables:

http://www.televisionheaven.co.uk

TV CreamFan site for archive TV coverage which includes YouTube features, blogs, links and clips: http://www.tvcream.org

The National Media MuseumA range of useful fi lm and TV online resources and images:

http://www.nationalmediamuseum.org.uk/Television/

The GuardianIndispensable source of industry news and analysis, critical debates, previews, reviews etc:

http://www.guardian.co.uk/media/televisionhttp://www.guardian.co.uk/culture/televisionSee also Charlie Brooker’s ‘Screenburn’, Lucy Mangan’s ‘Cable Girl’, the TV and Radio blog,

Gareth McLean’s TV blog etc.

Weblinks checked March 2009

Bibliography

Art & Photos

Glossary