The document provides information on analyzing signs, including identifying signs, their meanings and interpretations, and which groups can understand them. It discusses the difference between denotation and connotation of signs and how connotations are influenced by factors like culture, age, and experience. The document also provides questions for analyzing film stills and discusses the purpose and conventions of opening sequences in establishing characters, themes, and expectations for the narrative.

1.
Can you read the signs?
1 2 3 4
5 6 7 8
9 10 11 12
H2 0
13 14 15 16
17 18 19 20
21 22 23 24
1. Identify each sign. What does it stand for?
2. Does it have more than one meaning?
3. Is it symbolic or indexical?
4. Which groups will be able to read it?
5. Which groups may NOT be able to read it?
6. Which groups will have the deepest understanding of the sign?
Discuss your thoughts on this briefly in your answer.
7. Has it been affected by time? If so, in what way? If not, why not
Extension: Are any of these metonyms or contiguous?

2. Denotation & Connotation
Denotation
The ‘literal’ meaning of something, an image or idea. It is, in a way,
the “dictionary” definition.
Connotation
The extra added meanings that we attach to images, objects and
ideas that are not ‘literal’ but based on our experience, culture, age,
gender etc. They are often shared within groups e.g. people of a
similar age, people from a particular religion or country.
Examples
These pairs roughly denote the same thing but have different
connotations
Cat/Moggy Prostitute/Whore Nanny/Au Pair
Connotation are usually
 Shared
 Similar
 Influenced by each other, the media and personal experience
They are often understood and shared by groups. These groups can
be based on many things, including;
Race
Age
Geography/Where we live
Gender
Occupation
Sometimes when reading a text, a person may read the text
differently than was perhaps expected by the text’s producers – this
is sometimes a partial acceptance of the ‘intended’ meaning and
sometimes a complete rejection of it. These are called negotiated
and aberrant readings respectively.

3. READING A FILM STILL
Some initial questions…
1. What type of film is this from? How do you know?
2. Who do you think this film is aimed at? Why do you
think that?
3. Is this a real or fictional text? How do you know?
4. What do you think has happened immediately before
this moment? Why?
5. What do you think is going to happen next? Why?
6. What is the relationship between the characters?
Why do you think this?
7. Are there any relevant props or other elements in
focus in the frame that are important? Why?
In Media Studies you must get used to going beyond just describing
what you see. Everything in a frame is there for a reason: someone
purposefully put it there and so we must try to deduce why. This
action of placing things in a frame (for example on a film set) for a
reason makes them what we call MOTIVATED.
When writing about any still or extract of a text, you must always
say WHAT the effect is and WHY you think it is there. You should
always give alternatives if possible (or plausible) e.g. “it could
mean…” “it could have the effect…

4.
Not static but
constantly
renegotiated
A set of
between industry
characteristics/
and audience – a
Meeting formula
combination of the
audience recognised by
familiar and the
expectations audiences over
unexpected
equals time e.g.
pleasure iconography,
narrative, Mise‐
en‐scene and
representation
WHAT
Films function
DOES
like language –
GENRE At an ideological
offering a set of
level, genres
rules and a
MEAN? offer comforting
vocabulary with
reassurance and
which to
a closing down of
organise
the complexities
meaning
of life
Genre films work
Provide a
through important
relationship
cultural myths and
between audiences
fears by repetition,
and producers
innovation and
which minimises
resolution
the risk of financial
failure
The Beano & Narrative

5. Using the A3 sheet story of the Bash Street Kids, do the following;
1. Read through the story
2. Plot out how the story is told
3. Re-write the story in three different ways, one using a
different point of view, one using montage and one using a
flashback
4. Thinking about Levi-Strauss – what oppositions are there in
the story?
5. In what ways is ellipsis used in TWO of the story versions you
created in number 3? How is it different?
6. Look at the following theories – what do you think are the
advantages and disadvantages of each? What bits are ‘good’
or useful from each and which ‘bad’ or not useful?
NARRATIVE THEORY -Is it any use?
COPY THIS ONTO A4 PAPER and complete
THEORIST Advantages/strengths Disdvantages/weaknesses
PROPP
BARTHES
LEVI-
STRAUSS
VOGLER

7. SHOT SEQUENCE ANALYSIS (2) NOTES….
From “Pretty Woman”
From “Pretty Woman”
From “Pretty Woman”
Make notes about each image. ALSO, think about how the images work as
a sequence.
How do we read the images? What are the key differences? What is being
indicated?

8. Reflections on shots
1. How similar were your actual photos for the thriller shoot in comparison to
your planned drawings?
2. What did you actually do to achieve your shot?
3. Identify what works really well in your chosen still
4. Identify what could be improved upon, or what didn’t work in the shots you
rejected
5. Write up a short analysis of your shot, focussing on camera, character, and
mise-en-scene
6. When you go out shooting again, what techniques or tips would you like to
practice or improve on?
7. What have you learnt from these sessions?
Extra question: Has your work in Photoshop enhanced your shot? If so, what did
you do and what effect has this had?

9. Shot types activity
Group Names:
Shot Shot Type Director Actor(s) PA Success?!
No:
1 ECU
2 BCU
3 CU
4 MCU
5 MS
6 MLS
7 LS
8 VLS/Wide
9 2 SHOT
10 OTS
11 HIGH ANGLE
12 LOW ANGLE
13 TILTED FRAME

10. Camera movement activity Group:
Shot Camera Does it work? Why/ why not?
No: movement
1 Forward track
2 Reverse track
3 Pan
4 Whip pan
5 Tilt
6 Canted angle/
Dutch tilt
7 Crab
8 Arc
Hand held
9
Steadicam
10

11. Opening Sequences
Narrative functions
To introduce character
•
Establish narrative structure
•
Captivate audience/interest
•
Establish core themes
•
Introduce core iconography
•
Establishes audience expectation through use of
•
generic conventions
• Establish sense of enigma
Narrative conventions:
Predominance of action codes
•
Significance of soundtrack – establishing mood
•
Use of titles as credits/ event signifiers
•
Pace
•