Intofilm Film Language Full Resource 2016

Film Language
Our resources are designed to be used with selected film titles,

which are available free for clubs at www.intofilm.org/clubs
See, think, make.

Imagine
intofilm.org
Into Film is a trading name of Film Nation UK. Registered Charity number 1154030.
Our downloadable resources are designed to be used in conjunction with selected film titles, which are available free for clubs at www.intofilm.org
Activity pack Film Language
About this resource
This resource is a cross-specification teaching resource developed by Into Film and accompanies the PowerPoint
presentation Film Language. Many of the activities outlined in this document require film clips and stills, which are
contained within the presentation. It aims to deliver a range of activities for students and teachers who are working
within Key Stage 4, Key Stage 5 and Senior Level Film, Media and Moving Image Arts specifications. The focus of the
resource is on teaching the language of the moving image, but offers ways of making connections to other key concepts
in both moving image literacy, and media and film education more widely. Perhaps, more importantly though, the
resource highlights some of the many opportunities and materials that Into Film provide for students to explore the
moving image.
A cross-specification approach
The range of courses in the areas of Film, Media and Moving Image available to KS4, KS5 and Senior Level students in
the UK is extensive, but it is important to see this resource as flexible and adaptable enough to be used by any teacher,
working with any specification. As a consequence, there is the need to do some ‘translation’ right from the outset,
because the language of the moving image in the classroom has several different ‘dialects’ depending on which
specification students and teachers are working with. To this end, the resource groups a number of key technical terms
– the metalanguage of the moving image – under four broad headings or “elements”. The grid below shows how these
elements translate to the different Film, Media and Moving Image specifications.
Film language
CCEA SQA Higher

Element WJEC Media WJEC Film OCR Film OCR Media
Moving Media
Studies Studies Studies Studies
Image Arts Studies
Camera
Camera Camerawork Cinematography Camerawork Camera Camera Movement,
Framing, Angle
Mise-en- Mise- Performance Mise- Mise- Mise-en-scène/ Mise-en-scène,

scène, en-scène Mise-en-scène en-scène en-scène Cinematography Lighting
Lighting
Sound Sound Sound Sound Sound Sound Sound
Editing Editing Editing Editing Editing Editing Editing, Special

Effects, Titles
In these four elements, students and teachers should be able to recognise terms that may be familiar to them as the
language of the moving image that they already use. Or, if they are new to the subject, this ‘translation’ might help them
deal with terms that they encounter in the course of their personal or professional development.
intofilm.org 2
Activity pack Film Language
How the resource works
Film language, like the language we speak, is simultaneously both something we are easy and familiar with, while at
the same time being deeply complex. The students that you teach will already have an extensive knowledge of film
language, but they may not be able to identify that knowledge within themselves, or indeed be able to speak either
about or in that language. When, as a teacher, you begin to work on the language of the moving image in the
classroom, it soon becomes clear that the young people in front of you will often love the language, but may need
some guidance as to why it is important and worth exploring.
This activity pack, and the accompanying Film Language PowerPoint presentation, offer a range of activities from
which the teacher may select the ones most appropriate to the student cohort’s experience and abilities. Both the
activity pack and the in-class presentation are divided into four sections – one for each of the four elements of film
language outlined above. Each section contains within it a range of classroom activities and some suggestions for
further activity. Each section of the presentation contains two clips – taken from the films outlined below – which are
used to explore the elements of film language. The clips are illustrative though; the activities are generally designed to
be adapted for use with any film at KS4, KS5 or Senior Level.
The films
The resources use clips from two films:
Ender’s Game (2013, 12)

After being taken away from his family and placed in a military training school for gifted
children, Ender Wiggin is thrust into a desperate war between the surviving fragments of
mankind and their invading enemy. Ender’s commanders believe his tactical nous might
be the key to defeating their enemy and ensuring the survival of the human race, but can
a child cope with such pressure and trauma against seemingly impossible odds.
Short Term 12 (2013, 15)

Grace works at a foster care facility, where she commits herself to helping young people
who have slipped through the cracks of the system to feel secure and happy. She is, to
many of the residents, a parent, teacher, friend and confidante. But she is still coping with
difficulties from her own troubled upbringing and is pressured by pending life changes
with her boyfriend Mason, who also works at the facility. When a new resident moves in
who reminds her of herself in many ways, she must again confront her own emotional bruises.
Ender’s Game is a sci-fi blockbuster, while Short Term 12 is a lower budget, independent film. The films are very
different, but both have a diverse range of young people in them, and present a range of issues, making them
appropriate for analysis with KS4, KS5 and Senior Level classes. They have been chosen here because they are different,
illustrating the generic nature of the activities proposed by the resource. Most of the activities in the resource are
completely generic, and could be adapted for use with any film.
You can order these films for free through your Into Film Club account. Not yet into film? Joining Into Film is easy
and free, go to www.intofilm.org to find out more and register, or email support@intofilm.org.
intofilm.org 3
The language of camera Film Language
The language of camera

Background: Camerawork is often treated as the principal mode
in which the language of film communicates with audiences and
this is probably to do with the nature of film as a visual medium.
In many ways, the camera replicates the behaviour of our eyes.
When teaching about camerawork, it is useful to know about things
like camera angles and movements, but it is equally important
that students think about why those shots and movements have
been used, and their role in communicating a story or idea. The
key to teaching camerawork successfully then is probably to
make sure that students feel comfortable with what we might call
the metalanguage of the camera – the words that describe the
things that the camera does – and the motivations for a director,
or indeed the student themselves, as film maker. The language
of camera is explored on slides 4–12 of the accompanying Film
Language presentation.
This section of the resource aims to make students and teachers comfortable with that language and give them
opportunities to ask questions about the way that camerawork is used in films. Also, for teachers and students who are
more confident with the language of the camera, there are some suggestions for more complex analytical tasks and
production work.
What you might need:

Ŕ "MJTt of shot types, angles and movements.
Ŕ *GZPVIBWFUIFN DBNDPSEFSTPSŤJQDBNTDBOBMTPCFVTFGVMGPSSFQMJDBUJOHQBSUJDVMBSVTFTPGUIFDBNFSBJO
the classroom.
Classroom activities
lntroductory activities
These are more general activities that provide a warm-up before working with the extracts.
Ŕ :PVNJHIUMJLFUPTUBSUXJUIBEJTDVTTJPOBCPVUUIFTUVEFOUTōPXOFYQFSJFODFTPGDBNFSBXPSLUIBUUIFZIBWFGPVOE
interesting. Do they recall a particular piece of film or TV where the camera was used in an interesting way? If they
cannot, it is worth discussing this too, because it might lead to some questions about the ‘invisible’ nature of
camerawork – something that is so familiar to us that we take it for granted.
intofilm.org 4
Ŕ "OPUIFSVTFGVMUBTLJTUPHJWFTUVEFOUTBTNBMMDBSECPBSEGSBNFPGBCPVUDNTRVBSFBOETPNFQJDUVSFTPOQBQFSPG
people and objects. The students can then be encouraged to frame the objects and people in interesting ways,
discussing what it is about framing and composition that communicates a particular idea, and linking this to the
way the director uses a camera (you can omit the terms framing and composition at this stage if you wish).
Camera activity 1
Camerawork
8BUDIUIFDMJQTŌ5SBJOJOHōPOTMJEFBOEŌ#JSUIEBZōPOTMJEF-PPLBUUIFŌ$BNFSBXPSLōTUJMMTPOTMJEFTPGUIF
accompanying Film Language presentation.
Ask the class to get into pairs. Each partner should be responsible for one of the two films. Partners should discuss why
they think the director of ‘their’ film chose to use each of these shots in the scene.
Each pair can report back to the class on their discussion. They should try to explain to their classmates what the
director is trying to do with their choices and how that might help us to understand what is going on in the film and
the relationship between the characters. This activity is simply aimed at getting students to think about why directors
vary camerawork. In the two clips, there is a real variation in camerawork which explores the different relationships and
moods between the characters. You could link this task to a roleplay if you like, with each pair of ‘directors’ sharing back
their motivations to the class in role. You might want to use this task to introduce technical terms, but if you want to
make this more about exploration, this will also work well.
Camera activity 2
Tracking shots
Ask the class to look at the opening of the Ender’s Game clip ‘Training’ on slide 6 of the accompanying Film Language
presentation. This uses a tracking shot, which is used quite frequently in films for specific reasons.
Ask students to work in a group of three or four and research other famous tracking shots (you could give them a list of
films to research). Watch them and discuss as a group.
Each group should then create a short presentation on these tracking shots, including the one from Ender’s Game,
being careful to tell their classmates why they think the director is using them in each instance.
This activity involves students looking specifically at the tracking shot used in the Ender’s Game clip ‘Training’ and then
researching other notable tracking shots in order to create a class presentation. The students will need access to the
internet to do this task properly. Other films in which tracking shots are used in an interesting way include Notting Hill
(1999, 15), Panic Room (2002, 15) and Touch of Evil
5IFTUVEFOUTNBZOFFEUPţOEPVUBMJUUMFBCPVUUIF
background and plot to the film, but the presentation should be mainly about why the director is using the shot.
They must talk about the Ender’s Game tracking shot in relation to the clip that it is constituent of, and they may do
something similar with other clips that they find.
*This activity could be adapted for any interesting or notable types of camera work, such as tilted/canted angles,
TUFBEJDBNTIPUTPSllQBOT
intofilm.org 5
Camera activity 3
Camerawork and relationships

Watch the clip entitled ‘Birthday’ on slide 7 of the accompanying Film Language presentation. Discuss the fact that in
both Short Term 12 and Ender’s Game, camerawork is being used to establish both relationships between the
characters, as well as the audience and characters.
Photocopy The language of camera – camerawork and relationships worksheet on page 20 and give to the students.
Ask students to work individually and select one of the following relationships from each film.
Ender’s Game
Ender and Petra OR Ender and Bonzo
Short Term 12
Grace and Jayden OR Jayden and the audience
UTJOHUIFTUJMMTPOTMJEFTPGUIFFilm Language presentation as reference, students should complete the grid on

Camerawork and relationships to explain how, for each relationship, they think that the camerawork is being used to
establish the particular relationship. For example how does the Wide/Two Shot of Grace and Jayden show that they
have a relationship?
This is a more complex task that involves an in-depth discussion of what is going on in each clip. It also relies upon
the student being confident in their use of the metalanguage of the moving image, because it needs them to make
distinctions between the way that different types of shot are being used to reveal on the one hand, narrative and on the
other hand character.
Filmmaking activity
‘The 8-frame film’

Once you have used the activity or activities above to explore the language of film, a good way to consolidate
LOPXMFEHFPGUIBUMBOHVBHFJTUPNBLFBO'SBNF'JMN5PEPUIJTZPVXJMMOFFEFOPVHIŤJQDBNTPSDBNDPSEFSTTP
that you can give one to a group of four students.
Once teacher and students have been familiarised with the technology, each group needs to do the following:
Ŕ %FDJEFPOSPMFT&BDIHSPVQTIPVMEIBWFBEJSFDUPS DBNFSBPQFSBUPSBOEPOFPSUXPBDUPST
Ŕ %FDJEFPOBTUPSZUIBUDBOCFUPMEJOFJHIUTIPUT"HPPEXBZPGDPNJOHVQXJUIJEFBTGPSUIJTJTUPHFUFWFSZCPEZUP
write down on a sticky note something funny that happened to them or their friends in the last week. Each group
can then discuss these and use them to come up with a story.
Ŕ 6TFTUJDLZOPUFTUPDSFBUFBTUPSZCPBSE&BDIOPUFDBOSFQSFTFOUBTIPUBOETIPVMEIBWFBOJNBHF BEFTDSJQUJPO
of the content of the shot and what type of shot it is. They should try to include at least five different shots that
they identified in the clips they watched in order to tell their story.
Ŕ 5IFTUVEFOUTDBOUIFOTIPPUUIFţMN*UJTSFBMMZJNQPSUBOUIFSFUPFNQIBTJTFUIBUUIJTJTBOJODBNFSBFEJU TPUIFZ
cannot shoot any shot more than once. If they make a mistake, they need to delete the shot and start again.
They should also shoot in the order of the storyboard, as the film will not be edited on the computer afterwards.
Ŕ 8BUDIUIFţMNTCBDLBOETFFJGFBDIHSPVQLFQUUPUIFDSJUFSJB8IJDITIPUTEJEUIFZDIPPTF 8BTJUFBTZGPSUIFSFTU
of the class to work out the story they were telling?
intofilm.org 6
Signposting to other concepts

For many teachers, the activities outlined in this section can be seen as training for the kind of textual analysis tasks in
both exams and coursework that will require students to write longer responses based on a clip. Both the clips
included here would make for good starting points for exploring the concept of representation. Ender’s Game and
Short Term 12 both provide audiences with interesting representations of age and gender. Exploring the way that
camerawork is used to explore age for example, might be a good way of extending the Camerawork and relationships
activity above.
intofilm.org 7
The language of mise-en-scène Film Language
The language of mise-en-scène

Background: The term mise-en-scène (originally French, meaning
“to put in the picture”) covers at least costume, props, set, location,
lighting and colour design. In some uses, acting, movement
and performance are also covered. These aspects of mise-en-
scène can be introduced to your class via slides 13-26 of the
accompanying Film Language presentation. Teaching mise-en-
scène is an excellent opportunity to introduce students to basic (or
more complex) semiotic analysis – something that is particularly
important for considering the way that the moving image makes
meaning. The elements of mise-en-scène that make up any given
shot or sequence in a film extract can frequently be read as a set of
signs that give insight into the director’s intentions.
In some moving image texts (as in Ender’s Game), the use of mise-en-scène is a clear indicator of genre, and in
introducing students to the notion of signification, teachers might want to make a clear connection between
signification generally and the way that it is used specifically in different genres. For example, in the clip selected for
this section, Ender’s yellow uniform clearly has a number of significations – something that is commented on by Bonzo
– but more broadly, this whole scene introduced a number of generic signifiers that are letting the audience know that
this is a science fiction film. While this resource is generally about getting students to work with what might be called
the ‘construction’ concepts of film language, it is also important to suggest ways that these connect with broader
‘meaning’ concepts such as genre and narrative. Again, such significations might be explored through production work.

Ŕ 4UJMMJNBHFTGSPNţMNT
Ŕ "WFSZCBTJDJOUSPEVDUJPOUPTFNJPUJDBOBMZTJTXJUITJNQMFFYQMBOBUJPOTBOEFYBNQMFTPGLFZUFSNT TVDIBT
signifier and signified, or denotation and connotation. A glossary is provided on pages 16 and 17.
Ŕ "CBTJDMJHIUJOHEJBHSBN JMMVTUSBUJOHUIFUISFFUZQFTPGMJHIUUIBUBSFNPTUDPNNPOMZVTFEJOţMN
(key, fill and back).
intofilm.org
lntroductory activities
These are more general activities that provide a ‘warm-up before’ working with the extracts.
Ŕ "HPPEQMBDFUPTUBSUJTUPUBLFBTUJMMGSPNBţMNBOEIBWFTUVEFOUTMBCFMJUXJUIUIFEJŢFSFOUFMFNFOUTPG
mise-en-scène that they can identify. It helps here if the still is in colour, as then the students can comment more
easily on lighting and colour design. They can keep this handy to help them with the activities based on the extract.
Ŕ (JWFZPVSTUVEFOUTBSBOHFPGTUJMMTPSQIPUPHSBQITBOE VTJOHBMJHIUJOHEJBHSBNZPVIBWFHJWFOUIFN BTLUIFNUP
identify which kinds of light are prominent in the photo. It helps here if you can deliberately choose photographs
where the light has been manipulated (e.g. one of key, fill or back has been removed) and that you also introduce
the concept of ambient (natural) light.
Mise-en-scène activity 1
Room analysis
Watch the extracts ‘Home Life’ and ‘Sergeant James Dap’ on slides 14-15 of the accompanying Film Language
presentation. Ask the students to look at the mise-en-scène in the three stills of rooms from Short Term 12 on slides
17-19. What does the mise-en-scène of these three shots tell students about what kind of room it is and what kind
of person might occupy the room? Students can answer these questions either as a discussion or by completing the
worksheet The language of mise-en-scène – room analysis on page 20.
This first activity is a basic analysis of the mise-en-scène in three rooms from the title sequence of Short Term 12.
The students might simply begin by discussing what each room is used for. The first image is of what is referred to in the
film as the ‘cool-down’ room. Students will probably raise the question of why the room has an inflatable dog in it,
and why it has a small high window on one side. These kinds of questions are useful, because the extract here is from
the opening sequence and is establishing the environment of the film. A discussion of the two bedrooms and their
occupants will reveal some important things about the ways that the director wants to communicate with his audience
about the characters of Sammy and Marcus.
Shot analysis
Ask students to look at the stills of scenes on slides 21-23 of the accompanying Film Language presentation. In groups,
give them a copy of the worksheet The language of mise-en-scène - shot analysis on page 21 and ask each group to
analyse the mise-en-scène for one of the three shots. After each group has completed their analysis, they can go around
to other groups and present their findings to them, while also listening to other groups findings about the other two shots.
This is a good activity for introducing students to the semiotic concepts of denotation and connotation. Split the class
into four groups and give each of them one of the four stills from the dormitory scene in Ender’s Game. Ask each group
to complete the grid based on their still. In the Denotation column, they can simply write whatever they see in the still
image that relates to that image. In the Connotation column they should be encouraged to write ideas that they might
associate with that colour, object or action. In this scene for example, there is an interesting discussion to be had about
the connotations attached to the colour yellow and those we associate with uniforms.
intofilm.org 9
Light analysis
Ask the students to look at the Short Term 12 stills on slides 25-26 of the accompanying Film Language presentation
and the Ender’s Game stills on slides 21-23. Students should be given printed or digital copies of each still, and asked to
annotate examples of key, fill, back and ambient light. Once they have done the annotation, they should consider the
two questions; “Where is the light coming from?” and “Why is the light the way it is?” This task could be done in
conjunction with the Filmmaking task outlined below.
Lighting is often an aspect of mise-en-scène that teachers are wary of, possibly because of its technical nature.
However, high level textual analysis work at GCSE, A-Level, NQ and BTEC is often characterised by an ability to
comment on the effect of lighting. This activity asks students to consider the question of “Where is the light coming
from?”, considering the role of lighting in each of the four scenes (two from each film).
Filmmaking task
‘The three light shoot’

If you are lucky enough to work in a school that has a lighting set-up, you could do the following production task with
studio lights or portable lights such as redheads. However you don’t need a lot of expensive equipment to explore
lighting through production work. This task will also work with three fairly inexpensive desk lamps, as long as you turn
off any other lights in the room and make it quite dark.
Set up a camera (it could be either a camcorder or a digital stills camera) in a space with your three lights in the key,
fill and back positions. Get one of your class to be a ‘subject’ and stand in the space. Ask the group to take four pictures
manipulating the three lights so that the subject:
Ŕ BQQFBSTBTBTJMIPVFUUF
Ŕ BQQFBSTUPCFTDBSZ
Ŕ BQQFBSTUPCFJOBCBENPPE
Ŕ BQQFBSTUPCFŤBUBOEUXPEJNFOTJPOBM
When the photos or video have been taken, get the group to present them to the whole class and explain what they
did with the lights to create the particular effect. They can they can then be encouraged to use these techniques in any
other moving image production work that they do.
Signposting
Work on mise-en-scène can be used to make some good connections to the media institutions and technology.
The analysis of mise-en-scène in a film like Ender’s Game can be used as starting point to talk about the development
of production technologies, such as CGI, blue screen and motion capture, and the relative costs to a film production
company of investing in them. It also provides a good starting point for discussing the marketing and promotion of a
film. For example, your students might consider which elements of the mise-en-scène in the film make it into the poster
promoting the film.
Ŕ "OPUIFSVTFGVMUBTLJTUPHJWFTUVEFOUTBTNBMMDBSECPBSEGSBNFPGBCPVUDNTRVBSFBOETPNFQJDUVSFTPOQBQFSPG
people and objects. The students can then be encouraged to frame the objects and people in interesting ways,
discussing what it is about framing and composition (you can omit these terms at this stage if you wish) that
communicates a particular idea, and linking this to the way the director uses a camera.
intofilm.org 10
The language of editing Film Language
The language of editing

Background: Editing is, in its most basic sense, about what is left in
and what is taken out of a moving image text. However, when we
ask students to talk and write about editing, we often ask them
to discuss a much wider range of issues, such as chronology,
transitions, titles, visual effects and narrative. These issues and
techniques can be introduced to your class on slides 27-32 of the
accompanying Film Language presentation. All of these aspects of
editing are contributory to the idea that the editing process is about
the way that the construction concepts at work in a film text are
put together to create meaning.

Ŕ *NBHFTGPSUIFQBQFSFEJUJOHBDUJWJUZCFMPX
Ŕ 'JMNDMJQTUPEFNPOTUSBUFFEJUJOHUFDIOJRVFTTVDIBTUSBOTJUJPOTFUD
Ŕ 5IFSFBSFTPNFHPPECBTJDBDUJWJUJFTGPSDMBTTFTUIBUIBWFOPUQSFWJPVTMZEPOFBOZXPSLPOFEJUJOHJO
the Into Film Secondary Filmmaking Guide (www.intofilm.org/fimmaking)
Introductory activities
Ŕ "QBQFSFEJUJOHFYFSDJTF JOXIJDIZPVQSFTFOUUIFDMBTTXJUIBOVNCFSPGQJDUVSFTBOEBTLUIFNUPDSFBUFBTUPSZ
from them, is a simple but effective way to introduce the idea that editing creates meaning. For example, you might
give a group some cut-out pictures of a car (maybe three copies of the same car), a picture of a man standing still
and a picture of the same man running and then ask them to imagine that each picture is a shot in a film. They can
then create a sequence using those pictures that tell a story. What is interesting to see here is the difference in the
stories that different groups create – illustrating the point that different filmmakers will use the same material in
different ways. The task can be made more complex, as well by giving the students a ‘blank’ picture in the sequence
(basically a plain piece of paper that they can fill in to create an additional scene that might change the story).
Ŕ 5FYUVBMBOBMZTJTPGBSBOHFPGDMJQTJTBMTPVTFGVMGPSEJTDVTTJOHPOTDSFFOFEJUJOHUFDIOJRVFTTVDIBTUSBOTJUJPOT
The key aspect of this task is to emphasise that different transitions will imply particular things (for example, wipes
usually imply a change in location) and to work out why the editor and the director have chosen a particular
transition. Famous examples of transitions can be found in films as diverse as The Blair Witch Project (1999, 15),
Star Wars (1977, U) and Invasion of the Bodysnatchers (1956, PG).
intofilm.org 11
Editing activity 1
Counting cuts
Watch the clips ‘Waiting for Dad’ and ‘Attack and Defence’ on slides 29–30 of the accompanying Film Language
presentation with students. Ask them to count the number of cuts in each one, but try to organise their counting in
such a way that they record the number of cuts per minute. Use the simple chart on the worksheet The language of
editing - counting cuts on page 23. When they have finished counting cuts, ask students to discuss what the number
of cuts at different times in the extract (first minute, second minute etc) might mean for the pace of the film and the
audience’s response to it.
Counting cuts is a really good way of making students realise that editing is often about the creation of pace, and the
corresponding tension or ease that goes with that. This activity could be done with any film extract.
Editing activity 2
Passing time
Watch the clip ‘Waiting for Dad’ from Short Term 12 again. Ask them to discuss how a sense of time passing is being
created while Jayden waits for her dad to pick her up. They could analyse the clip in groups and present their ideas
about the use of editing in the clip to start this discussion off.
In this scene, Jayden waits for her dad to pick her up because it is her birthday. The editing in this sequence implies
both anticipation, but also boredom, and students may well pick up the fact that the editing actually gets quicker, even
though time is effectively slowing down for Jayden as she waits in vain for her dad.
Editing activity 3
Eyeline match
Watch the ‘Attack and Defence’ clip from Ender’s Game again. Recap the concept of the eyeline match, and ask them to
identify two examples of an eyeline match. Ask students to then go away (either individually or in groups) to find three
other examples of eyeline matches from scenes in other films and television programmes. They should then create a
written report, using stills or screengrabs from their chosen films, which explains why the eyeline match is important in
the scene for narrative or representational purposes.
This task is a more extended, complex task, aimed at preparing students for the kind of writing they need to do about
editing (particularly in an exam environment). The ability to write about this kind of editing technique and relate it to
representational or narrative concepts is significant because it is often the sort of small detail that is used to establish
the relationship between characters and move the story on. This is the case with the Ender’s Game extract, where the
eyeline matches are used to show the audience the relationship between Ender and his peers, and generate the
narrative tension inherent in the ‘game’ situation.
intofilm.org 12
Our downloadable resources are designed to be used in conjunction with selected film titles, which are available free for clubs at www.filmclub.org
Filmmaking task
Trailer edit
Undoubtedly, the best way to get to grips with the concept of editing is to do some. A great thing to do is to have your
class make trailers for a new film (if you have access to some camcorders and basic editing software), which can be
completed across a few lessons, by doing the following:
Ŕ "TLTUVEFOUTUPXSJUFBTIPSUUSFBUNFOUGPSBOFXţMNJOBOZHFOSFXIJDIJTXPSLBCMFXJUIJOBTDIPPMFOWJSPONFOU
Ŕ 4UPSZCPBSEBUSBJMFSGPSUIFţMNVTJOHUIFStoryboard template on page 24.
Ŕ 4IPPUUIFTDFOFTGSPNUIFUSBJMFSBOEMPBEUIFNPOUPUIFDPNQVUFS
Ŕ &EJUUIFTDFOFTUPHFUIFSVTJOHFEJUJOHTPGUXBSFBOEBEEBWPJDFPWFS UJUMFTBOENVTJD
Ŕ *GZPVIBWFUJNF JUJTBHPPEJEFBUPIBWFTUVEFOUTNBLFUXPEJŢFSFOUUSBJMFSTGSPNUIFTBNFTIPUT EFNPOTUSBUJOH
how editing can be used to make the same material have different outcomes.
Useful editing guides which can help with this project can be found at www.intofilm.org/filmmaking
Signposting
Editing is often a good way into talking about audience. For example, a discussion of what has been removed or left in
can often lead to a wider debate about not only censorship and certification, but also pleasure. The decision to leave
some things out in horror films for example, can often be about raising tension, rather than relieving it.
intofilm.org 13
The language of sound Film Language
The language of sound

Background: Sound, as an element of the moving image, is key to
helping an audience understand the ideas, motivations and emotions
that lie behind any film. An analysis of sound will often help students
grasp the detail with which directors, sound recordists and editors
plan the effect that they want a scene within a film to have. Like
editing, sound has a technical vocabulary associated with it, that can
sometimes be intimidating to students and teachers alike when first
FODPVOUFSFEŊTPNFPGXIJDIJTJOUSPEVDFEPOTMJEFTŊJOUIF
accompanying Film Language presentation – but students can learn
to adopt this language through a range of classroom activities.

Ŕ A range of film clips with interesting and varied soundtracks.
Ŕ 5IF*OUP'JMNJOUFSWJFXXJUI+PIO'FXFMM 'PMFZ4PVOE"SUJTU www.bit.ly/IFJohnFewell)
Ŕ 5IF*OUP'JMNSpotlight on Music resource www.intofilm.org/spotlight-on-music)
Introductory activities
Ŕ $IPPTFBSBOHFPGţMNDMJQTXJUIWBSJFEBOEJOUFSFTUJOHTPVOEUSBDLTBOEMJTUFOUPUIFDMJQTXJUIPVUUIFTUVEFOUT
seeing any pictures. This allows them to concentrate on the sound and also means that they can think about what
the sound implies – they could write down what they think is happening on screen whilst listening.
Ŕ :PVDPVMEBMTPFYQMPSFUIFEJŢFSFOUUZQFTPGTPVOEJOUSPEVDFEJOUIFBDDPNQBOZJOH Film Language presentation by
asking students to research famous examples of each type of film sound, such as those used in Jaws (1975, 12),
Psycho (1960, 15), Apocalypse Now (1979, 15) etc, and present them back to the class.
Sound activity 1
Sound identification
Play the Ender’s Game Clip ‘Recruitment’ on slide 34 of the Film Language presentation. Then play the clip again
but this time ask them to close their eyes. When the clip is over ask them to identify as many different types of sound
(using technical terms wherever possible) and write them down using the worksheet The language of sound – sound
identification on page 25. For each of these types of sound, students should then individually identify what each type of
sound is, and what it is telling us about the story of the film.
intofilm.org 14
The language of sound Film Language
This is a simple task that asks students to make the connection between types of sound and narrative. It works
particularly well with the opening of Ender’s Game because there is such a variety of sound, but would work well with
any sequence which also has such a wide variety.
Sound activity 2
Music for mood

Play the clip ‘Grace Visits the Clinic’ from Short Term 12 on slide 36 of the Film Language presentation to students
at least twice. Ask students to think about what kind of mood is being created here and discuss this. How would the
mood be changed if the music was different? Ask students to discuss and explain how and why music can change the
mood of a scene, and can they think of any other examples from films and television where the music is crucial to our
understanding of the mood of the scene.
This discussion activity raises some interesting questions about the role of music in Short Term 12 and film more
generally. It could be extended into an interesting homework task in which students write about the use of music in
something that they watch at home.
Sound activity 3
Representations
Ask students to watch both clips again. They should make notes about the way that in each clip the variety of sounds
are used to represent age, gender and status. You may need to give some examples here, such as the idea that as Ender
speaks the opening lines of voiceover in the film, it is possible to see these as being significant representations of both
age and status for the film. This kind of notemaking can then be used for a written essay in which the students write
about the way that sound contributes to these representations.
This kind of extended writing task involves more complex understanding, but there is a good range of sound types in
both clips and both are connected to a range of representational themes that can be explored through sound.
Filmmaking task
Alternative soundtracks
A good activity if you have time is to take a short filmed sequence – you could use the one you made in the ‘8-frame film’
activity – and put it on to your school network with a variety of different soundtracks that could be matched with it.
Signposting to other concepts

In addition to the Representations activity, working with sound is a good way into talking about institutional practices in the film
industry (such as composing film scores), as well as working with audiences (thinking about how films are quite often sold
through their soundtracks). Students can do extensive case study work here on the way that the audience for a particular
film is persuaded to buy a soundtrack through different formats, such as the film, DVD and even video game promotion.
intofilm.org 15
Glossary Film Language
Glossary
Back light
Lighting elements in the foreground from behind.
Connotation
An idea associated with a word or image in addition to its explicit meaning.
Denotation
The explicit meaning of a word or image, the object itself.
Diegetic sound
Sound generated by the story or narrative; sound that seems like a natural part of the scene,
e.g. crashing waves, footsteps, dialogue.
Ellipsis
A narrative device concerning the omission of sections of the story.
Eyeline match
Cutting between two shots to suggest what a person is looking at.
Fill light
A second light on a film set that lightens the shadows.
Key light
The main light on a film set.
Match on action
An action occurred in one shot continues in another.
Metalanguage
Language about language.
Mise-en-scène
Everything that appears in a shot.
Motif
Recurring themes in a film.
Non-diegetic sound
Sound that the audience knows has been added, like music and voiceover.
Tracking shot
A camera shot which physically follows the subject being filmed.
intofilm.org 16
Glossary Film Language
Semiotic analysis
Analysis of the signs and symbols to uncover meaning.
Semiotician
Those who study the communication of signs and symbols.
Signification
The conveyance of meaning.
Signifier
Signs, symbols, sounds, people.
Signified
The meaning of the signifier.
Sting
A musical phrase.
Superimposition
The placement of one image or sound on top of another.
Textual analysis
Analysing a text to extract meaning.
Transition
The way one shot changes to another in a film sequence.
intofilm.org 17
Worksheets Film Language
Worksheets
This section contains the worksheets and resources that are referenced in the
activity pack. They are designed to aid the students in the activities that are
suggested to accompany the film clips.
intofilm.org
The language of camera worksheet Film Language
The language of camera - camerawork and relationships
What this tells us

Relationship Type of shot What we see about the relationship
intofilm.org 19
The language of mise-en-scène worksheet Film Language
The language of mise-en-scène – room analysis
What can
What is in What kind Who uses you tell
Room the room? of room? this room? about them?
Room 1
Room 2
Room 3
intofilm.org 20
The language of mise-en-scène – shot analysis

Shot 1 – The dormitory
Element
of mise-en-scène Denotation Connotation
Costume
Set
Colour/lighting
Actors
Shot 2 – Ender and Graff
Element
Costume
Set
Colour/lighting
Actors
intofilm.org 21
Shot 3 – Sergeant Dap
Element
Costume
Set
Colour/lighting
Actors
intofilm.org 22
The language of editing worksheet Film Language
The language of editing - counting cuts
Number of cuts in: Minute 1 Minute 2 Minute 3
Ender’s Game clip
Short Term 12 clip
intofilm.org 23
Storyboard template worksheet Film Language
Storyboard template The Commonwealth Through Film: Primary
Notes Notes Notes Notes
Notes Notes Notes Notes
intofilm.org
The language of sound worksheet Film Language
The language of sound - sound identification

Ender’s Game
What we hear Type of sound What it tells us about the story of the film
intofilm.org 25

Intofilm Film Language Full Resource 2016

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Intofilm Film Language Full Resource 2016

Uploaded by

Copyright:

Available Formats

Film Language

Our resources are designed to be used with selected film titles,

See, think, make.

Activity pack Film Language

About this resource

CCEA SQA Higher

Mise-en- Mise- Performance Mise- Mise- Mise-en-scène/ Mise-en-scène,

Sound Sound Sound Sound Sound Sound Sound

Editing Editing Editing Editing Editing Editing Editing, Special

Activity pack Film Language

How the resource works

The resources use clips from two films:

Ender’s Game (2013, 12)

Short Term 12 (2013, 15)

The language of camera Film Language

The language of camera

What you might need:

The language of camera Film Language

The language of camera Film Language

Camerawork and relationships

UTJOHUIFTUJMMTPOTMJEFTPGUIFFilm Language presentation as reference, students should complete the grid on

‘The 8-frame film’

The language of camera Film Language

Signposting to other concepts

The language of mise-en-scène Film Language

The language of mise-en-scène

What you might need:

The language of mise-en-scène Film Language

The language of mise-en-scène Film Language

‘The three light shoot’

The language of editing Film Language

The language of editing

What you might need:

The language of editing Film Language

The language of editing Film Language

The language of sound Film Language

The language of sound

What you might need:

The language of sound Film Language

Music for mood

Signposting to other concepts

Glossary Film Language

Glossary Film Language

Worksheets Film Language

The language of camera worksheet Film Language

The language of camera - camerawork and relationships

What this tells us

The language of mise-en-scène worksheet Film Language

The language of mise-en-scène – room analysis

The language of mise-en-scène worksheet Film Language

The language of mise-en-scène – shot analysis

Shot 2 – Ender and Graff

The language of mise-en-scène worksheet Film Language

Shot 3 – Sergeant Dap

The language of editing worksheet Film Language

The language of editing - counting cuts

Number of cuts in: Minute 1 Minute 2 Minute 3

Ender’s Game clip

Short Term 12 clip

Storyboard template The Commonwealth Through Film: Primary

Notes Notes Notes Notes

Notes Notes Notes Notes

The language of sound worksheet Film Language

UTJOHUIFTUJMMTPOTMJEFTPGUIFFilm Language presentation as reference, students should complete the grid on