Seminar for Belonging January 21st, 2011

The Children’s Bookshop,

6 Hannah Street Beecroft

 Ph: 9481 8811 staff@thechildrensbookshop.com.au

Book now for January 2011 Holiday Workshop

A Focus on Belonging for HSC English

Just before the HSC commences, students will enjoy the opportunity to focus on Belonging, the Area of Study for HSC English (Paper 1).

Students will work on Reading, Writing and the Extended Writing Task, focusing on Related Texts and Practical Exam strategies.

When: Friday 21^st January, 9-1pm.

Cost: $50 per student

BOS Glossary of Key Words

Account

Account for: state reasons for, report on. Give an account of: narrate a series of events or transactions

Analyse

Identify components and the relationship between them; draw out and relate implications

Apply

Use, utilise, employ in a particular situation

Appreciate

Make a judgement about the value of

Assess

Make a judgement of value, quality, outcomes, results or size

Calculate

Ascertain/determine from given facts, figures or information

Clarify

Make clear or plain

Classify

Arrange or include in classes/categories

Compare

Show how things are similar or different

Construct

Make; build; put together items or arguments

Contrast

Show how things are different or opposite

Critically (analyse/evaluate)

Add a degree or level of accuracy depth, knowledge and understanding, logic, questioning, reflection and quality to (analyse/evaluate)

Deduce

Draw conclusions

Define

State meaning and identify essential qualities

Demonstrate

Show by example

Describe

Provide characteristics and features

Discuss

Identify issues and provide points for and/or against

Distinguish

Recognise or note/indicate as being distinct or different from; to note differences between

Evaluate

Make a judgement based on criteria; determine the value of

Examine

Inquire into

Explain

Relate cause and effect; make the relationships between things evident; provide why and/or how

Extract

Choose relevant and/or appropriate details

Extrapolate

Infer from what is known

Identify

Recognise and name

Interpret

Draw meaning from

Investigate

Plan, inquire into and draw conclusions about

Justify

Support an argument or conclusion

Outline

Sketch in general terms; indicate the main features of

Predict

Suggest what may happen based on available information

Propose

Put forward (for example a point of view, idea, argument, suggestion) for consideration or action

Recall

Present remembered ideas, facts or experiences

Recommend

Provide reasons in favour

Recount

Retell a series of events

Summarise

Express, concisely, the relevant details

Synthesise

Putting together various elements to make a whole

  

 

Sample HSC Questions

Openings - Establishing your thesis

Belonging is inextricably linked to the acceptance of  our identity, through connections made with people, places and communities. There is a complex relationship between the two; identity is derived from belonging, but it is also a precondition to belonging. This perception is shaped within personal, cultural. historical and social context of belonging.....................

Belonging is a universal concept that ultimately defines the connection between indiciduals and communities. Shakespeare's As You Like It depicts the duplicity of belonging in terms of its impact on characters and the manner in which  it develops a sense of belonging between individuals and their environment.................

Ones identity and self worth can be shaped by a developed sense of belongiong to a family, community, environment, culture or another individual............................

Information on As You like It - Spark Notes

As You Like It satirises many of the conventions of poetry and literature dealing with love, such as the idea that love is a disease that brings suffering and torment to the lover, or the assumption that the male lover is the slave or servant of his mistress. These ideas are central features of the courtly love tradition, which greatly influenced European literature for hundreds of years before Shakespeare’s time. In As You Like It, characters lament the suffering caused by their love, but these laments are all unconvincing and ridiculous. While Orlando’s metrically incompetent poems conform to the notion that he should “live and die [Rosalind’s] slave,” these sentiments are roundly ridiculed (III.ii.142). Even Silvius, the untutored shepherd, assumes the role of the tortured lover, asking his beloved Phoebe to notice “the wounds invisible / That love’s keen arrows make” (III.v.31–32). But Silvius’s request for Phoebe’s attention implies that the enslaved lover can loosen the chains of love and that all romantic wounds can be healed—otherwise, his request for notice would be pointless. In general, As You Like It breaks with the courtly love tradition by portraying love as a force for happiness and fulfillment and ridicules those who revel in their own suffering.

Celia speaks to the curative powers of love in her introductory scene with Rosalind, in which she implores her cousin to allow “the full weight” of her love to push aside Rosalind’s unhappy thoughts (I.ii.6). As soon as Rosalind takes to Ardenne, she displays her own copious knowledge of the ways of love. Disguised as Ganymede, she tutors Orlando in how to be a more attentive and caring lover, counsels Silvius against prostrating himself for the sake of the all-too-human Phoebe, and scolds Phoebe for her arrogance in playing the shepherd’s disdainful love object. When Rosalind famously insists that “[m]en have died from time to time, and worms have eaten them, but not for love,” she argues against the notion that love concerns the perfect, mythic, or unattainable (IV.i.91–92). Unlike Jaques and Touchstone, both of whom have keen eyes and biting tongues trained on the follies of romance, Rosalind does not mean to disparage love. On the contrary, she seeks to teach a version of love that not only can survive in the real world, but can bring delight as well. By the end of the play, having successfully orchestrated four marriages and ensured the happy and peaceful return of a more just government, Rosalind proves that love is a source of incomparable delight.

The Malleability of the Human Experience

In Act II, scene vii, Jaques philosophizes on the stages of human life: man passes from infancy into boyhood; becomes a lover, a soldier, and a wise civic leader; and then, year by year, becomes a bit more foolish until he is returned to his “second childishness and mere oblivion” (II.vii.164). Jaques’s speech remains an eloquent commentary on how quickly and thoroughly human beings can change, and, indeed, do change in As You Like It. Whether physically, emotionally, or spiritually, those who enter the Forest of Ardenne are often remarkably different when they leave. The most dramatic and unmistakable change, of course, occurs when Rosalind assumes the disguise of Ganymede. As a young man, Rosalind demonstrates how vulnerable to change men and women truly are. Orlando, of course, is putty in her hands; more impressive, however, is her ability to manipulate Phoebe’s affections, which move from Ganymede to the once despised Silvius with amazing speed.

In As You Like It, Shakespeare dispenses with the time--consuming and often hard-won processes involved in change. The characters do not struggle to become more pliant—their changes are instantaneous. Oliver, for instance, learns to love both his brother Orlando and a disguised Celia within moments of setting foot in the forest. Furthermore, the vengeful and ambitious Duke Frederick abandons all thoughts of fratricide after a single conversation with a religious old man. Certainly, these transformations have much to do with the restorative, almost magical effects of life in the forest, but the consequences of the changes also matter in the real world: the government that rules the French duchy, for example, will be more just under the rightful ruler Duke Senior, while the class structures inherent in court life promise to be somewhat less rigid after the courtiers sojourn in the forest. These social reforms are a clear improvement and result from the more private reforms of the play’s characters. As You Like It not only insists that people can and do change, but also celebrates their ability to change for the better.

City Life Versus Country Life

Pastoral literature thrives on the contrast between life in the city and life in the country. Often, it suggests that the oppressions of the city can be remedied by a trip into the country’s therapeutic woods and fields, and that a person’s sense of balance and rightness can be restored by conversations with uncorrupted shepherds and shepherdesses. This type of restoration, in turn, enables one to return to the city a better person, capable of making the most of urban life. Although Shakespeare tests the bounds of these conventions—his shepherdess Audrey, for instance, is neither articulate nor pure—he begins As You Like It by establishing the city/country dichotomy on which the pastoral mood depends. In Act I, scene i, Orlando rails against the injustices of life with Oliver and complains that he “know[s] no wise remedy how to avoid it” (I.i.20–21). Later in that scene, as Charles relates the whereabouts of Duke Senior and his followers, the remedy is clear: “in the forest of Ardenne . . . many young gentlemen . . . fleet the time carelessly, as they did in the golden world” (I.i.99–103). Indeed, many are healed in the forest—the lovesick are coupled with their lovers and the usurped duke returns to his throne—but Shakespeare reminds us that life in Ardenne is a temporary affair. As the characters prepare to return to life at court, the play does not laud country over city or vice versa, but instead suggests a delicate and necessary balance between the two. The simplicity of the forest provides shelter from the strains of the court, but it also creates the need for urban style and sophistication: one would not do, or even matter, without the other.

Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.

Artifice

As Orlando runs through the forest decorating every tree with love poems for Rosalind, and as Silvius pines for Phoebe and compares her cruel eyes to a murderer, we cannot help but notice the importance of artifice to life in Ardenne. Phoebe decries such artificiality when she laments that her eyes lack the power to do the devoted shepherd any real harm, and Rosalind similarly puts a stop to Orlando’s romantic fussing when she reminds him that “[m]en have died from time to time, and worms have eaten them, but not for love” (IV.i.91–92). Although Rosalind is susceptible to the contrivances of romantic love, as when her composure crumbles when Orlando is only minutes late for their appointment, she does her best to move herself and the others toward a more realistic understanding of love. Knowing that the excitement of the first days of courtship will flag, she warns Orlando that “[m]aids are May when they are maids, but the sky changes when they are wives” (IV.i.125–127). Here, Rosalind cautions against any love that sustains itself on artifice alone. She advocates a love that, while delightful, can survive in the real world. During the Epilogue, Rosalind returns the audience to reality by stripping away not only the artifice of Ardenne, but of her character as well. As the Elizabethan actor stands on the stage and reflects on this temporary foray into the unreal, the audience’s experience comes to mirror the experience of the characters. The theater becomes Ardenne, the artful means of edifying us for our journey into the world in which we live.

Homoeroticism

Like many of Shakespeare’s plays and poems, As You Like It explores different kinds of love between members of the same sex. Celia and Rosalind, for instance, are extremely close friends—almost sisters—and the profound intimacy of their relationship seems at times more intense than that of ordinary friends. Indeed, Celia’s words in Act I, scenes ii and iii echo the protestations of lovers. But to assume that Celia or Rosalind possesses a sexual identity as clearly defined as our modern understandings of heterosexual orhomosexual would be to work against the play’s celebration of a range of intimacies and sexual possibilities.

The other kind of homoeroticism within the play arises from Rosalind’s cross-dressing. Everybody, male and female, seems to love Ganymede, the beautiful boy who looks like a woman because he is really Rosalind in disguise. The name Rosalind chooses for her alter ego, Ganymede, traditionally belonged to a beautiful boy who became one of Jove’s lovers, and the name carries strong homosexual connotations. Even though Orlando is supposed to be in love with Rosalind, he seems to enjoy the idea of acting out his romance with the beautiful, young boy Ganymede—almost as if a boy who looks like the woman he loves is even more appealing than the woman herself. Phoebe, too, is more attracted to the feminine Ganymede than to the real male, Silvius.

In drawing on the motif of homoeroticism, As You Like It is influenced by the pastoral tradition, which typically contains elements of same-sex love. In the Forest of Ardenne, as in pastoral literature, homoerotic relationships are not necessarily antithetical to heterosexual couplings, as modern readers tend to assume. Instead, homosexual and heterosexual love exist on a continuum across which, as the title of the play suggests, one can move as one likes.

Exile

As You Like It abounds in banishment. Some characters have been forcibly removed or threatened from their homes, such as Duke Senior, Rosalind, and Orlando. Some have voluntarily abandoned their positions out of a sense of rightness, such as Senior’s loyal band of lords, Celia, and the noble servant Adam. It is, then, rather remarkable that the play ends with four marriages—a ceremony that unites individuals into couples and ushers these couples into the community. The community that sings and dances its way through Ardenne at the close of Act V, scene iv, is the same community that will return to the dukedom in order to rule and be ruled. This event, where the poor dance in the company of royalty, suggests a utopian world in which wrongs can be righted and hurts healed. The sense of restoration with which the play ends depends upon the formation of a community of exiles in politics and love coming together to soothe their various wounds.

Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

Orlando’s Poems

The poems that Orlando nails to the trees of Ardenne are a testament to his love for Rosalind. In comparing her to the romantic heroines of classical literature—Helen, Cleopatra, Lucretia—Orlando takes his place among a long line of poets who regard the love object as a bit of earthbound perfection. Much to the amusement of Rosalind, Celia, and Touchstone, Orlando’s efforts are far less accomplished than, say, Ovid’s, and so bring into sharp focus the silliness of which all lovers are guilty. Orlando’s “tedious homil[ies] of love” stand as a reminder of the wide gap that exists between the fancies of literature and the kind of love that exists in the real world (III.ii.143).

The Slain Deer

In Act IV, scene ii, Jaques and other lords in Duke Senior’s party kill a deer. Jaques proposes to “set the deer’s horns upon [the hunter’s] head for a branch of victory” (IV.ii.4–5). To an Elizabethan audience, however, the slain deer would have signaled more than just an accomplished archer. As the song that follows the lord’s return to camp makes clear, the deer placed atop the hunter’s head is a symbol of cuckoldry, commonly represented by a man with horns atop his head. Allusions to the cuckolded man run throughout the play, betraying one of the dominant anxieties of the age—that women are sexually uncontrollable—and pointing out the schism between ideal and imperfect love.

Ganymede

Rosalind’s choice of alternative identities is significant. Ganymede is the cupbearer and beloved of Jove and is a standard symbol of homosexual love. In the context of the play, her choice of an alter ego contributes to a continuum of sexual possibilities.

Friends Essay

Write a critical response which considers how the concept of belonging is apparent in Friends using analysis of the film detail and techniques the composer has employed, 800 words.
The film analysis matrix is available on the English faculty website
Year 11 ES2D
DUE: Friday November 5th, 2010
SUBMISSION:  Upload your critical response to the English faculty website.

'Belonging' Images

RELATED MATERIAL

Suggested texts for Area of Study to complement   As you Like It

The Secret Life of Bees    by Sue Monk Kidd

No More Boomerang   by Oodgeroo Nuunuccal

Brick Lane F

Cather in the Rye

One Flew Over the Cuckoos Nest F

Babel F

Not Without my Daughter F

The Story of Tom Brennan

Beneath Clouds F

Survive the Savage Sea F

Frankenstein F

Pride and Prejudice F

Looking for Alibrandi F

The Bible

To Sir With Love

DON’T USE

Kung Fu Panda

I, Robot

Play Station

Hancock

Ladder 49

Finding Nemo

Glossary of Visual Techniques

GLOSSARY OF VISUAL TERMS

aerial shot: A shot filmed from up high on a crane or in a plane.

ambient light: The natural light that surrounds the character. 

angle of view: The angle captured by the lens.  A telephoto lens has a narrow angle of view, while a wide-angle lens has a broad angle of view. 

animation: Methods for moving inanimate objects so as to give the appearance of life on the screen.

backlighting: The main source of light is aimed at the camera from behind the subject, silhouetting it..

bridging shot: A shot used to cover discontinuity or a change in time or place.

camera angles: The position of the camera in relation to the subject being shown.  The angle from which the camera takes the shot has an important effect on what the viewers see and on the effect of the shot.  The camera angle, or where the camera is placed, is important as it indicates point of view, ie from whose perspective we are seeing the action, such as the character, audience or director. The five basic angles are overhead, high angle, eye level, low angle and undershot.

 camera movement: As the camera moves, the way things appear changes, so different meanings are thus created; thus camera movement is important in defining and creating meaning in shots. The main camera movements are zooming, tracking, panning and tilting.

camera speed: The speed of the camera’s movement can be used to create special effects and enhance meaning, such as slow or fast motion, and the use of freeze-frames (a still image created by stopping the film in the middle of the action).

close-up: A film shot when only a part of an object or person is seen on screen; usually a head or head and shoulders shot.

composition: The composition of film shots is the control of all the elements in a single frame of film; the arrangements and relationship of the visual elements within a frame. Consider how the camera seems to place a frame around the view it has in front of it. The way the elements are placed within this frame is the composition of the shot.  The composition of this isolated view or frame is dependent upon the choice of lens, and the placement of items within the frame.  The composition also includes the camera angle and movement.

crane shot: A shot taken from a crane or cherry picker.

 

crosscutting: An editing technique that alternates between two different actions or scenes. See also ‘intercutting’.

crosslighting: Lighting a scene from the side of the frame.

cut: A cut has both utilitarian and aesthetic value in film editing. A cut allows the use of different types of shots without disrupting the action. The use of cuts as transitions, rather than the use of dissolves, fades and wipes, can affect the pacer of the film.  The direct cut is the most immediate editing device for introducing new screen information.  One shot is followed immediately by a cut to another shot.

cutaway: A cutaway, as the name implies, is a shot that does not focus on some detail of the shot before or after it but cuts away from the action at hand. It is the interruption of a continuously-filmed action by inserting a view of something else. It is usually followed by a cutback to the first shot. It may be a shot of an object that generally informs or reminds the audience of something it needs to know such as the clock ticking down on the bomb hidden beneath a car in a parking lot. The best cutaways are the ones that have some logic to them, that relate to the scene.

cut-in: A cut-in is a shift from distant framing to a closer shot of the same action.

deep focus: A technique that has the characters close to the camera and the characters in the background in focus at the same time.

diegetic sound: Any sound, voice or piece of music that comes from within the world of the narrative.

dissolve: A gradual transition, or overlap, in which one scene fades out as the other fades in.  Both the end of the outgoing shot and the beginning of the incoming shot are briefly seen on the screen simultaneously.  In traditional filmmaking the dissolve came to be the accepted technique for indicating substantial geographic leaps, passage of time, a flashback or a dream, or to show what the character is thinking. Dissolves are used to suggest a special relationship between the scenes that dissolve into one another; a relationship closer than one that would be suggested by a fade or cut.

establishing shot: In popular or ‘dominant’ cinema, the opening sequence is traditionally regarded as an ‘establishing’ shot: a long, wide angle view of an area or open space is given before the camera goes in closer to establish/identify the more specific location of a film story or scene. Later in the film establishing shots may be used to establish the settings for the action to come. Often a long shot that provides essential relational, spatial and background detail to the audience at the beginning of a film or sequence.

eye level shot: This shot occurs when the camera is level with the object or figure; like a normal eye-view of the scene, and suggests reality.

extreme long shot: A shot in which the scale framed is very small.  Typically a wide landscape, cityscape or a crowd of people would fill the screen.

fade: A transition device for moving from one scene or sequence to another in a film.  Fades can suggest a passage of time, or a journey, or a new location. The scenes each side of a fade have a special relationship that would not be conveyed by a simple cut. A fade-out occurs when the image on the screen fades to black to end the scene. The scene that follows may suddenly appear, termed a fade-out or cut in transition, giving the feeling of finality and separation to the scene just ending and introducing the new action in a dynamic, attention-getting way. Alternatively, it may gradually fade-in from black, termed a fade-out/ fade-in transition giving a slower, more contemplative movement.

fade-in: A dark screen gradually brightens to full strength and the shot appears.

fade-out: The shot gradually darkens and the screen goes black.

fast motion: Film that is shot at less than 24 frames per second and then projected at normal speed.

fill lighting: Lighting that is used to soften shadows within a scene. Used in conjunction with key lighting.

flashback: A scene inserted into a film that deals with past events.  This is the past tense of a film.

flip: A type of wipe. 

focus: The sharpness of the image in the camera lens.

focus in/out: The image gradually moves either in or out of focus as a method of transition.

follow shot: A shot that follows a character as he or she moves.  Usually a tracking shot or zoom.

frame:

1. A single image on a length of film.
2. How a director chooses to position the camera frame to capture the action.                3. The borders of the image within which the subject is composed

freeze-frame: A still image created by stopping the film in the middle of the action so that it appears like a photographic still.

full shot: A shot of the character that includes the entire body and little else.

high angle shot: This shot is taken when the camera is above and looking down on the scene or object but not directly overhead.  The main effect is to make the object or character look small and lacking in power.

hand-held camera: The camera operator uses his/her own body as a support for the camera instead of a tripod.  Often this approach creates a bumpy or shaky image that reflects a subjective point of view.

hard lighting: Lighting that creates a stark contrast between shadowy and well-lit areas of the mise-en-scene.

height of framing: The distance of the camera above the ground.

jump cut: A jarring cut between similar shots that disrupts the flow of the narrative.    It is often used to highlight the process of filmmaking or to cause the viewer to feel uncomfortable.

key lighting: The main lighting source in a scene.  Used in conjunction with fill lighting and backlighting to create a three point system.

lens: A piece of glass with curved sides that gathers and focuses rays of light.

lighting: How the shot is lit for filming.  High-key and low-key lighting are terms used for describing the quality of illumination and the intensity of the lighting in the frame. Usually high-key lighting is used to highlight the central subject.  High-key lighting has bright, intense illumination.  Low-key lighting has the opposite quality. It is more diffuse and shadowy.  There is less general illumination in the shot, heavier shadows and a more atmospheric quality. Other effects can be created through use of back lighting where the light source is placed behind the subject to create a darkened effect on the subject, fill lighting where the lights are used to create or remove shadows, spot or pencil lighting which focuses on the subject or side lighting where only half the character’s face or object is lit and the other half is in shadow.

long shot: A shot that frames the entire figure of a human as filling most of the frame.  The background is a significant part of a long shot.

low angle shot: This shot is taken when the camera is below or looking up at the object or character; suggesting power or dominance. It can also be used for caricature.

medium or mid shot: A film shot which includes half the body and a small part of the background. A shot that is framed from the waist up and fills most of the screen.

mise-en-scene: A French term that means "staging" or "production". Its literal meaning is "putting on the stage". It refers to all the elements that are placed in front of the camera. These include costumes, lighting, make-up, props and character behaviour.  This term encompasses the overall design of the film and the mise-en-scene can help the viewer identify a film’s genre and context. It refers to all that appears in a frame, every visible element in the frame, how these elements are related to each other and how you see these elements.   ie. what appears before the camera including performers, setting, lighting and décor. It also includes camera movement and action. The term means “placed in the scene” or “put in the scene” and refers to what is put into the frame, the modification of space. 

When analysing a film’s mise-en-scene consider the following elements:

· setting/the set

· props

· costumes, make up and hairstyles

· actors, body language and position in frame (viewer tends to ‘read’ left to right across the screen)

· lighting; coding of colours

· camera angle and shot type.

 

montage: A French word meaning ‘mounting’ used generally to describe the assemblage of a film through editing or the changing of one image to another. The filmic version of collage.  A sequence of film that juxtaposes different shots together to create new meaning, not present in either original shot. More specifically it is a number of shots edited quickly together in order to form a brief impression of a character, time or place.  The term is used to describe a particular method of editing in which images, objects and figures are linked or overlaid in a variety of creative or unexpected ways in order to generate certain effects or ideas.  Such a montage sequence in a film summarises a topic or compresses a passage of time into brief symbolic or typical images.  Frequently dissolves, fades, superimpositions and wipes are used to link the images.

overhead angle shot: This shot is achieved when the camera is overhead or directly above the object or scene; shot is taken with the camera facing down. A number of effects can be created: objects or characters looking small, vulnerable, moving scenes look mechanical/predictable; city looks like a maze or ants’ nest and character can appear lost; can follow character or object at different speed/pace.

pan: A shot in which the camera moves horizontally across the frame following the action from one side of the screen to the other; the camera moves from side to side on its tripod. This movement gives a sense of a wider perspective or shot, the sense of our eyes ‘panning’ across a large scene (hence ‘panorama’).

point of view shot (POV): A shot where the camera is positioned to show a character's perspective.  Usually placed after a shot of the character looking at something. In film, the position from which an action or subject is seen. This relates to where the camera is placed to capture the shot.

re-establishing shot: A repeat shot of the entire scene that occurs after a number of other closer shots within the scene.

rushes: Prints of the day's shooting are viewed to ensure that they are correct before the next day.

scene: A space within which a narrative action takes place; it is composed of one or more shots. 

‘Scene’ and ‘shot’ are often used interchangeably.

shallow focus: Only those areas closer to the camera are in focus.  This is the opposite of deep focus.

shot: One uninterrupted run of the camera. A continuously exposed and unedited image of any length. The shot is all that is recorded on film from the point at which the camera begins (“action”) until it stops rolling (“cut”).  The choice of lens fitted to the camera determines the shot size or the amount of the scene which is included in the frame.  A shot can be filmed from a variety of camera angles, and single frames can be selected and sequenced to create the most meaning.  ‘Shot’ and ‘scene’ are often used interchangeably.

shot/ reverse shot: A shot reverse shot consists of a sequence of three shots. A shot from the other side of the previous shot such as cutting between two characters talking, a person exiting and entering though a doorway, a reaction shot or a P.O.V. shot.  A basic production technique used during conversations to show each character delivering his or her dialogue. 

soft lighting: Lighting that does not emphasise bright light or dramatic shadow.  A gradual transition between light and dark is used.

special effects: An artificial manipulation of the elements of a shot. SFX An acronym for ‘special effects’ (sometimes given as FX).  Special effects is a term used to describe a range of technological additions to the film to manipulate or alter what has been filmed.

tilt:  The camera creates a mobile frame by moving up or down while on a stationary tripod.

tilting: The camera moves up or down to follow moving objects to reveal a scene or object which is too big to fit in one frame.

top lighting: Lighting that comes from above the characters to help separate them from the background.

tracking: The camera moves forward or backward through space, or parallel to the action.  This is often done by placing the camera on tracks (“dolly tracks”). The camera seems to flow with the action, has similar movement, or gets ahead or behind the action.

tracking shot: The camera actually moves through space on tracks to create a mobile frame.

treatment: A general description of a film.  Shorter than a screenplay but longer than an outline.

two-shot: A shot of two people.

undershot: This shot is taken when the camera is directly beneath the object or figure; suggesting extreme power or danger (eg undershot of stampeding cattle, undershot of a train etc)