Page 47 - Introduction to Electronic Commerce and Social Commerce

36 • Sport, Media and Society

There are a number of other techniques that may be used as well. For example,
camera movement can often be used to give the impression of rapid or violent action
within sport events, and camera roll makes the world experienced by a character
appear out of control, muddled, confused or disoriented. A tracking shot involves
the camera moving with the action. A slow tracking shot can make the scene appear
dream-like, and a fast tracking shot may carry connotations of being out of con-

trol or frenetic. Changes of focus have significance because most films aim to have
everything in a shot in crisp, clear focus. Departures from this have an effect—for
example, soft focus can be associated with romance or sentimentality. Techniques
which appear to create a halo around a character’s head can have a range of associa-
tions such as glamour, dreaminess, divinity or magic.
The movie The Loneliness of the Long Distance Runner has been noted for em-

ploying film techniques associated with the poetic social realism of the free cinema
movement, including changing the sequencing of events, speeding up the fi lm and
the use of jazz music (Hughson 2005: 43). In particular, Hughson suggested that the
camerawork in the movie was central to the success of these techniques. In the fi lm,
Colin Smith, a rebellious, working-class youth, is sent to a borstal (a British young
offenders institution). While there, his running ability becomes apparent and he be-
gins to train for an upcoming competition against a ‘public school’ (a private school
for the privileged classes). The governor decides to let Smith train outside the gates

of the borstal. In the scene where he leaves for the first time, Smith is shown outside
the gate as it closes, separating him from the rows of other youths still inside. Camera
shots from far away create distance from Smith and reinforce his characterisation
as isolated and alienated. As he begins to run, it is clear he is enjoying his freedom,
and the camera movement is slightly out of control, suggesting a buoyant air. On
occasions, the camera points towards the sky and is quickly rotated again, provid-
ing a sense of almost giddiness as Smith runs through a path in the woods. Smith’s
freedom and high spirits on his run are contrasted with the grim, static reality of
borstal life.

Lighting

The choice of lighting in a film is related to its thematic content or mood. High key

lighting aims to reduce shadows and create bright, even illumination. For exam-
ple, light-hearted comedies or musicals tend to be lit in this way. By contrast, low key
lighting deliberately exploits shadows to create atmosphere, ambiguity or a sense of
unease. Crime thrillers often make use of expressive lighting to create a mysterious

or threatening mood. Documentary-style films, such as The Loneliness of the Long
Distance Runner or Friday Night Lights (2004), often rely on natural lighting and
shooting on location to communicate a sense of realism. Spot lighting can be used to
direct the viewer’s gaze to particular objects or characters with significance for the

story, while floodlighting creates a diffuse effect.