Click here to access link and scroll down to 'Ethnicity'.http://beauchampcollegemedia.com/2011/04/06/tv-drama-and-representation-videos 
This schematic shows the axis between two characters and the 180° arc on which cameras may be positioned (green). When cutting from the green arc to the red arc, the characters switch places on the screen.In the example of a dialogue between two actors, if Owen (orange shirt in the diagram) is on the left and Bob (blue shirt) is on the right, then Owen should be facing right at all times, even when Bob is off the edge of the frame, and Bob should always be facing left. Shifting to the other side of the characters on a cut, so that Bob is now on the left side and Owen is on the right, will disorient the viewer, and break the flow of the scene.
In the example of an action scene, such as a car chase, if a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right will create a similar sense of disorientation as in the dialogue example.
An example of sustained use of the 180 degree rule occurs throughout much of The Big Parade, a 1925 drama about World War I directed by King Vidor. In the sequences leading up to the battle scenes, the American forces (arriving from the west) are always shown marching from left to right across the screen, while the German troops (arriving from the east) are always shown marching from right to left. After the battle scenes, when the weary troops are staggering homeward, the Americans are always shown crossing the screen from right to left (moving west) and the Germans from left to right (moving east). The audience's viewpoint is therefore always from a consistent position, in this case southward of the action.
EDITING AND REPRESENTATION As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work such as close-ups and low angles conveys status and emotion to the audience. The use of costume, props and settings as functions of mise en scene are also pretty transparent to most students. But what does match-on-action have to do with character or representation? This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
1.These blogs & twitter accounts are solely for the purposes of your Media Studies A-level and should be treated accordingly.
