Saturday 18 January 2014

Texts: Modes of address 2 Facial expression 29.4

    Marjorie Ferguson (1980) identified four types of facial expression in the cover photos of British women’s magazines:


    1. Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.


    2. Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.

    3. Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.

    4. Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.

    Task 1: Analyse the images below and produce a list of between 3 - 7 keywords which describe the mode of address.





Texts: Modes of address 1 29.4

The AUDIENCE question, the second one, may ask you what the target audience is, maybe to suggest another audience for the text, and most importantly...

WHAT THE MODE OF ADDRESS OF THE TEXT IS.
Mode of Address is a very important media term. 
It simply means how the text speaks to the audience, and how it tries to involve them. 
It also involves how a text INFLUENCES an audience to respond to a text in a certain way.
This depends on the audiences:
Social and cultural/ethnic/class background.
Gender
Age
Experience

The construction of the audience WITHIN the text.

The way the audience is POSITIONED - The argument is that media texts are structured in ways that position audiences to adopt a particular perspective or point of view.
Texts need audiences in order to realise their potential for meaning. So a text does not have a single meaning but rather a range of possibilities which are defined by both the text and by its audiences. The meaning is not in the text, but in the reading.


The goal of most media messages is to persuade the audience to believe or do something. Hollywood movies use expensive special effects to make us believe that what we’re seeing is real. News stories use several techniques – such as direct quotation of identified sources – to make us believe that the story is accurate.
The media messages most concerned with persuading us are found in advertising, public relations and advocacy. Commercial advertising tries to persuade us to buy a product or service. Public relations (PR) "sells" us a positive image of a corporation, government or organization. Politicians and advocacy groups (groups that support a particular belief, point of view, policy, or action) try to persuade us to vote for or support them, using ads, speeches, newsletters, websites, and other means.
These "persuaders" use a variety of techniques to grab our attention, to establish credibility and trust, to stimulate desire for the product or policy, and to motivate us to act (buy, vote, give money, etc.)
We call these techniques the "language of persuasion.” They’re not new; Aristotle wrote about persuasion techniques more than 2000 years ago, and they’ve been used by speakers, writers, and media makers for even longer than that.
Learning the language of persuasion is an important media literacy skill. Once you know how media messages try to persuade you to believe or do something, you’ll be better able to make your own decisions.
Basic persuasion techniques
1. Association. This persuasion technique tries to link a product, service, or idea with something already liked or desired by the target audience, such as fun, pleasure, beauty, security, intimacy, success, wealth, etc. The media message doesn’t make explicit claims that you’ll get these things; the association is implied. Association can be a very powerful technique.  A good ad can create a strong emotional response and then associate that feeling with a brand (family = Coke, victory = Nike).  This process is known as emotional transfer.  Several of the persuasion techniques below, like Beautiful people, Warm & fuzzy, Symbols and Nostalgia, are specific types of association.
2. Bandwagon. Many ads show lots of people using the product, implying that "everyone is doing it" (or at least, "all the cool people are doing it"). No one likes to be left out or left behind, and these ads urge us to "jump on the bandwagon.” Politicians use the same technique when they say, "The American people want..." How do they know?
3. Beautiful people. Beautiful people uses good-looking models (who may also be celebrities) to attract our attention. This technique is extremely common in ads, which may also imply (but never promise!) that we’ll look like the models if we use the product.
4. Bribery. This technique tries to persuade us to buy a product by promising to give us something else, like a discount, a rebate, a coupon, or a "free gift.” Sales, special offers, contests, and sweepstakes are all forms of bribery. Unfortunately, we don’t really get something for free -- part of the sales price covers the cost of the bribe. 
5. Celebrities.  (A type of Testimonial – the opposite of Plain folks.) We tend to pay attention to famous people. That’s why they’re famous! Ads often use celebrities to grab our attention. By appearing in an ad, celebrities implicitly endorse a product; sometimes the endorsement is explicit. Many people know that companies pay celebrities a lot of money to appear in their ads (Nike’s huge contracts with leading athletes, for example, are well known) but this type of testimonial still seems to be effective. 
6. Experts.  (A type of Testimonial.) We rely on experts to advise us about things that we don’t know ourselves. Scientists, doctors, professors and other professionals often appear in ads and advocacy messages, lending their credibility to the product, service, or idea being sold.  Sometimes, Plain folks can also be experts, as when a mother endorses a brand of baby powder or a construction worker endorses a treatment for sore muscles.
7. Explicit claims.  Something is "explicit" if it is directly, fully, and/or clearly expressed or demonstrated.  For example, some ads state the price of a product, the main ingredients, where it was made, or the number of items in the package – these are explicit claims.  So are specific, measurable promises about quality, effectiveness, or reliability, like “Works in only five minutes!” Explicit claims can be proven true or false through close examination or testing, and if they’re false, the advertiser can get in trouble. It can be surprising to learn how few ads make explicit claims. Most of them try to persuade us in ways that cannot be proved or disproved.
8. Fear. This is the opposite of the Association technique. It uses something disliked or feared by the intended audience (like bad breath, failure, high taxes or terrorism) to promote a "solution.” Ads use fear to sell us products that claim to prevent or fix the problem. Politicians and advocacy groups stoke our fears to get elected or to gain support.
9. Humor. Many ads use humor because it grabs our attention and it’s a powerful persuasion technique. When we laugh, we feel good. Advertisers make us laugh and then show us their product or logo because they’re trying to connect that good feeling to their product. They hope that when we see their product in a store, we’ll subtly re-experience that good feeling and select their product. Advocacy messages (and news) rarely use humor because it can undermine their credibility; an exception is political satire.
10. Intensity. The language of ads is full of intensifiers, including superlatives (greatest, best, most, fastest, lowest prices), comparatives (more, better than, improved, increased, fewer calories), hyperbole (amazing, incredible, forever), exaggeration, and many other ways to hype the product.
11. Maybe. Unproven, exaggerated or outrageous claims are commonly preceded by "weasel words" such as may, might, can, could, some, many, often, virtually, as many as, or up to. Watch for these words if an offer seems too good to be true. Commonly, the Intensity and Maybe techniques are used together, making the whole thing meaningless. 
12. Plain folks.  (A type of Testimonial – the opposite of Celebrities.) This technique works because we may believe a "regular person" more than an intellectual or a highly-paid celebrity.  It’s often used to sell everyday products like laundry detergent because we can more easily see ourselves using the product, too. The plain folks technique strengthens the down-home, "authentic" image of products like pickup trucks and politicians. Unfortunately, most of the "plain folks" in ads are actually paid actors carefully selected because they look like "regular people.”
13. Repetition. Advertisers use repetition in two ways: Within an ad or advocacy message, words, sounds or images may be repeated to reinforce the main point. And the message itself (a TV commercial, a billboard, a website banner ad) may be displayed many times. Even unpleasant ads and political slogans work if they are repeated enough to pound their message into our minds.
14. Testimonials. Media messages often show people testifying about the value or quality of a product, or endorsing an idea. They can be experts, celebrities, or plain folks. We tend to believe them because they appear to be a neutral third party (a pop star, for example, not the lipstick maker, or a community member instead of the politician running for office.)  This technique works best when it seems like the person “testifying” is doing so because they genuinely like the product or agree with the idea.  Some testimonials may be less effective when we recognize that the person is getting paid to endorse the product.
15. Warm & fuzzy. This technique uses sentimental images (especially of families, kids and animals) to stimulate feelings of pleasure, comfort, and delight. It may also include the use of soothing music, pleasant voices, and evocative words like "cozy" or "cuddly.” The Warm & fuzzy technique is another form of Association.  It works well with some audiences, but not with others, who may find it too corny.
Intermediate persuasion techniques
16. The Big Lie. According to Adolf Hitler, one of the 20th century’s most dangerous propagandists, people are more suspicious of a small lie than a big one. The Big Lie is more than exaggeration or hype; it’s telling a complete falsehood with such confidence and charisma that people believe it. Recognizing The Big Lie requires "thinking outside the box" of conventional wisdom and asking the questions other people don’t ask.
17. Charisma. Sometimes, persuaders can be effective simply by appearing firm, bold, strong, and confident. This is particularly true in political and advocacy messages. People often follow charismatic leaders even when they disagree with their positions on issues that affect them.
18. Euphemism. While the Glittering generalities and Name-calling techniques arouse audiences with vivid, emotionally suggestive words, Euphemism tries to pacify audiences in order to make an unpleasant reality more palatable. Bland or abstract terms are used instead of clearer, more graphic words. Thus, we hear about corporate "downsizing" instead of "layoffs," or "intensive interrogation techniques" instead of "torture.”
19. Extrapolation. Persuaders sometimes draw huge conclusions on the basis of a few small facts. Extrapolation works by ignoring complexity. It’s most persuasive when it predicts something we hope can or will be true.
20. Flattery. Persuaders love to flatter us. Politicians and advertisers sometimes speak directly to us: "You know a good deal when you see one." "You expect quality." "You work hard for a living." "You deserve it." Sometimes ads flatter us by showing people doing stupid things, so that we’ll feel smarter or superior. Flattery works because we like to be praised and we tend to believe people we like. (We’re sure that someone as brilliant as you will easily understand this technique!) 
21. Glittering generalities. This is the use of so-called "virtue words" such as civilization, democracy, freedom, patriotism, motherhood, fatherhood, science, health, beauty, and love. Persuaders use these words in the hope that we will approve and accept their statements without examining the evidence. They hope that few people will ask whether it’s appropriate to invoke these concepts, while even fewer will ask what these concepts really mean.
22. Name-calling. This technique links a person or idea to a negative symbol (liar, creep, gossip, etc.). It’s the opposite of Glittering generalities. Persuaders use Name-calling to make us reject the person or the idea on the basis of the negative symbol, instead of looking at the available evidence. A subtler version of this technique is to use adjectives with negative connotations (extreme, passive, lazy, pushy, etc.) Ask yourself: Leaving out the name-calling, what are the merits of the idea itself?
23. New. We love new things and new ideas, because we tend to believe they’re better than old things and old ideas. That’s because the dominant culture in the United States (and many other countries) places great faith in technology and progress. But sometimes, new products and new ideas lead to new and more difficult problems.
24. Nostalgia. This is the opposite of the New technique. Many advertisers invoke a time when life was simpler and quality was supposedly better ("like Mom used to make"). Politicians promise to bring back the "good old days" and restore "tradition." But whose traditions are being restored? Who did they benefit, and who did they harm? This technique works because people tend to forget the bad parts of the past, and remember the good.
25. Rhetorical questions. These are questions designed to get us to agree with the speaker.  They are set up so that the “correct” answer is obvious. ("Do you want to get out of debt?" "Do you want quick relief from headache pain?" and "Should we leave our nation vulnerable to terrorist attacks?" are all rhetorical questions.) Rhetorical questions are used to build trust and alignment before the sales pitch.
26. Scientific evidence. This is a particular application of the Expert technique. It uses the paraphernalia of science (charts, graphs, statistics, lab coats, etc.) to "prove" something. It often works because many people trust science and scientists.  It’s important to look closely at the "evidence," however, because it can be misleading.  
27. Simple solution. Life is complicated. People are complex. Problems often have many causes, and they’re not easy to solve. These realities create anxiety for many of us. Persuaders offer relief by ignoring complexity and proposing a Simple solution. Politicians claim one policy change (lower taxes, a new law, a government program) will solve big social problems. Advertisers take this strategy even further, suggesting that a deodorant, a car, or a brand of beer will make you beautiful, popular and successful.
28. Slippery slope. This technique combines Extrapolation and Fear. Instead of predicting a positive future, it warns against a negative outcome. It argues against an idea by claiming it’s just the first step down a “slippery slope” toward something the target audience opposes. ("If we let them ban smoking in restaurants because it’s unhealthy, eventually they’ll ban fast food, too."  This argument ignores the merits of banning smoking in restaurants.)  The Slippery slope technique is commonly used in political debate, because it’s easy to claim that a small step will lead to a result most people won’t like, even though small steps can lead in many directions.
29. Symbols. Symbols are words or images that bring to mind some larger concept, usually one with strong emotional content, such as home, family, nation, religion, gender, or lifestyle. Persuaders use the power and intensity of symbols to make their case. But symbols can have different meanings for different people.  Hummer SUVs are status symbols for some people, while to others they are symbols of environmental irresponsibility.
Advanced persuasion techniques
30. Ad hominem. Latin for "against the man," the ad hominem technique responds to an argument by attacking the opponent instead of addressing the argument itself. It’s also called "attacking the messenger.” It works on the belief that if there’s something wrong or objectionable about the messenger, the message must also be wrong.
31. Analogy. An analogy compares one situation with another. A good analogy, where the situations are reasonably similar, can aid decision-making. A weak analogy may not be persuasive, unless it uses emotionally-charged images that obscure the illogical or unfair comparison.
32. Card stacking. No one can tell the whole story; we all tell part of the story. Card stacking, however, deliberately provides a false context to give a misleading impression. It "stacks the deck," selecting only favorable evidence to lead the audience to the desired conclusion.
33. Cause vs. Correlation. While understanding true causes and true effects is important, persuaders can fool us by intentionally confusing correlation with cause. For example: Babies drink milk. Babies cry. Therefore, drinking milk makes babies cry.
34. Denial. This technique is used to escape responsibility for something that is unpopular or controversial. It can be either direct or indirect. A politician who says, "I won’t bring up my opponent’s marital problems," has just brought up the issue without sounding mean.
35. Diversion. This technique diverts our attention from a problem or issue by raising a separate issue, usually one where the persuader has a better chance of convincing us. Diversion is often used to hide the part of the story not being told. It is also known as a “red herring.”
36. Group dynamics. We are greatly influenced by what other people think and do. We can get carried away by the potent atmosphere of live audiences, rallies, or other gatherings. Group dynamics is a more intense version of the Majority belief and Bandwagon techniques.
37. Majority belief. This technique is similar to the Bandwagon technique. It works on the assumption that if most people believe something, it must be true. That’s why polls and survey results are so often used to back up an argument, even though pollsters will admit that responses vary widely depending on how one asks the question.
38. Scapegoating. Extremely powerful and very common in political speech, Scapegoating blames a problem on one person, group, race, religion, etc. Some people, for example, claim that undocumented (“illegal”) immigrants are the main cause of unemployment in the United States, even though unemployment is a complex problem with many causes.  Scapegoating is a particularly dangerous form of the Simple solution technique.
39. Straw man. This technique builds up an illogical or deliberately damaged idea and presents it as something that one’s opponent supports or represents. Knocking down the "straw man" is easier than confronting the opponent directly.
40. Timing. Sometimes a media message is persuasive not because of what it says, but because of when it’s delivered. This can be as simple as placing ads for flowers and candy just before Valentine’s Day, or delivering a political speech right after a major news event. Sophisticated ad campaigns commonly roll out carefully-timed phases to grab our attention, stimulate desire, and generate a response.







Texts: Modes of Address 3 29.4

There are four tasks to complete on your blogs today. All are related to each other. If you can grasp these concepts and use the keywords in your exam it will be very beneficial to your mark.

It is a basic principal of media studies that all texts have the capacity to communicate to an audience. Our 'job' as media students is to search for the ways in which meanings are generated.The simple process model of Sender - Message - Receiver is limited because it doesn't conceptualise the relationship between the message (the text) and the receiver.

This is where Mode of Address comes in.

Who does this text think I am?

In other words; what assumptions are being made about me?
How am I expected to read the text?

If you walk into any high Street bank you are addressed by the decor, the signage, the slogans, the uniforms, the lighting, the way the staff use language. All these constitute a mode of address



All banks are really saying the same thing within an underlying message..

You are very welcome here as long as you want to deposit money, in fact we will give you a tiny bit more money back occasionally and call it  interest.You can also borrow money from us, we want you to do this and we will charge you a lot of money and also call it interest. If you can't pay us the interest back we will take your house. Either way, welcome. Feel free to contribute to the profitability of our organisation.
Have this pen to remind you of our offer.

It may be that you don't feel welcome, that you are intimidated, out of place but you don't want them to know that so you create an account with them anyway. They want you to do this!

Marxists are likely to find evidence in the modes of address of almost every text that confirms evidence of a class divided society in which workers are exploited by capitalists.



Feminists are likely to find evidence in the modes of address of almost every media text that there are assumptions about gender.



However, without denying the validity of these perspectives it is important to realise that texts offer a range of contradictory subjectivities. Some ads for example invite us to be a rebel while others invite us to fit into and be one of the crowd.


Task 1:

What assumptions are made about me and how am I expected to read these ads?
Consider: Who these texts are aimed at. How do they sell their brand?
Through what denotations and connotations is the audience positioned.









Texts are multi faceted and allow us the possibility of many ways of reading. This is know as polysemy, the texts are polysemic.
However, we all recognise from time to time that a text is trying to manipulate us, to ease us into a subjectivity that we'd reather not have. As soon as we see through the idealogical effect of a mode of address then it is likely to have the opposite effect on us than the one intended.

Ads from the 60's and 70's now seem unsophisticated and blatant and are only shown for their comedic value.

Task 2: 

What assumptions are made about me and how am I expected to read these ads?

Consider: Dominant British ideology, feminism, do we still expect consumer products to be linked with desirable gender identities?







So we can say that media texts 'invent' a fictional image of their preferred audience.
This is the foundation of psycho-graphic consumer profiling. It works through ideology.
Sometimes a texts mode of address requires a partisan national subject.
If you watch sports coverage from another country or even City, it may seem that they are not addressing you at all, that they are getting excited about things that just don't matter. This is obviously to do with ideology.

Consideration of modes of address need not be limited to singular texts but can be applied to whole TV stations or newspapers. Take for example the coverage of an event by a broadsheet and by a tabloid.
It is the same event but the modes of address and positioning of the audience differ. One may be aimed at business leaders and one may be aimed at lads.

Task 3:

Look at the coverage of the London riots by these five different newspapers.
What assumptions are made about the readership and how are they expected to read the various headlines?







Two useful terms associated with modes of address are positioning and register. The idea that a text can position a receiver should be familiar to you by now. If your friend addresses you like a controlling parent, giving you orders in a loud voice and wagging a finger at you then you are being positioned as child. You may wish to reject this subject position but to do this would put you in a position of conflict with your friend. This is a kind of positioning and media producers are aware of this.

Register requires modifications to fit with the requirements of a particular group.
For example a text might adopt one of the following registers:
Formal register
Informal register
Serious register
Light hearted register

You may have watched a TV show or read an article but been unsure of the intended meaning.
You may have asked yourself if the text was meant to be serious. You eventually realise that it was a mickey take. 'Phew!' You were actually checking what register the text required to be understood.

Task 4:

Watch the following ads and discuss the register required to understand them. Point out why.








Friday 17 January 2014

Texts: Technical Codes - Editing 30.4

Basic camera set up for conversation between two people.




Watch this to help you get a grasp of the 180 degree rule.


What does the pace of the editing in these examples do for the scene? How does it make the audience feel?








Task 1:
Watch the video below and note down the time codes of when the 180 degree line has been broken.
Write down the effect it has on the audience. Consider the ideology with regards to the characters



Texts: Narrative Construction - Revision HW 30.4


Thursday 16 January 2014

Texts: Media language

Texts: Technical codes - Sound 28.4

Sound Terminology
DIEGETIC
A sound that is part of the film world and usually heard by those in it

- Sound recorded at the same time as the images – for example, dialogue spoken by the actors on set. This does not include any sound added in post production
- Sound which appears to the audience to come from the scene, whether or not it was actually recorded with the images. Thus includes post-synched dialogue, sound effects and foley. Also known as parallel sound

NON-DIEGETIC
A sound which is added later during editing for effect and therefore cannot be heard by those in the film world. A voice over narration for example. A term that describes sound that does not have a visible onscreen source; also referred to as offscreen sound.

 


MUSIC
A soundtrack added during editing, the sound and tone can affect the whole meaning of the scene







 


SOUND EFFECTS
Usually added to film in post-production, they may be used to build up ambience or reinforce action.







SOUND BRIDGE
Film and TV editing technique in which visual cuts are deliberately not matched with audio cuts. For example, the editor may cut to a completely new scene, but allow sound from the preceding scene to run on for a short time. Alternatively, we may hear the sound of the next scene before we see it.


 

VOICE OVER
A type of non-diegetic, asynchronous sound in which the audience hear a voice that does not have a source either within the frame or within hearing distance, and which is not heard by the people on screen. Voice overs allow us to see things from a particular character’s point of view

CONTRAPUNTAL SOUND
Sounds that do not easily match the images they are accompanying, or even go against them. This can have a disorientating effect upon the audience and make them question what they are seeing.







TASK:
Watch the clip from the film 'The Srangers' and using the time code as a reference, note down the different types of sound you can hear.


Codes - Mise en scene 24.4


Texts: Technical Codes - Lighting 24.4


Lighting and colour can be used to create a certain atmosphere or mood
and can even be used symbolically.

Certainly directors are aware of the power of cultural connotations - for example if I say WHITE? -  what associations immediately come to mind… or RED?

Certain genres use colour more obviously than others and you have probably already noticed colours used in  sci-fi?    Horror?

Filmmakers use colour and lighting effects to make audiences well aware of the kind of film they are watching and when teaching your students the basics of film language, here’s what you need to know about lighting effects:

The basic organisation of  lighting looks like this:


The KEY LIGHT is the term for a powerful light that casts sharp, black shadows behind the things it illuminates. It’s the main source of light in a scene.

FILL LIGHTS can be used to soften these shadows and basically fill them in. More or less of these will be used depending on whether images are to be sharp or soft.
If people or objects are lit from behind it makes them stand out from the background and they become more prominent. Underlighting (from below) and toplighting create different kinds of shadow.

There are two main ways of describing the use of these lights -
HIGH KEY LIGHTING - means the use a lots of fill lights along with the key lights so everything is brightly lit and there are few shadows. This is the style you would expect in romantic comedies, youth pictures, the colour you’d expect from a glossy Hollywood film.


LOW KEY LIGHTING - uses fewer fills, so more shadows are created with definite pools of light interspersed - you might associate this with horror films and is the style of lighting associated with film noir.




Task:
Consider the lighting in the images on the slideshow here see slides 20 -26
Write the answers on your own blog for feedback.












Texts: Technical Codes - Camerawork 23.4


Learning objective:
To revise the purpose and effect of technical codes through analysis of screenshots.

Develop analytical skills in examining a media text.





Technical term
Example
What it might mean
Shot size
Extreme close up
Emphasis on the emotion of the character
Close up
Intimacy with the character or object
Medium shot
Show body language
Long shot
Establish the setting
Camera angle
Low (looking up)
Power – authority - superiority
Eye level
Equality between characters
High (looking down)
Weak – vulnerable - powerless
Lens type
Wide angle
Emphasise the expanse of the setting
Normal
Everydayness, normality
Telephoto
Spying from a distance
Composition
Symmetrical
An ordered setting, controlled,
Structured
Asymmetrical
Realistic view of the world
Focus
Selective focus
Draws attention to a character
Soft focus
Creates a romantic view of a setting or character
Deep focus
All characters in shot are important
Lighting
High key
Friendly, positive, nothing to fear
Low key
Dark, mysterious, dangerous
Film Stock
Grainy blotchy
Documentary style, realistic
Smooth
A natural; view of the world
Film Colour
Technicolour
Can emphasise certain colours
Black and white
Historical and realistic, possibly
the truth






fig: 1
This painting is an example of an asymmetrical composition by the artist Kandinsky.
The main elements are equally distributed on both sides of the picture with the 'heaviest' part being the black circle balancing the more detailed parts.



fig: 2
This black and white image gives us the impression that a historic moment is taking place.
It looks realistic and truthful.


fig: 3
Close up


fig: 4
Deep focus


fig: 5
Extreme close up


fig: 6
Grainy


fig: 7
High angle (down shot)


fig: 8
Down shot


fig: 9
Lighting


fig: 10
Long shot


fig: 11
Low angle (up shot)


fig: 12
Lighting


fig: 13
Medium shot


fig: 14
Lens


fig: 15
Focus


fig: 16
Film stock


fig: 17
Focus


fig: 18
Symmetrical


fig: 19
Technicolour


fig: 20
Lens


fig: 21


fig: 22
Lens