Main Task

It's very useful to have a look at http://ocrmediastudies.weebly.com/coursework-with-levels.html to get a sense of expectations and mark bands before you begin.

The brief:

Video 
Preliminary exercise: Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule. 
Main task: the titles and opening of a new fiction film, to last a maximum of two minutes. 
All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source. Both preliminary and main tasks may be done individually or as a group. Maximum four members to a group. 

Full Specifciation: http://www.ocr.org.uk/images/81037-specification.pdf

There are 20 marks available for research and planning your project. The tasks detailed below will help you maximise your marks for this area:

1.You will give a detailed analysis of the codes and conventions of the chosen genre you have picked (this MUST NOT be a copy and paste exercise).
2. I would suggest that you would then choose a minimum of FIVE films to analyse in terms of titles, music, shot types, mise en scene and whether this film follows or challenges the codes and conventions for this genre.
3. Look at the target audience for the film and how each film attracted their target audience.
3. What type of company distributes your chosen films?
4. How have social groups been represented in these films and how does this relate to the target audience?
5. What are audience expectations for these films?
6. Try and present your findings in an interesting digital format (video-log, Glogster, Prezi, Wordle, Soundcloud, Slideshare, Blogger, Charts, Graphs, Questionnaires etc).

Marking Criteria

Marking Criteria for the Presentation of the Research and Planning

Research and Planning should be presented in digital format on blogs, using a wide variety of digital media for the presentation. Where candidates have worked as a group, this may be presented collectively, but teachers are asked to differentiate the contributions of individuals within the group in arriving at a mark and justifying individual marks on the assessment sheet. Each candidate should give a clear indication of their role in any group research and planning. As part of the moderation sample, the moderator will expect to see full evidence of the research and planning informing the construction process in order to support assessment. 

RESEARCH MS

Level 4 16–20 marks

•   Planning and research evidence will be complete and detailed; 
•   There is excellent research into similar products and a potential target audience; 
•   There is excellent organisation of actors, locations, costumes or props; 
•   There is excellent work on shotlists, layouts, drafting, scripting or storyboarding; 
•   There is an excellent level of care in the presentation of the research and planning; 
•   Time management is excellent. 

VIDEO MSMARK SCHEME:
Level 4 48–60 marks

There is evidence of excellence in the creative use of most of the following technical skills: 

•   material appropriate for the target audience and task; 
•   using titles appropriately according to institutional conventions; 
•   using sound with images and editing appropriately for the task set; 
•   shooting material appropriate to the task set;, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene; 
•   using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects. 

Regional Identity

The mock paper will ask you to analyse the representation of regional identity in an extract.
What we mean by regional identity is the characteristics that are recognised outside of that region, such as identifiable accents, manners, customs, costume/clothing. For example, you can tell the difference between someone from Liverpool or Newcastle and someone from London. Other regional differences could be between rural life and urban or city life. It is also necessary to be aware that these stereotypes can be challenged and don't always reinforce the typical stereotype.

Ensure that you relate all of your micro analysis (discussion of use of camera, sound, editing etc) to wider representations of regional identity in the extract. Be careful of sweeping generalisations or attaching universal symbolism to colours of clothes for example. Look at these ideas within the context of the extract.

You will have 1hr 15mins to complete the task.

Good luck!!

Downton Abbey Examiner's report

General Comments:
The paper itself was well received and offered a plethora of opportunities for candidates to engage with the technical analysis of the extract taken from Downton Abbey. The representation candidates were asked to discuss was social class and status. For question two candidates engaged with a range of media areas whilst discussing the impact on media institutions and audiences of increasing hardware and content. Those candidates that achieved well offered sustained and detailed responses to both questions set. These responses were frequently punctuated with detailed reference to contemporary and relevant examples. On occasion, candidates were fully rewarded for some insightful and academic use of key media concepts pertaining to media representation for question one and to institutional and audience practices for question two. Candidates who did not meet the highest levels often lacked detail in the arguments presented and offered a basic response to the questions set. Where work was minimal, or there emerged issues of time management, candidates struggled to achieve a higher mark level.

Question No. 1
On the whole candidates answered the question well and with reasonable accuracy, though there was some variation in the quality of the answers. The choice of Downton Abbey as the focus of the investigation seemed to have been a popular and engaging choice and it was heartening to see far more integration of terminology in candidate responses. The majority were able to show that there were a variety of class groups represented and that characters' status within the sequence fluctuated according to narrative events. Many candidates tackled the sequence in order, which worked for the strongest candidates who were able to provide a balanced, integrated analysis, covering all the micro-elements. However, lesser achieving candidates struggled to achieve a satisfactory balance with this approach, frequently omitting coverage of editing or lapsing into passages of description or analysis without reference to class and status. These candidates would have been better advised to adopt a more structured approach, basing their analysis around each technical area in turn or focussing upon the working class and aristocracy in turn.

Camera shots, angle and movement – Many candidates dealt with this technical area well especially with regards to the principles of pull focus, framing and camera movement, examples include the tracking shot of Lord Grantham, and some excellent discussion about the composition of the house juxtaposed to the set-up of the kitchen area. This in-depth discussion by many candidates moved away from the usual discussion of low angle/high angle shots which usually dominate these kinds of responses, a sort of ‘spot the camera shot’ approach. This session candidates seemed more prepared and confident to try much more detailed analysis and this was pleasing to see.

Mise en scene – This was one of the strongest areas of response for candidates. Although there was a lot of obvious ‘costume’ analysis between the servants and the ‘master’ of the house, many of the more engaged candidates focused on the choice of attire for Carson and how this subverted the expectation of a worker in the house. Comments were also drawn to performance, as well as the choice of lighting and the differences in set décor between the two areas of the mansion. Many candidates compared and contrasted the class and status differences between the kitchen quarters and the master’s home to a very good degree. Some candidates are still wedded to deterministic colour analysis, leading to clearly inaccurate analysis, for example, stating that ‘the lady's white dress signifies her purity'; this approach should be discouraged and candidates should be able to understand that analysis is contextual rather than universal in value.

Sound – In this session there were a lot of detailed responses discussing the use of diegetic dialogue, for example the response by Lord Grantham to the deaths of the lower class led to some worthwhile discussion with regards to him breaking the supposed stereotype of the upper classes of not caring as much for the lower classes in society. However, candidates tended to cover dialogue as an element of sound rather than concentrating on the technical use of sound. Some good candidates were able to show how the sequence creates a specific soundscape and linked this to issues of class and status. Most candidates are able to distinguish between diegetic and non-diegetic sound. The sequence offered plenty of relevant examples of soundtrack and ambient sound features connected with class and status.

Editing –This technical area remains an area for development with regards to candidate responses. The more able candidates, however, did make some excellent comments with regards to the use of editing in the scene. The long tracking shots of Lord Grantham ‘motivated’ by his status within the household were excellently dissected by a number of candidates, as was the use of parallel editing between the rich aristocracy and the lower servants. On occasion excellent candidate responses would relate the technical features of editing with examples of how different perspectives are constructed and how the diegesis constructed a hierarchy of meaning. There was the repeated mistake of using ‘jump cuts’ to mark a difference between scenes, which was a common error. On many occasions editing was again marked by its absence or a few lines being sporadically applied with generic use in referring to continuity and seamlessness without application to the issue of representation. Candidates should be encouraged to examine how editing techniques set up perspective within the sequence and encourage the audience to identify with a number of different characters in different environments. Unfortunately, too many candidates simply omitted an analysis of editing in the response. Centres should ensure that candidates are prepared to address editing, at least in relation to pace, perspective and match on action of the extract. 

Preliminary evaluation

VIDEO EVALUATION OF PRELIMINARY COURSEWORK

In your group film the discussion of the following points:

PLANNING

How well you managed to plan your storyboards, scripts and how you managed actors, location and props;

Did you encounter any problems at various stages with theses? Did you make any changes to your original plans? Why? How did you overcome any difficulties?

FILMING

What was successful in your filming?

Did you use a variety of shots? What were you trying to achieve with certain shots and why do you think your choice of shot mattered?

How well do you feel you are framing shots, positioning subject, using camera techniques?

Continuity successes and difficulties?

Did you observe the 180 degree rule?

How did you manage lighting, sound, mise en scene?

EDITING
How did you manage continuity using editing software?

Did you encounter any problems in the editing stages of your production?

What new processes/techniques/effects have you learned using new software and how has the use of software enhanced your production?

What successes and difficulties have you experienced during editing?

WHAT ARE THE KEY LESSONS YOU HAVE LEARNED THAT WILL ENSURE SUCCESS IN YOUR MAIN PIECE?

UPLOAD BOTH YOUR PRELIMINARY AND PRELIMINARY EVALUATION TO YOUTUBE AND EMBED ON YOUR BLOG.

Also upload any planning materials such as scripts, storyboards, photos etc.

Once this is done, try to make a log of the new techniques you have learned. This will be vital for A2! It also helps to screenshot the new things you are doing as you go along!

Preliminary

Video

Preliminary exercise: Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.

Main task: the titles and opening of a new fiction film, to last a maximum of two minutes.

All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source. 

Both preliminary and main tasks may be done individually or as a group. Maximum four members to a group. 

Final Cut Tutorials

Hopefully the tutorials in the link below should help you get a basic grasp of FCPX.

http://www.izzyvideo.com/final-cut-pro-x-tutorial/

Examiner's Report Dr Who

For question one, the majority of candidates addressed the technical features of camera shot, angle and composition, and mise en scène well, with some fluency at times and there was noted improvement from January’s session in the candidates’ address of editing and sound. There was plenty of evidence of candidates being able to reach the higher end of the marks available and candidates, where needed, were awarded full or nearly full marks for their responses. Question two enabled suitable differentiation of candidates’ responses and many excellent responses were seen in relation to the media areas studied. Candidates who had been prepared well with specific case study material and well rehearsed in the key conceptual areas of institution and audience could offer sustained, excellent arguments in relation to the question set. On the other hand, there was evidence of some candidates who struggled to understand the concept of technological convergence in application to the case studies they had been presented with.
Overall, the paper achieved a good level of differentiation within the cohort; being accessible enough, as well as adequately stretching. There was some evidence of improvement and at the same time some concern raised regarding the time management of the exam paper, especially for question two, when sometimes candidates wrote shorter responses than in question one or would offer no response at all. Centre’s need to ensure that candidates spend an appropriate amount of time on each question and this needs to be addressed given the equal weighting of marks (50) to each question.
As indicated by the mark scheme for this exam paper, the use of media vocabulary is a very important part of the exam at AS level. The mark scheme and syllabi clearly stipulate that a number of marks are available for the use of terminology. Good practice suggests that candidates should be keeping a vocabulary list of technical language for both questions. At times, in question one there was an absence of vocabulary in some candidates’ answers and some common misconceptions or misapplied camera shots and angles, for example, there was some evident confusion with the use of low/high angle shots in analysis of the extract. On page eighteen of the specification there is a list of the key terminology used in relation to analysis of the technical features of television drama. It is advisable that centres ensure coverage of these in preparation of the candidates in the exam; likewise for candidates embarking on the analysis of radio drama this key vocabulary list can be found on page twenty four of the specification.

Comments on candidate’s responses to Question 1 – Television Drama
There was plenty of evidence that the question set on gender and representation and the extract Doctor Who achieved the desired differentiation of candidate responses. The extract was approximately five minutes in length and enabled the candidates to engage with the key skill of textual analysis using the four technical features: Camera shot, angle and composition, mise en scène, editing and sound. Of these technical area’s, camera work and mise en scène were by far the most comfortable concepts the candidates addressed, with editing and sound the least, despite many improved attempts to address these technical features. Candidates responses, which did not link technical analysis to gender representation often lacked focus in their answers on how gender, was constructed through the technical features of the extract.
Candidates structured their responses in a number of ways for question one. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between The Master the challenging stereotype of Martha Jones and contrasted this with the Doctor and other characters in the extract. Or on the other hand, the candidates would address the technical areas one by one.
Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features, for example, in discussion of the argument that takes place between the Master and Martha. Stronger candidates could then place this sequence of conflict in it’s mise en scène (the spaceship, with reference to cross cutting to the flashback sequence on Earth), through the use of shot reverse shot (and editing) between Martha and the Master, camera types used and through the analysis of sound also discuss the Master’s emasculation of power and authority. Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of gender.
Either of these approaches to the structure of question one is advisable and centres need to plan and help structure the candidate’s responses in the classroom. It is advised against preparing candidates to word a long and lengthy introduction about what they are going to answer, or give theoretical introductions and/or historical contexts to television drama. Question one does not require a discussion of the generic qualities of the television drama.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher notional marks for their responses and avoid sets of basic answers, which on occasion in this session offered quite general textual analysis. These types of responses lacked focused discussion of the representation of gender.
The mark scheme enables credit to be awarded to students at three different levels Explanation, Analysis and Argument (20 Marks), Use of Examples (20 Marks) and Use of Terminology (10 Marks). Under the use of examples, the mark scheme does not credit a notional level four (16- 20) when only three technical areas are discussed, therefore making it less likely that a candidate can be awarded the highest possible marks.
On the whole the use of media vocabulary was very good, but could centres please note that there are up to 10 marks available for the use of media terminology – hence the previous recommendation that candidates should be encouraged to use the appropriate media terminology. Good advice for centres is to encourage candidates to keep vocabulary lists. There were a significant number of candidates who still adopted an overly simplistic approach – centres need to encourage candidates to use appropriate technical language for precision in analysis and to make sure that they avoid superficial terms like cameras 'switching' or 'jumping', and know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'. 

Camera Shot, Angle and Composition
This technical feature was well addressed by the candidates overall. Most candidates had a media vocabulary, which addressed the technical features of television drama. Where candidates used the correct terminology and could describe shot composition, this on the whole was well done. Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of age. As with the January 2009 session, please be aware that terms ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary used by candidates. Many candidates argued how shot construction represented the juxtaposition of power between the antagonist and protagonist in the extract. It would have been encouraging to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations.

Mise en scène
This technical aspect was by far the most comfortable used by the candidates. There was plenty of evidence of candidates’ discussion of clothing and props, visual iconography and character, for example the power and authority at the beginning of the sequence of the Master, dressed in formal attire, who exerts his authority and domination in his body language expression and speech. More able candidates would be able to contrast the gender representation of different characters through the mise en scène and how the roles of the different characters changed, for example, how Martha Jones becomes a symbolic messenger and on more than one occasion the team of examiners noted that there was some excellent analysis of the mise en scène focused on hierarchies and power.
Setting, although a little more problematic for some, was used well in discussion of the range of representations of gender used in the extract. More able candidates would move beyond description and use the technical features of mise en scène in order to discuss the signification of the representation of gender. For example, candidates analysed important moments in the extract when the Master’s empire and power was represented by the spacecraft and reference to the silver orbs in space, juxtaposed with cutaway’s to the missile silo, as representative of the Master’s domination. This represents the degree of sophistication in some candidate’s responses and there were a vast range of interpretations of the text by candidates.

Candidates were able to account for costume and props as key elements in mise en scène, though many are still wedded to deterministic colour analysis, which is misleading and naïve, for example, “the female character's dress is red which is a signifier of danger". The aspect least discussed of mise en scène was lighting, which was often commented upon without adequate analysis, for example the lighting was dark and the character of the Master was therefore evil. Special effects were often commented upon, quite legitimately in the discussion of the representation of gender to varying degrees of success.

Sound
There was some improvement in the discussion of sound since January’s session, although there was still plenty of evidence of candidates omitting or offering minimal discussion of sound from the textual analysis. Whilst there was some excellent reference to how sound assisted in the understanding of the construction of gender, for example, in discussion of synchronous/ non synchronous sound in relation to the ticking clock as a symbolic omnipresence of the Master’s power.
However, candidates often discussed this technical feature with some limitations, with some focusing solely on the use of dialogue between two characters. Candidates did also relate the use of non-diegetic sound to the triumphant victory of the Doctor over the Master at the end of the sequence. The use of non-diegetic sound to emphasise Martha’s role as a messenger was often commented upon, as was the reference to the ‘spaghetti western’ music at the beginning of the extract as a signpost for the showdown that was about to commence. The ‘spaghetti western’ feel of the initial music was signposted by candidates because they felt as though Martha was heading towards her doom.
Often weaker candidates showed confusion with technical terminology, referring to ambient sound which was not shown in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker candidate responses may interpret the soundtrack/use of music in too general analysis. Centres should also consider more carefully the role that sound effects have in the construction of meaning, particularly in relation to the diegetic reality of the drama. It is advised that centres do cover the technical features of sound thoroughly in order to give candidates an opportunity to fully engage with the analysis of the extract.

Editing
As with the January 2009 session, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidate’s answers.
Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. Indeed most candidates would recognise the use of the flashback, as an elliptical device in the narration of the story and this technical element was the most common discussed in candidates’ answers. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use of the shot reverse shot sequence between the Master and Martha.
More able candidates could analyse technical issues of editing by way of analysis of the ellipsis, accounting for how the extract collapsed a series of events, for example, in explaining the narrative to represent Martha as the messenger and helper who communicates the need to save the world. Candidates were able to comment on pacing and the use of continuity, most often through the shot reverse shot compositions in the extract and some through the use of sound as well. These candidates cleverly discussed how soundbridges were constructed through the use of non-diegetic music in the representation of gender, for example, the orchestral and triumphant mood music representing the power of the Master.

Overall candidate’s analysis of editing was satisfactory but, many candidates ignored this area completely or dealt with it in a perfunctory fashion. Very few candidates seemed willing or able to link editing to representation by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between protagonists and antagonist in the sequence. With the right preparation, candidates can engage with the nuances of editing under exam conditions, with evidence that they could discuss crosscutting, eye line match and ellipsis in the extract. The lesser able candidates would refer simply to the continuity of the extract without reference to any of the technical aspects expected of them to use.
As in the last examiner’s report, the advice offered to centres is to encourage as much practice on the concept of editing as possible and how this assists in the construction of representation. Again begin with identifying the techniques and encourage students to apply these to a range of examples in class and importantly, test them on this. A balanced and high level notional mark requires all the technical features to be addressed in the candidate’s answer.

Representation
The candidates appear to have enjoyed the discussion of representation in this extract. There were a wide range of interpretations offered by the candidates, but the dominant reading of the text focused on the male as powerful and the female as dominated, to more sophisticated readings of gender representations, including how the representation of Martha’s character changed and gender stereotypes changed. The most sophisticated responses could argue that a range of gender representations had been used and provided a full range of exemplification.
This key media concept was either addressed at the beginning of the candidates’ answers or at the end. Candidates were able to relate the representation of a variety of gender groups closely to the textual elements of the extract. There was some solid analysis of gender and how it can be stereotyped in a variety of ways: female emotionality; male authority; changing shift of power between genders in the extract and other sensibly reasoned representations, such as men as users of force/ violence as opposed to women as unifiers/ action with words.
Some good examples in the candidates’ responses included: Martha, as a messenger was empowering in overcoming the Master, the Master was represented as dominant and all powerful, but by the end of the extract, defeated by the male Doctor, the Doctor was initially represented as feeble and emasculated in the bird cage, but the transformation of the Doctor by the end of the extract and through analysis of the mise en scène (lighting and special effects) is the dominant all powerful male. More perceptive candidates could illustrate the Master’s wife as a trophy, the Doctor as saviour and Martha as the helper.
There was throughout candidates’ answers good discussion of stereotypes, particularly around the challenge of expected stereotypes in the text, through the character of Martha Jones. Weaker candidates failed to focus on the representation of gender, limiting their analysis to relating everything to power with oppositions – men as superior in antithesis to women as inferior or the technical textual analysis failed to explain how gender representations were constructed. 

Gender Analysis

Now it's time to put the terms you have learned to use. This is a past paper question on GENDER.
Watch the extract 4 times and take notes.
Analyse the ways in which the extract constructs the representation of gender using the following:
-Camera shots, angles, movement and composition
-Editing
-Sound
-Mise-en-scène

Gents group- create a Keynote presentation on your findings for the first 2 bullet points
Ladies group- create a Keynote presentation on your findings for the second 2 bullet points

Mise-En-Scene

From the French which literally means to place on the stage.

It's all about production value!

Produce definitions/examples/analysis for the following: (a few obvious ones will be definition only)

Production Design

Location/Setting

Studio

Set design

Costume and make up

Properties (props)

Lighting (available, artificial, key, fill, back, set, practical) Make sure you get all 7 definitions.

Colour design

Sound Analysis

Complete definitions/examples/analysis of the following. You may double up on some examples if needs be.

Diegetic sound
Non degetic sound
Synchronous sound
Asynchronous sound
Sound effects
Sound motif
Sound bridge
Dialogue
Voiceover
Mode of address/direct address
Sound mixing
Sound perspective
Sound tracks
Score
Incidental music
Themes and stings
Ambient sound

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 :)

Tasks:

1. What is meant by transition of image and sound?
2. Explain in your own words, why editing is so important.
3. Find definition, examples and include brief analysis of the following types of cuts -

Shot/reverse shot

Eyeline match

Graphic match

Action match

Jump cut

crosscutting

Parallel editing

Cutaway

Insert
Dissolve
Cut
Fade-in, Fade-out
Wipe,
Superimposition
Long take, short take
Slow motion
Ellipsis & expansion of time
Post production
Visual effects

Composition

Find definitions and examples of the following, including analysis of why the technique is used.

Framing

Rule of thirds

Depth of field (deep and shallow focus)

Focus pulls

Please find definitions, clips and analysis of the following: 

Angles: 
High angle 
Canted angle 
Low angle 

Movement: 
Pan 
Tilt 
Track 
Dolly (equipment)
Crane 
Steadicam 
Handheld 
Zoom 
Reverse Zoom

Camera Task

Hi folks, your first bit of work will be to find definitions of the following shot types and put the definition into your own words. 

You will then find a clip of film (preferably from British  or American TV Drama and make sure your clips are suitable and don't contain graphic material) on Youtube and embed it on your blog below the definition. 

You will below this write why you think the shot has been used/the effect it has on who is being filmed.

Extreme Long Shot 
Close Up, 
Medium Shot
Long shot
Mid shot
Wide shot
Two shot
Aerial shot
Point of view shot
Over the shoulder shot

TV Dramas

Here are some recent British TV Drama you can use to post clips from:

Accused

Ashes to Ashes

The Bill

Call the Midwife

Casualty

Cold Feet

Doc Martin

Spooks

Dr Who*

Downton Abbey

Bleak House

Heartbeat

Hotel Babylon*

Hope Springs

Holby City

Merlin*

Primeval*

Inspector Morse

Jonathan Creek

The Knock

Life on Mars

Luther

Midsomer Murders

Monarch of the Glen *

New Tricks

Prime Suspect

Rebus

Robin Hood

Silk

Skins

Sleepers

Sherlock

The Bill

The Royal

Torchwood

Upstairs Downstairs

Waking the Dead

Waterloo Road