Trapped!
2007-2010
Trapped! is a children's game show where a team of contestants compete in a series of games, each set on a different floor of a tower. During each game a 'saboteur' is picked - a contestant who will try and cause the team to fail the game. Contestants vote for who they thought the saboteur was after each game. Whichever contestant is voted as saboteur - regardless of whether they performed the role during the game or not - stays 'trapped' in the tower forever.
The series is set up as being set entirely in a fictional world of its own. This is done primarily through the title sequence (see fig. 1), which uses cartoons and a song - sung by one of the hosts - to explain the premise.
Fig. 1 YouTube: Trapped Series 1 Episode 5 (2012)
Each of the hosts are also a fictional character. For example, the main host of the show dresses and speaks in a certain way, which fits with the rest of the fictional world.
Although he is the main host of show, he is mainly used for commentary, to ask the audience questions, and to help bring the audience in and out of the show. To do this at the beginning and end,
this host often tells an anecdote - in one episode, it is his birthday, and he is excited to see what is in the "prezzie box" he has received (see fig. 2). Therefore, the audience are given someone to relate to, someone who becomes a familiar face to them and is able to guide them throughout the show.
Fig. 2 YouTube: Trapped Series 1 Episode 5 (2012)
To further immerse the audience within this fictional world, the main host introduces phrases and terms which describe props used within the show. For example, the main host has a 'watch tank' which he uses to see all the games in action as the contestants progress through the tower. He also explains the 'whisper clips' - ear pieces - which the contestants wear, so the 'saboteur' among them can be spoken to by the other host, 'the voice'. To further this, the contestants are always referred to as 'The Unfortunates'.
Fig. 3 YouTube: Trapped Series 1 Episode 5 (2012)
Games are explained using VTs where the character of Wiley Sneak - an 'unfortunate' who has been trapped for a long time - acts out what the contestants need to do to complete the game (see fig. 3). These have an old film effect on them, further highlighting that he has been trapped a long time.
Fig. 4 YouTube: Trapped Series 1 Episode 5 (2012)
To emphasise the scale of the tower compared to the latest unfortunate who has been trapped, the camera always pulls out (see fig. 4) after they comment on their feelings about being trapped. This gives the show a kinetic camera style, therefore the main host is often followed by a handheld camera.
The camera almost acts as the audience should, following him as the audience need to as he guides them through the show. This helps promote trust and familiarity in him for the audience, especially since 'we tend to see camera movement as a substitute for our movement' (Bordwell & Thompson, 2013:200).
The audience also get a sense of following the contestants as they move between the games, since there is a cut sequence showing them jumping through the trapdoors as they progress to the next floor (see fig. 5 & 6).
Fig. 5 YouTube: Trapped Series 1 Episode 5 (2012)
Fig. 6 YouTube: Trapped Series 1 Episode 5 (2012)
Each episode consists of four games - either physical, logic, or tactic challenges - and a fight for freedom at the end. This last game tests the last two contestants memories as they have to remember what happened during their time in the tower (see fig. 7).
Fig. 7 YouTube: Trapped Series 1 Episode 5 (2012)
Fig. 8 YouTube: Trapped Series 1 Episode 5 (2012)
Therefore, during this game there are two different wide shots, one from a high angle showing all the contestants (see fig. 8), and another from eye-level which acts as a long shot and catches the action where most of the balls are (see fig. 9).
Fig. 9 YouTube: Trapped Series 1 Episode 5 (2012)
However, in order to get close-ups, because of the amount the contestants move, and especially bend, handheld cameras are used so that they can pan and tilt with the movements of the contestants, and therefore ensuring the action doesn't go out of frame (see fig. 10, 11 & 12). These pan and tilt shots are able to show new information to the audience by revealing more of the setting and/or the contestants (Bordwell & Thompson, 2013:200).
Fig. 10 YouTube: Trapped Series 1 Episode 5 (2012)
Fig. 11 YouTube: Trapped Series 1 Episode 5 (2012)
Fig. 12 YouTube: Trapped Series 1 Episode 5 (2012)
Because of the amount of movement, the lighting is flat and consistent. Yet, during some games, there are coloured washes over some elements - such as a record player highlighted in red during one game (see fig. 13), since this is the unpredictable element of the game, playing when contestants are allowed to take to the game space and collect the objects they need to win, almost like musical chairs.
Fig. 13 YouTube: Trapped Series 1 Episode 5 (2012)
Raven
2002-present
Raven follows six contestants - 'warriors' - as they compete in challenges leading up to the ultimate 'way of the warrior' challenge. The show is set in a fictional world where contestants face demons, and visit locations such as a wizard tower and dragon's nest. Therefore, it focuses on creating a mythology to make this fiction believable for its viewers, using tropes of children's TV such as magic and fantasy to do this (Messenger-Davies, 2008:94).
This is further emphasised by the serial nature of the programme, which uses it ongoing nature to keep the audience immersed in the show. However, it also uses its mythology to help viewers keep up with the contest if they have missed an episode through the eye on Raven's staff which is able to see the past. These clips of the past are focused on the contestants, as Raven, through voiceover, gives the audience trivia about the contestants, as well as shows the contestants themselves giving pieces to camera (see fig.15). Therefore, viewers are encouraged to connect with the contestants - highlighted by the close-up and medium shots used to show them (see fig.14) - further helping make the fiction believable, since children can relate to the contestants, and see them as an element from the real world.
Overall, the show is a fictional adventure which mixes real and mythological elements - using costumes to turn the 'real' contestants into 'warriors', for example - to add a sense of realism to its fantasy.
This is further emphasised by the serial nature of the programme, which uses it ongoing nature to keep the audience immersed in the show. However, it also uses its mythology to help viewers keep up with the contest if they have missed an episode through the eye on Raven's staff which is able to see the past. These clips of the past are focused on the contestants, as Raven, through voiceover, gives the audience trivia about the contestants, as well as shows the contestants themselves giving pieces to camera (see fig.15). Therefore, viewers are encouraged to connect with the contestants - highlighted by the close-up and medium shots used to show them (see fig.14) - further helping make the fiction believable, since children can relate to the contestants, and see them as an element from the real world.
Fig. 14 YouTube: Raven CBBC Series 3 episode 6 (2019)
Fig. 15 YouTube: Raven CBBC Series 3 episode 6 (2019)
The challenges faced by the contestants aim to fit and further the show's mythology. For example, one challenge involves contestants climbing an oversized rope ladder in order to reach a dragon's nest where they can collect rings, which act like a point system within the show.
Yet, most of these challenges are physical in some way, and all are filmed on location in or around a forest, few being inside. This fits with the BBC's aim to have children's programming:
"promoting activity over passivity, creativity over materialism, and integration and participation over mere imitation"
(Wells, 2008:100).
These values can also be seen in how contestants are often mixed up into teams, they are not set, as well as when completing the final task, warriors do not get given a material prize, instead they are allowed to progress through a portal, leading to 'the next stage of the quest'. At this point of the game, the amount of rings a warrior has becomes irrelevant, the focus shifting to how well they do in the challenge.
However, since most of these challenges are physical, they also have a lot of action - similar to the challenges in Trapped! which focus on physical skills. Yet, because most of the challenges are outside, the cameras are not often handheld. For example, during the challenge with the ladder, five cameras are used to capture the action, panning, tilting and tracking to keep the contestants in frame, more likely on cranes than handheld due to the height of the challenge.
The challenge begins with a wide shot to establish where the contests are in relation to each other and the ladder (see fig. 16). However, this is also shown by a long shot (see fig. 17).
Although, to show the competition, a medium profile shot is used, since both contestants can be seen climbing side by side, fairly close-up (see fig. 21). This traps them both in the frame, showing how they are locked in a race against each other.
These shots all use natural light - for example, some of them are even overexposed (see fig. 20). This gives the audience the sense of being outside, thus, they perceive the challenge as more realistic since it is natural for the light to change like this in this type of setting (Beast, 2017).
However, overall the show is theatrical and unrealistic, with elements such as natural light and the focus on the contestants used to make it more believable.
Fig. 16 YouTube: Raven CBBC Series 3 episode 6 (2019)
Fig. 17 YouTube: Raven CBBC Series 3 episode 6 (2019)
These help achieve coverage, since the action can be captured without risk of it leaving the frame, as the cameras tilt upwards to track the contestants as they climb. Yet, this long shot makes the contestants look much smaller than the wide shot, since the camera is so far away.
Fig. 18 YouTube: Raven CBBC Series 3 episode 6 (2019)
An overhead shot also makes the contests seem small, and as if they have a long way to go to reach the top of the ladder and complete the game (see fig. 18). High angle shots like this can make subjects seem insignificant and therefore powerless or weak - however, they can also show that the rings at the top of the ladder are more powerful than the contestants, because this is what they need to reach to win (Studio Binder, 2018).
Using these shots to make the contestants seem small and powerless creates the affect of raising the stakes by making the game appear difficult to conquer.
Fig. 19 YouTube: Raven CBBC Series 3 episode 6 (2019)
Fig. 20 YouTube: Raven CBBC Series 3 episode 6 (2019)
Yet, the stakes are also raised by the use of more close-up shots as the contestants climb higher and higher (see fig. 19 & 20). Close-up shots are able to highlight facial expressions, actions, and/or objects (Bordwell & Thompson, 2013:190). Thus, the contestants' struggle is emphasised, as them grasping across the large gap for the next ladder rung is focused on, as well as the concentration on their faces.
However, from these close-up shots, the audience can not see how the other contestant is doing. Therefore, this could help encourage viewers to root for each contestant separately, but the sense of competition is not evident.
Fig. 21 YouTube: Raven CBBC Series 3 episode 6 (2019)
Fig. 22 YouTube: Raven CBBC Series 3 episode 6 (2019)
For example, during one challenge, contestants have to use puzzle pieces in order to cross a floor to get to rings. The contestants cannot step on the floor, because it is fiery. This is shown through CGI, yet it is made believable since the contestants react to it (see fig. 22). It is also emphasised during the game by a sizzling sound whenever anything - even a puzzle piece - touches the floor as well as flashing lights and a red hue (see fig. 23).
Fig. 23 YouTube: Raven CBBC Series 3 episode 6 (2019)
This also serves to raise the stakes of the game by adding a sense of danger. However, throughout the show, music is added to help emphasise these stakes by adding tension.Overall, the show is a fictional adventure which mixes real and mythological elements - using costumes to turn the 'real' contestants into 'warriors', for example - to add a sense of realism to its fantasy.
The Slammer
2006-2014
Similar to Trapped! and Raven the show is therefore set in a fictional world which is what motivates the challenge. Thus, there is a narrative which runs alongside the talent show each episode - for example, in one episode, the slammer is taken over by a business man and turned into a supermarket. This is shown during the talent show by the set, since the normally bare prison walls are filled with shelves and banners (see fig. 24).
Fig. 24 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
However, some of the narrative is shown away from the main talent show, in a VT format. These short segments lack wide shots, instead focusing on details such as the character's reactions, especially the main characters. These are usually shown towards the beginning of episodes, enforcing the host especially as the point of audience identification by giving the story a "human face" which the audience can relate to, as well as a story they can connect with, since the host is bullied by the antagonist business man in this episode (Owens & Millerson, 2009:98).
Yet, the most common types of shots in these sequences are pull-outs, which reveal more of the setting. Pull-out shots like this normally indicate "all's well that ends well", but The Slammer uses this pre-conceived notion to subvert audience expectations (Rooney & Belli, 2013:101). Viewers could think the main characters are handling the transition of the prison into a supermarket well, since a close-up shot of a woman trying to reach a can is shown (see fig. 25) - this implies the store is doing well since they have customers. Yet, when the camera pulls out to reveal the employee trying to help her reach, he causes the whole tower to topple, seemingly frightening the customer away and angering the business man (see fig. 26).
Yet, the most common types of shots in these sequences are pull-outs, which reveal more of the setting. Pull-out shots like this normally indicate "all's well that ends well", but The Slammer uses this pre-conceived notion to subvert audience expectations (Rooney & Belli, 2013:101). Viewers could think the main characters are handling the transition of the prison into a supermarket well, since a close-up shot of a woman trying to reach a can is shown (see fig. 25) - this implies the store is doing well since they have customers. Yet, when the camera pulls out to reveal the employee trying to help her reach, he causes the whole tower to topple, seemingly frightening the customer away and angering the business man (see fig. 26).
Fig. 25 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Fig. 26 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
These pull-out shots are also used to take the viewer out of this narrative and into the talent show, by zooming out of a banner for the supermarket to reveal the audience waiting for the show to begin. This same shot pans around to reveal the host coming down the stairs to begin the show, which zooms into a close-up of him. Thus, the style of the show involves a lot of camera movement to keep and direct the audience's attention.
This can be seen by the coverage which the cameras capture during each act's performance. One of the acts during this episode involved a performer doing tricks on a tightrope. Therefore, because he was moving backwards and forwards many of the cameras moved to follow him.
Fig. 27 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Fig. 28 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
This was also the case when the performers first took the stage, since the camera moved to follow them in the same way as they introduced the host (see fig. 27). However, because of their importance to the act a medium shot is cut to as soon as they reach the stage to highlight this importance to the audience (Rooney & Belli, 2013:101) - (see fig. 28).
Fig. 29 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Having both a wide shot and a medium shot means that they can capture similar action, therefore the cameras are able to reposition as they are cut between. Therefore, the medium shot repositions to shoot the performer taking to the tightrope (see fig. 29) while the wide shot is still establishing the rest of the action to the audience. Yet, because of the difference in distance between the two, the cuts are warranted (Singleton-Turner, 2011:237).
Fig. 30 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Fig. 31 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
To show the interaction between the two performers, close-up shots are used to make this clearer to the audience (see fig. 30 & 31). These are captured by two separate cameras which "cross-shoot" over one another's frames (Cury, 2013:8). Yet, these still mean the audience do not look at the performers exactly straight on. Nonetheless, the coverage from these shots convey that the show is filmed more in the style of theatre, so for this reason, shots are captured from the audience's point of view as if viewers at home are also watching them on stage as the studio audience are.
Fig. 32 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
These close-ups then cut to a long shot, which emphasises the distance between the performers (see fig. 32). Like in Raven this helps raise the stakes, since it can be seen how high and unsupported one performer is in regard to the other. Coverage like this can be seen as helping to tell a "story", since:
"There is progression: information is revealed that changes the viewer’s understanding of the world"
(Singleton-Turner, 2011:68).
Thus, this long shot shows what the close-ups can't, giving new context to the viewers. However, this long shot remains stationary, therefore it can be seen as a "safety shot", since it includes the whole view of the performance so can always be cut to if the other cameras need to reposition (Singleton-Turner, 2011).
Fig. 33 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Fig. 34 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Fig. 35 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
For example, the camera capturing the close-up of the performer on the ground repositions to shoot the tightrope performer's feet instead (see fig. 34). This emphasises him balancing, creating tension. The other close-up camera captures his face and his concentration (see fig. 33).
This tension is furthered by a trick the performer does where he balances a spoon on his foot, and then kicks it upward so it lands in the cup on his head (see fig. 35). To capture this, the close-up camera on his feet pans up quickly to follow the movement.
This pan acts as "imitative camera movement" since it closely mirrors the movement of the action - it is able to influence how viewers feel about the action, thus making it more tense and uncertain (Owens & Millerson, 2009:190).
Fig. 36 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
Tension is emphasised by shots of the audience members which show their reaction (see fig. 36). This furthers the idea that the viewers at home also watch from the point of view of the studio audience since it could be argued that the medium and close-up shots could act as point of view shots, following the audience's eye-lines.
Fig. 37 YouTube: The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011)
The audience play a large part in the show, since they are also asked their opinions of the act after their performance is finished. Thus, the idea that the audience's opinions are important is highlighted, and since the studio audience is filled with children, this idea extends to imply that the opinions of the children at home - who are the target audience - are also important.
This helps the show appeal to its target audience, since many of the main characters, such as the host, and even most of the acts, are adults. Thus, the audience of children in the studio can be seen as "self-reflexive", because they mirror the audience watching at home (Russo, 2009). For this reason, it can be said that they could help attract viewers, since the studio audience is seen enjoying the acts and giving positive opinions on them and they are the same age as the viewers at home, proving the show does appeal to them.
The Adventure Game
1980-1986
Fig. 38 YouTube: The Adventure Game - The Vortex (2008)
The last challenge was known as "The Vortex". Contestants had to move across a grid and successfully get to the other side without being sucked into the vortex, which was invisible to them, although could be seen by viewers (Brew & Shepherd, 2016).
During this challenge the cameras mainly remain stationary since the contestant who is currently crossing the grid moves sporadically.
Fig. 39 YouTube: The Adventure Game - The Vortex (2008)
When the contestants first enter the challenge area, there is a long shot which establishes the whole grid, as well as the characters controlling the vortex with the panel (see fig. 39). However, when the challenge begins this camera repositions by panning and zooming in to get a close-up of the buttons controlling the vortex instead (see fig. 40), with coverage similar to the long shot being achieved by a wide shot (see fig. 41).
Fig. 40 YouTube: The Adventure Game - The Vortex (2008)
Fig. 41 YouTube: The Adventure Game - The Vortex (2008)
This is because the audience's focus changes to concentrate on the contest currently completing the challenge, despite the antagonist of the person controlling the vortex trying to stop them. These are the most important elements of the game since they personify the problem of the challenge as well as the possible solution (Owens & Millerson, 2009:98).
Fig. 42 YouTube: The Adventure Game - The Vortex (2008)
Fig. 43 YouTube: The Adventure Game - The Vortex (2008)
Yet, the opposition between the contestants taking on the challenge and the controllers of the vortex is also evident by the medium shots shown at the beginning of the game (see fig. 42 & 43). They are shown in separate, opposing shots, emphasising the rivalry between them.
Fig. 44 YouTube: The Adventure Game - The Vortex (2008)
However, the audience is encouraged to root for the contestant through the close-up shot which focuses on them as they make decisions about where to move next. No close-up shots of the people controlling the vortex are shown. Therefore, the audience are influenced to focus on the contestant's reactions, and thus their struggle.
Because of the CGI needed for the blue screen which shows the vortex grid high-key lighting is used (Brew & Shepherd, 2016). This provides consistent light which creates few shadows (Shinnick, 2018). However, this was also typical of other science-fiction shows of this era, such as Space: 1999, UFO, and Blake's 7 (see fig. 45, 46 & 47).
Fig. 45 IMDb: Space: 1999 (1975)
Fig. 46 IMDb: UFO (1971)
Fig. 47 IMDb: Blake's 7 (1978)
Tropes
- Set in fictional worlds
- Focus on the contestants
- Contests used to ground fictional worlds in reality and make them more believable
- Presenters are often fictional characters, and are sometimes surrounded by a supporting cast to further expand the fictional world
- The host acts as the face of the show, and also as a guide for the contestants - as they consistently appear in the show, the audience can relate to them; this is sometimes set up using a narrative which runs alongside the challenges
- Shots also guide the audience's attention - for example, close-up shots of contestants prompt them to identify with the contestants
- Wide shots or long shots are used as "safety shots" - normally stationary - to ensure all the action is covered by the cameras and there is always a shot which includes everything to cut to
- Shots can also be used to raise the stakes by mirroring or emphasising the audience's emotions
Influence on our game show
Fig. 48 Google Drive: Graphics (2019)
Since our game show was also targeted for a CBBC audience, these game shows inspired many of the elements we used, and thus influenced how I chose to direct the show.
For example, because many of the games were so unpredictable, our director of photography and I assigned camera 3 (originally on a jib) to always be getting a wide shot so there was always a "safety shot" that could be cut to which showed all the contributors on set, and therefore the person who was speaking would always be visible - inspired by Raven and The Adventure Game.
Like Trapped, our game show was also set in a fictional world, thus we also had our presenter play a character - Commander Steve - and gave him a narrative - that the ship needed to be repaired after its adventures in space to get everyone home - to help make this even more believable.
However, in a similar way to Raven, the contestants also helped this belief, since our target audience of children could relate to them, since they are also children.
Shots helped with this by not getting too much shoot off of the set which exposed the studio, but also lighting. We decided to use high-key lighting, similar to Trapped and The Adventure Game, to help show the details of spaceship as well as all the action of the games, since it meant the contestants were able to move around the set without a change in light.
However, although this was unplanned, the lighting team also added some colour, like that in Raven, The Slammer and Trapped, which further helped to add depth and make the show interesting, as well as helping it fit with the CBBC brand.
To also help hold the audience's interest, I decided to use close-up shots to guide their attention, similar to how this is done in The Slammer and The Adventure Game. This was especially useful during game 2 since there were so many props which had details the audience needed to see, such as the questions written in the instruction manual, the numbers on the lever, and the colours of the battery.
For this reason, our DOP and I assigned camera 2 to get cutaway shots throughout the games. Directing the audience's attention like this reduced confusion and made the narrative clearer, as shots involving both the lever and battery for example could make the audience question where they need to be looking, and thus cause them to miss part of the action, as we found while testing game 2 during the workshop.
However, we did use a two shot of the presenter with the book, since the questions were still clear due to the size of the writing, and this helped the audience see what the presenter was looking at, as he read the questions directly from the book. Splitting these up into two separate close-ups could have been more confusing for the audience by causing them to question what the presenter was looking at as his position in relation to the book would not have been as clear.
List of illustrations
Figure 1 to 13. Trapped Series 1 Episode 5 (2012) [YouTube webpage] At: https://www.youtube.com/watch?v=oWT8zvuAmac&index=2&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&t=367s (Accessed on 8 February 2019).
Figure 14 to 23. Raven CBBC Series 3 episode 6 (2019) [YouTube webpage] At: https://www.youtube.com/watch?v=ay8NcB02vm0&t=403s&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=4 (Accessed on 12 February 2019).
Figure 24 to 37. The Slammer Series 4 Episode 2 Trouble In Store (23/9/2011) (2011) [YouTube webpage] At: https://www.youtube.com/watch?v=nKc1YBDj1ZA&t=0s&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=11 (Accessed on 18 February 2019).
Figure 38 to 44. The Adventure Game - The Vortex (2008) [YouTube webpage] At: https://www.youtube.com/watch?v=6HLX2weZfkA (Accessed on 18 February 2019).
Figure 45. Space: 1999 [IMDb webpage] (1975) At: https://www.imdb.com/title/tt0072564/mediaviewer/rm99860736 (Accessed on 18 February 2019).
Figure 46. UFO [IMDb webpage] (1971) At: https://www.imdb.com/title/tt0063962/mediaviewer/rm1208206080 (Accessed on 18 February 2019).
Figure 47. Blake's 7 [IMDb webpage] (1978) At: https://www.imdb.com/title/tt0076987/mediaviewer/rm592595712 (Accessed on 18 February 2019).
Figure 48. Graphics [Google Drive webpage] At: https://drive.google.com/drive/folders/1Akg_SFLuAKRTXoxRoq33ZhujbQrwSO2i (Accessed on 16 March 2019).
References
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Boddy, W. (2008) ‘The Quiz Show’ In: Creeber, G. (ed.) The Television Genre Book. (2nd ed.) Hampshire: Palgrave Macmillan.
Bordwell, D. & Thompson, K. (2013) Film Art: An Introduction. 10thed. New York: McGraw-Hill.
Brew, S. & Shepherd, D. (2016) 'The Adventure Game: looking back at a brilliant kids' TV show' In: Den of Geek. [online] At: https://www.denofgeek.com/tv/the-adventure-game/24725/looking-back-at-the-adventure-game (Accessed on 18 February 2019).
Brew, S. & Shepherd, D. (2016) 'The Adventure Game: looking back at a brilliant kids' TV show' In: Den of Geek. [online] At: https://www.denofgeek.com/tv/the-adventure-game/24725/looking-back-at-the-adventure-game (Accessed on 18 February 2019).
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Rooney, B. & Belli, M. (2013) Directors Tell the Story: Master the Craft of Television and Film Directing. Oxon: Focal Press.
Russo, J. (2009) 'Inside the Box: Accessing Self-Reflexive Television' In: The Journal of e-Media Studies. [online] At: https://journals.dartmouth.edu/cgi-bin/WebObjects/Journals.woa/xmlpage/4/article/324 (Accessed on 18 February 2019).
Shinnick, T. (2018) 'What You Need to Know About High Key vs. Low Key Lighting' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/high-key-vs-low-key-lighting/ (Accessed on 18 February 2019).
Shinnick, T. (2018) 'What You Need to Know About High Key vs. Low Key Lighting' In: Premium Beat. [online] At: https://www.premiumbeat.com/blog/high-key-vs-low-key-lighting/ (Accessed on 18 February 2019).
Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in a Multi-Camera Studios. Manchester: Manchester University Press.
Studio Binder (2018) High Angle Shots: Creative Examples of Camera Movements & Angles. At: https://www.studiobinder.com/blog/high-angle-shot-camera-movement-angle/ (Accessed on 12 February 2019).
Wells, P. (2008) 'Moral Panics' In: Creeber, G. (ed.) The Television Genre Book. (2nd ed.) Hampshire: Palgrave Macmillan.
Studio Binder (2018) High Angle Shots: Creative Examples of Camera Movements & Angles. At: https://www.studiobinder.com/blog/high-angle-shot-camera-movement-angle/ (Accessed on 12 February 2019).
Wells, P. (2008) 'Moral Panics' In: Creeber, G. (ed.) The Television Genre Book. (2nd ed.) Hampshire: Palgrave Macmillan.
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