camera angles.out

\BOOKMARK [1][-]{section.1}{Objectivity}{}% 1
\BOOKMARK [1][-]{section.2}{Semiotic\040studies\040of\040television}{}% 2
\BOOKMARK [2][-]{subsection.2.1}{Eco\040and\040television}{section.2}% 3
\BOOKMARK [2][-]{subsection.2.2}{`Reading\040Television'}{section.2}% 4
\BOOKMARK [2][-]{subsection.2.3}{Halliday\040and\040`Social\040Semiotics'}{section.2}% 5
\BOOKMARK [3][-]{subsubsection.2.3.1}{`Visual\040Grammar'}{subsection.2.3}% 6
\BOOKMARK [1][-]{section.3}{FROM\040CH3:\040Camera\040angles}{}% 7
\BOOKMARK [2][-]{subsubsection.3.0.2}{Vertical\040angle\040and\040Power}{section.3}% 8
\BOOKMARK [3][-]{subsubsection.3.0.3}{Horizontal\040angle\040and\040Engagement}{subsubsection.3.0.2}% 9
\BOOKMARK [1][-]{section.4}{Methodology}{}% 10
\BOOKMARK [2][-]{subsubsection.4.0.4}{Camera\040Angles}{section.4}% 11
\BOOKMARK [1][-]{section.5}{Results}{}% 12
\BOOKMARK [2][-]{subsection.5.1}{Camera\040Angles:\040FOUND\040IN\040THESIS\040CORPUS}{section.5}% 13
\BOOKMARK [2][-]{subsection.5.2}{Variations\040of\040camera\040angle\040and\040gender}{section.5}% 14
\BOOKMARK [2][-]{subsection.5.3}{Camera\040angles\040and\040ELITES}{section.5}% 15
\BOOKMARK [2][-]{subsection.5.4}{Cam\040angs\040and\040AGE}{section.5}% 16
\BOOKMARK [1][-]{section.6}{Case\040study:\040hi\040and\040lo\040angles}{}% 17
\BOOKMARK [2][-]{subsection.6.1}{Vertical\040camera\040angle\040and\040`power'}{section.6}% 18
\BOOKMARK [3][-]{subsubsection.6.1.1}{Low-angle\040shots\040and\040the\040`empowerment'\040of\040the\040portrayed}{subsection.6.1}% 19
\BOOKMARK [3][-]{subsubsection.6.1.2}{Low-angle\040shots\040and\040non-human\040images}{subsection.6.1}% 20
\BOOKMARK [2][-]{subsection.6.2}{High-angle\040shots:\040visual\040access}{section.6}% 21
\BOOKMARK [2][-]{subsection.6.3}{Summary}{section.6}% 22