In an aesthetic analysis can be justified deductive, to proceed, there already significant evidence on the emotionalisierenden effect of screen designs: the existing schemes (cf. e.g. lazy stitch 2002; HICKETHIER 1996; CAKE BOOK 2005; MIKOS 1998; SILBERMANN, SCHAAF & ADAM 1980) come mainly from the game – and documentary research, can be used but with regard to aesthetic categories in terms of nonfiktionaler television. Thus a category scheme is designed to analyze the aesthetic dimensions of this film article, which is appropriate to their own research interests and the own research questions. To illustrate how aesthetic features such as the camera work, lighting, the image / text ratio and the overall design of the contribution, to be included in the present article only pars per toto so the sequence of individual narrative elements. It is important to work with any camera setting, so the relation between the position and the action field, for the effect of a television fee (cf. HICKETHIER 1996, S. 58-59).
Different settings are (total ‘and wide’; Halbnahe ‘and close and large’), of which some clarification should be described: total ‘ or width ‘ settings show the entire event of a plot area and help to give an overview of the scenario the spectators, the human being as an actor plays a minor role. An example of this would be the initial setting in the coverage of a Bundestag debate, which gives an overview of the Federal Parliament and the MEPs from the perspective of the Viewer, without taking individuals into focus. The Halbnahe’ shows the actor with upper body and face, still allows an assessment of the direct environment for the Viewer. In what situations is the player, which can support his statements or refute becomes clear, the audience. This setting is often used when a politician on the way in or outside the Chamber submits a statement.