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Freshman Exams :,,) > Cinema Midterm > Flashcards

Cinema Midterm Flashcards

1
Q

Motif

A

A vehicle for theme; a detail to show theme, a tangible thing

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2
Q

Theme

A

A film’s central, unifying concept; a continuous feeling

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3
Q

Parallel

A

A common aspect between characters

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4
Q

Expectations

A

Type-casting, director styles, genre

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5
Q

Classical

A

Hollywood style 3-4 part storyline focused on story over character and situations

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6
Q

Realism

A

Focused on characters over storyline

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7
Q

Formalist

A

Focused on cinematography and techniques

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8
Q

Formal

A

Experimental avant-garde

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9
Q

Descriptive claims

A

Plot summary, describing the movie

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10
Q

Interpretive claims

A

Your interpretation, themes, level of meaning

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11
Q

Evaluative claims

A

Whether the movie was good, bad, or mediocre

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12
Q

Speculative claims

A

Making assumptions of back story-events off screen

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13
Q

Fabula

A

Complete chronological order of events on and off screen

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14
Q

Syuzhet

A

Events that are represented on screen

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15
Q

Diegetic

A

within the movie universe

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16
Q

Extra-diegetic

A

Not of the film’s universe

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17
Q

omniscient

A

All knowing narrator

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18
Q

restricted

A

Not all-knowing

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19
Q

Hollywood storyline

A

Linear; beginning, middle, end. Not too many plot lines, can have subplots. Emphasizing characters. Resolution/end goal 3/4 part structure

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20
Q

Exposition

A

Establishing who, what, when, where, why

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21
Q

4 act

A

Turning points between 1st and 2nd act. Tp in the middle, tp as climax, epilogue

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22
Q

TP in the Hours

A

LB: kiss with kitty, decided to live, abandons family
VW: writing book, doesn’t kill Clarissa, kills poet
CV: throws party, mental break, Richie’s suicide

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23
Q

2 part

A

Before and after

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24
Q

Frame embedded

A

Story within a story

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25
Q

Episodic

A

A day in the life

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26
Q

Mise en scene

A

Setting, composition, lighting, human figure

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27
Q

Location vs. studio

A

Location is more expensive but more authentic

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28
Q

method acting

A

Dissolves into character on and off set

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29
Q

Personification

A

Script exploits actor’s features

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30
Q

Impersonation

A

Actor molds into script

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31
Q

Character actor

A

Small character in each film they appear

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32
Q

Hard lighting

A

From concentrated light source, casts parallel rays of light; deep shadows, contrast from light and dark, sun on clear sky is an example

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33
Q

Soft lighting

A

From diffused light source; gradient, slow fall off, minimize facial imperfections, sun on a cloudy day

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34
Q

slow fall off

A

Low contrast, soft shadow edges

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35
Q

fast fall off

A

High contrast, hard shadow edges

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36
Q

3 point lighting

A

Standard for Hollywood; key light, fill light, back light

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37
Q

High key lighting

A

Key/fill ratio is 2:1 provides even illumination, key light creates shadows, fill light eliminates shadow

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38
Q

natural lighting

A

Key/fill ratio 4:1-8:1 key light creates more intense shadow, fill can’t get rid of

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39
Q

Low key lighting

A

Key/fill ration 16:1-32:1 key light is intense, intense shadows- used in horror

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40
Q

Tight framing

A

Little visible space around main subjects

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41
Q

Loose framing

A

Lots of visible space around main objects

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42
Q

balanced composition

A

Symmetrical, even distribution of bright and dark areas; objects, figures, even colors, are evenly distributed across space

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43
Q

Unbalanced composition

A

Asymmetrical, unequal distribution of bright and dark areas; viewers eyes led to unsymmetrical object, asymmetry doesn’t always mean disorientation

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44
Q

rule of 3rds

A

For producing balance in composition (place subject in one of the four intersecting points)

45
Q

Figure placement

A

Where actors are in relation to viewer/camera
Foreground: closer (more important)
Background: farther away (less important)

46
Q

Camera height

A

Eye level shot, high angle shot, low angle shot, Dutch angle (camera leans to one side), overhead shot

47
Q

Extra long shot

A

Subject is small relative to the environment

48
Q

Pan

A

Turning into a camera left or right horizontally
Swish pan: quickly and blurred

49
Q

Wide angle

A

Short focal length, wider angle of view, distance between fg and big appear greater, movement appears faster (zoom out)

50
Q

telephoto

A

Large focal length, compresses distance of foreground and background, movement appears slower

51
Q

Color filter

A

Absorbs certain wavelengths leaves others unaffected

52
Q

neutral density

A

absorbs all wavelengths, less light strikes film stock

53
Q

diffusion

A

Blends light, blurs image

54
Q

star filter

A

Points of light streak outward from source

55
Q

fog filter

A

Etched spots on glass surface, refracts light, misty effect

56
Q

Over exposure

A

When more light than is required to produced an image

57
Q

under exposure

A

when little too light strikes the emulsion

58
Q

tinting and toning

A

Tinting: bathing length of developed film in dye
Toning: replaced silver halide with colored metal salts

59
Q

pushing and pulling

A

Pushing: allowing a longer time in development
Pulling: underdeveloping

60
Q

Forced development

A

Used when lighting levels are inadequate for normal exposures

61
Q

scratching

A

Scraping the surface of the film to achieve the look of a home movie

62
Q

bleach bypass

A

Leaving the silver grain’s in the emulsion layer rather than bleaching them out

63
Q

Emulsion

A

A light sensitive chemical layer in which the image is formed

64
Q

Genres and setting

A

Horror, romance, comedy are not dependent on setting

65
Q

Long shot

A

Captures full figure

66
Q

Medium long shot

A

From knees up

67
Q

Medium shot

A

From waist up

68
Q

Medium close up

A

From chest up

69
Q

Close up

A

Closes in on one section of the body

70
Q

Two shot

A

Close up in which 2 faces are visible

71
Q

Extreme close up

A

Closes in on one body part

72
Q

Tilt

A

Tipping a camera that’s fixed vertically

73
Q

Dollies

A

Rolling platforms on which camera’s are mounted

74
Q

crab dolly

A

A dolly with rotating wheels

75
Q

Tracking shot

A

Moving camera on a dolly on a track

76
Q

Handheld shots

A

Use easily, transportable

77
Q

Stedicam

A

Minimizes shakiness

78
Q

Base

A

The flexible support material

79
Q

Gauge

A

The size of the field, measured horizontally

80
Q

Speed

A

A measure of a stock’s sensitivity to light

81
Q

Grain

A

The suspended particles of silver in the emulsion layer

82
Q

Collage

A

Assortment of shots, joined together in a sequence, create meaning by playing images against each other

83
Q

Cut

A

shot a ends shot b begins

84
Q

Fade

A

Shot a fade to solid color, shot b gradually appears

85
Q

Dissolve

A

Shot a disappears, shot a appears simultaneously, brief moment of 2 images

86
Q

iris

A

Circular masks around subject in and out

87
Q

Wipe

A

Shot b pushed shot a off screen

88
Q

Narrative sequencing

A

Arrange shots to provide cohesive story

89
Q

Elipses

A

Cut out unnecessary events

90
Q

Continuity editing

A

Seamless movement of shots

91
Q

Establishing shot

A

Establishes the space of action begins with long shot

92
Q

Re-establishing shot

A

Re-establish space of action begins with close up

93
Q

Shot-reverse shot

A

Other character shown looking back at character

94
Q

eyeline match

A

Film editing technique based on premise of what character is looking at, same angle, not the same as a cutaway

95
Q

Match on action

A

Technique where editor cuts from one shot to another view that matched first shot’s action; gives impression of continuous time

96
Q

180 degree rule

A

Must film on one side of 180 degree line; disorients viewers

97
Q

Jump cut

A

Violation of continuity; a ump of place or time without explanation

98
Q

Subtext

A

Unstated meaning of spoken word

99
Q

Line readin

A

How actor says line, influenced by pauses, emotion, intonation

100
Q

on the nose dialogue

A

States the obvious

101
Q

Human voice

A

Volume
(Loud or soft), pitch (sound frequency), speech characteristics (accent, diction, vocal tics), acoustics (how sound moves through space)

102
Q

Sound effects

A

Establish setting, lend mood on environment, show setting’s impact on characters

103
Q

characteristics of sound effects

A

Acoustics (how sound moves through space), volume (high or low), regularity (sound effects are sporadic; pay attention to consistency) verisimilitude (attempts to sound real)

104
Q

Foley artists

A

People who make sound effects

105
Q

Attributes of music

A

Patterns of development (repetition of musical themes), lyrics (filmmakers choose songs with relevant lyrics) tempo and volume (speed and loud or soft), instrumentation (what instruments were used), cultural significance (perpetuate stereotypes)

106
Q

Contrapuntal uses

A

Music mood contradicts film mood

107
Q

Functions of music

A

Dialogue and sound effects establish time/place, diegetic music can’t be anachronistic (but extra can), music can shape geography

108
Q

Music and character

A

Diegetic-explains personality
Extra diegetic- can be motifs

109
Q

Foreshadowing

A

Jerrold Livingston “fiction making”- tell viewers something about plot

Freshman Exams :,,) (9 decks)

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