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Comps > Everything Else > Flashcards

Everything Else Flashcards

1
Q

Arose with the modernist avant-garde, It was within the avant-garde that the sense of a distinct point of view or voice took shape

A

Poetic

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2
Q

To see the world anew, making the familiar strange and the strange familiar

A

Poetic

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3
Q

The filmmaker’s way of seeing things takes higher priority than demonstrating the camera’s ability to record what it saw faithfully and accurately

A

Poetic

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4
Q

Emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization

A

Poetic

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5
Q

Stresses form and pattern over an explicit argument, even though it may have an implicit perspective on some aspect of the historical world

A

Poetic

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6
Q

Breaks with continuity editing to build patterns that simulate the look and feel of real-world activities and processes

A

Poetic

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7
Q

Sacrifices the conventions of continuity editing and the sense of a specific location in time and place that follows from such editing

A

Poetic

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8
Q

Explores associations and patterns that involve temporal rhythms and spatial juxtapositions

A

Poetic

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9
Q

Stresses mood, tone, and affect much more than displays of factual knowledge or acts of rhetorical persuasion

A

Poetic

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10
Q

We learn by affect or feeling, by gaining a sense of what it feels like to see and experience the world in a particular way

A

Poetic

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11
Q

Sometimes breaks up time and space into multiple perspectives

A

Poetic

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12
Q

Denies coherence to personalities vulnerable to eruptions from the unconscious

A

Poetic

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13
Q

Often refuses to provide solutions to insurmountable problems, which has a sense of honesty

A

Poetic

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14
Q

Emphasizes voice-over or a voice-of-authority commentary

A

Expository

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15
Q

Emphasizes a problem / solution structure, and argumentative logic

A

Expository

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16
Q

Assembles fragments of the historical world into a more rhetorical or narrative frame

A

Expository

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17
Q

Addresses of the viewer directly, with titles or voices that tell a story, propose a perspective, or advance an argument

A

Expository

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18
Q

Some use voice-of-God commentary

A

Expository

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19
Q

Rely heavily on an informing logic carried by the spoken word

A

Expository

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20
Q

Images serve a supporting role

A

Expository

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21
Q

The commentary serves to organize the images, and voice-over commentary make sense of them in a way similar to how a written caption guides our understanding of an image

A

Expository

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22
Q

The commentary is presumed to come from someplace that remains unspecified but is associated with objectivity or omniscience

A

Expository

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23
Q

We take our cues from the commentary, and we understand the images as evidence or illustration of what is said

A

Expository

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24
Q

Editing serves more to maintain the continuity of the spoken argument or perspective (called evidentiary editing)

A

Expository

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25
Q

Emphasizes the impression of objectivity and a well-supported perspective

A

Expository

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26
Q

Commentators tone strives to build a sense of credibility from qualities such as detachment, neutrality, disinterestedness, or omniscience

A

Expository

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27
Q

Ideal mode for conveying information or mobilizing support within a framework

A

Expository

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28
Q

Direct address involving the use of a voice that speaks directly to the viewer

A

Expository

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29
Q

The voice represents the view of the filmmaker, a guiding voice taking the viewer through the material

A

Expository

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30
Q

Presents hodge podge of images and footage that only makes sense because of the narration

A

Expository

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31
Q

aka Direct Cinema

A

Observational

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32
Q

Uses a fiction-like stress on the continuity of time and space

A

Observational

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33
Q

Uses synchronous sound and seeks to capture what took place in front of the camera

A

Observational

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34
Q

Filmmakers seek to exert minimal influence on what takes place in front of the camera

A

Observational

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35
Q

Avoids interviews, voice-over, and often diegetic music or montage-style editing

A

Observational

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36
Q

Seek out events likely to occur in the form they do whether a camera is present or not

A

Observational

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37
Q

Give a vivid sense of what it feels like to share the specific world of particular individuals at a given moment in time

A

Observational

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38
Q

The filmmaker does not interact with subjects but only observes them

A

Observational

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39
Q

Emphasizes a direct engagement with the everyday life of subjects as observed by an unobtrusive camera

A

Observational

40
Q

aka Cinema Verité

A

Participatory

41
Q

Relies on synchronous sound and building scenes with a sense of continuity

A

Participatory

42
Q

Filmmaker is an openly integral part of what happens in front of the camera

A

Participatory

43
Q

Interviews are a staple – filmmaker interacts with the subject

A

Participatory

44
Q

No voice-over, relies on filmmaker’s interaction with subject

A

Participatory

45
Q

Emphasizes the interaction between filmmaker and subject

A

Participatory

46
Q

Filming takes place by means of interviews or other forms of even more direct involvement, such as conversations or provocations

A

Participatory

47
Q

This mode is often coupled with archival footage to examine historical issues

A

Participatory

48
Q

Draws attention to the type of film a documentary is

A

Reflexive

49
Q

Makes the viewer aware of the documentary conventions, expectations, and assumptions that usually go unspoken

A

Reflexive

50
Q

Stimulates reflection on the viewing process and how it differs from viewing a fiction film

A

Reflexive

51
Q

The filmmaker may interact with the subjects, it may include interviews – but this is done with an eye to prompting viewers to think about the normal conventions that govern interviews

A

Reflexive

52
Q

May show the process of creating the film, the labor that goes into it

A

Reflexive

53
Q

Stresses intellectual engagement with aspects of the filmmaking experience

A

Reflexive

54
Q

Calls attention to the assumptions and conventions that govern documentary filmmaking

A

Reflexive

55
Q

This mode increases our awareness of the constructedness of the film’s representation of reality

A

Reflexive

56
Q

Intensified level of reflection on what representing the world involves

A

Reflexive

57
Q

Calls into question the motto that a documentary film is only as good as it content is

A

Reflexive

58
Q

Attends to HOW we represent the historical world as well as to WHAT gets represented

A

Reflexive

59
Q

Instead of seeing through documentaries to the world beyond, these documentaries asked us to see documentary for what it is: a construct or a representation

A

Reflexive

60
Q

Tackles issues posed by realism as a style — realism seems to provide unproblematic access to the world; takes form as physical, psychological, and emotional realism through techniques of evidentiary or continuity editing, character development, and narrative structure

A

Reflexive

61
Q

Most self- conscious and self-questioning mode of representation

A

Reflexive

62
Q

Questions Realist access to the world, the ability to provide persuasive evidence, the possibility of indisputable proof, the indexical bond between an indexical image and what it represents

A

Reflexive

63
Q

Prods the viewer to a heightened form of consciousness about his or her relation to documentary and what it represents

A

Reflexive

64
Q

Sets out to readjust the assumptions and expectations of its audience more than to add new knowledge to existing categories

A

Reflexive

65
Q

Aims for audience to achieve a heightened form of consciousness, involves a shift in levels of awareness

A

Reflexive

66
Q

Let’s reflect on HOW what you see and hear gets you to believe in a particular view of the world”

A

Reflexive

67
Q

Produces an “aha” effect, where we grasp a principle or structure at work that helps account for how we understand and represent the world

A

Reflexive

68
Q

Stresses emotional involvement with what it is like to witness a particular kind of experience

A

Performative

69
Q

Rely less heavily on commentary to convey information than on form to convey emotion

A

Performative

70
Q

They may imply that knowledge of the world is incomplete without a sense of affective engagement to complement intellectual comprehension

A

Performative

71
Q

Often invites an emotional response as well as cognitive understanding

A

Performative

72
Q

Stresses the affective dimension to lived experience

A

Performative

73
Q

Often used to show experiences of discrimination, prejudice, or oppression

A

Performative

74
Q

Emphasizes the subjective or expressive aspect of the filmmaker’s own involvement with a subject; It strives to heighten the audience’s responsiveness to this involvement

A

Performative

75
Q

It rejects the notions of objectivity in favor of evocation and affect

A

Performative

76
Q

These films share a strong emphasis on what it feels like to inhabit the world in a specific way or as part of a specific subculture

A

Performative

77
Q

Visuals “prove” the narrator’s argument

A

Expository

78
Q

Non-synchronous sound (often uses music to announce emotion, rather than dialogue between 2 people)

A

Expository

79
Q

Evidentiary editing (support your argument with the editing)

A

Expository

80
Q

Supports the impulse toward generalizations (blanket statements and generalizations about something)

A

Expository

81
Q

Promotes a social identity based on Bourgeois values

A

Expository

82
Q

Constructs a cause-effect relationship between events

A

Expository

83
Q

There is an assumption that the world is productive of facts and that those faces can be communicated to others in a transparent way

A

Expository

84
Q

Addresses the question of HOW we talk about the world

A

Reflexive

85
Q

Makes the audience aware of how other modes construct “truth” through documentary practice

A

Reflexive

86
Q

Adopts an evocative (thus subjective) way of understanding reality

A

Poetic

87
Q

Moves away from the “objective” reality of a given situation or people to understand an “inner truth” that can only be grasped by poetic manipulation

A

Poetic

88
Q

Seeks to directly capture reality without recourse to artificial lighting, dramatic music and authoritative voice over

A

Observational / Direct Cinema

89
Q

“This does not mean the cinema of truth, but the truth of cinema”

A

Cinéma Vérité (Participatory)

90
Q

Filmmakers highlight their use of the camera and their interaction with the subject

A

Participatory / Cinéma Vérité

91
Q

Embraces relatively long takes and editing that enhances the impression of real time

A

Observational

92
Q

Introduces a sense of partialness and local knowledge that derives from the actual encounter of filmmaker and subject(s) in front of the camera

A

Participatory

93
Q

Editing operates to maintain a logical continuity between individual viewpoints

A

Participatory

94
Q

Filmmaker becomes a character on screen to shed light on some important issue; use myself to talk about a larger issue

A

Performative

95
Q

Endorses a definition of knowledge that emphasizes personal experience: how can personal knowledge to help us understand more general processes of society?

A

Performative

96
Q

It is particularly suited to telling the stories of filmmakers from marginalized social groups

A

Performative

97
Q

The filmmaker openly discusses his/her perspective

A

Performative

Comps (2 decks)

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