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COM 328 > Exam 1 > Flashcards

Exam 1 Flashcards

1
Q

Form

A

overall patterns in narrative design (beginning-middle-end, causal flow of the plot) and cinematic elements

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2
Q

style

A

patterns in the moment-by-moment choices made by the production crew (shots, lighting, setting, costumes, acting, editing, sound)

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3
Q

3 filmmaking phases

A
  1. production
  2. Distribution
  3. Exhibition
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4
Q

production

A

design, execution, and completion of a film

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5
Q

distribution

A

enactment of a publicity campaign and release of film to various outlets

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6
Q

exhibition

A

site of the public’s consumption of the film

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7
Q

4 stages of production

A
  1. Scripting/funding
  2. Preparation
  3. Shooting
  4. Assembly
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8
Q

Scripting/funding

A

controlled by producer, $60-$100+ million is the average

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9
Q

shooting

A

capturing of visualized scenes on mediums (film, DV, HD)

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10
Q

what is the highest definition medium available?

A

Film

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11
Q

preparation

A

director takes over; Pre-viz through storyboards, casting, and rehearsals; hundreds of specialized crew members

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12
Q

assembly

A

editing hours of raw material into final version of film; 100 minutes=approximately 9,000 ft of film

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13
Q

above the line crew members

A

those responsible for the creative development of the film (before pre-production); ie) director, executive producers, producers, screenwriters, casting directors, and principal cast

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14
Q

below the line crew members

A

those responsible for the day-to-day work of making the film (during pre and post-production)

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15
Q

5 General film categories

A
  1. Narrative
  2. Documentary
  3. Compilation
  4. Animation
  5. Experimental
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16
Q

Narrative film

A

storytelling cinema, often divided into many genres

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17
Q

documentary film

A

cinematic recording of non-scripted empirical events, organized via editing

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18
Q

compilation film

A

creating a film out of pre-existing (found or archival) footage

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19
Q

animation film

A

narrative or non-narrative films that are created frame-by-frame

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20
Q

experimental

A

film that deliberately manipulates form and content to create a theoretical or personalized artifact

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21
Q

4 modes of production

A
  1. large scale
  2. indy/exploitation film
  3. small scale
  4. collective
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22
Q

large scale

A

studio/distributor controlled (guild/union controlled) ie) Titanic

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23
Q

indy/exploitation

A

smaller crews (often non-guild/union), low budget, highly targeted, or personal films

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24
Q

small scale

A

one-person filmmaking unit

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25
Q

collective

A

egalitarian, team-oriented production crew

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26
Q

Major distributions

A

most powerful, purchase or finance film production of independent companies ie) WB, paramount, Disney. average cost: 35 mil

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27
Q

minor distributors

A

specialized subsidiaries or production companies ie) lions gate

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28
Q

release patterns

A
  1. wide/platforming
  2. Limited
  3. Alternative/viral
  4. Pirating
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29
Q

wide/platforming

A

2000-4000 screens-often “tentpole” films/day and date

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30
Q

limited

A

handful to a few hundred screens, often in major cities or regions

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31
Q

alternative/Viral

A

internet/google/youtube

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32
Q

pirating

A

illegal distribution, often via the internet

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33
Q

theatrical releasing

A

through the theater chains (Regal, AMC, Cinemark, IMAX)

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34
Q

non-theatrical releasing

A

Online (netflix, Amazon, Hulu, etc.), broadcast and cable television

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35
Q

director of Star Wars III: within a minute

A

Tippy Bushkin

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36
Q

what did Edison invent?

A

Kinetograph and Kinetoscope

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37
Q

kinetograph

A

1888 Camera designed to take intermittent movement

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38
Q

Kinetoscope

A

1891 “peep show” viewer, with 50 feet reels

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39
Q

Lumiere brothers

A

invented cinematograph, actualities, considered the “birth” of motion pictures

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40
Q

what did the Lumiere brothers produce?

A

arrival at the train, Baby’s lunch, the sprinkler sprinkled

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41
Q

Who produced a trip to the moon?

A

Melies

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42
Q

what film tactics did Melies use?

A

double exposure, stop motion, miniatures, tableau style

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43
Q

tableau style

A

no close mid shots, but instead uses long shots with a beginning, middle, and end

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44
Q

what is the difference between a scene and a shot?

A

a scene is composed of multiple shots

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45
Q

who directed the great train robbery

A

Porter

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46
Q

why is Porter important?

A

He was one of the 1st directors to value the importance of editing. He used parallel editing

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47
Q

parallel editing

A

cut between two or more lines of actions simultaneously going on

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48
Q

Nickelodeons

A

first indoor space for motion pictures, usually charging 5 cents for a movie

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49
Q

Griffith’s innovations included?

A

flashback. iris shot. split-screen, softfocus, MS/CS insert, CU and P.O.V shot, IS/panorama

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50
Q

who directed Birth of a Nation?

A

DW Griffith

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51
Q

5 types of editing/dialectical/montage

A

Metric, rhythmic, tonal, overtonal, intellectual

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52
Q

UFA in Germany

A

UFA: 1919-1927 largest/best equipped studio in the world

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53
Q

the Cabinet of dr. Caligari

A

Weine, morbid, psychological themes (murderer)

54
Q

Metropolis (film)

A

Lang, scientist creates robot to stop “Maria” and M- underworld hunts child-killer

55
Q

famous directors in the 20’s

A

DeMille, Chaplin, Keaton, Stoheim

56
Q

Ten Commandments (film)

A

DeMille, talked about sex/violence but within Biblical context

57
Q

Avant-garde

A

impressionism, expressionism, cubism, surrealism, dada

58
Q

5 major studios in the 1930s

A
  1. MGM- melodrama
  2. Paramount-European
  3. W.B-working class studio
  4. Fox-glossy look
  5. RKD-unstable, artsy
59
Q

Citizen Kane

A

Welles, Reshaped Hollywood narrative storytelling technique because it was radically experimental and was the first recognizably “modern” sound film

60
Q

Post-war disillusionment:

A

soldiers tell real stories of war which contradict from Hollywood’s earlier versions

61
Q

Film Noir “dark film”:

A

Human depravity, unheroic, dark psychological themes (ie. Wilder’s Double Indemnity in 1944)

62
Q

what did Hitchcock begin to use post-WWII?

A

suspense and espionage

63
Q

Italian neorealism

A

“Film without plots or professional actors, shot in the streets”-to emphasize material aspects of human condition ie) Rossellini–roma Open city (1945), Desica–Bicycle Thief (1948)

64
Q

50s genres

A

Musicals (singing in the rain), Sophisticated comedy (some like it hot), Westerns (the searchers), Gangster/anti-communist/suspense (On the waterfront & Vertigo), Science Fiction (invasion of the body Snatchers), “Small Film”/Kammerspeilfilme (Marty), Independent Productions (Killer’s Kiss)

65
Q

French new wave/theorists

A

Bazin, Truffaut, Godard, Resnais

66
Q

who directed Rashomon?

A

Kurasawa

67
Q

Ozu

A

“daily life” theme, produced 54 films (Tokyo Story)

68
Q

what are movies from Hong Kong known for?

A

Wu Xia, martial arts, and gangster films, Bruce Lee

69
Q

Popular Indian filmmaking

A

Musicals ie) Raj Kapoor (Awaara), Mehboob (Mother India), Sippy (Sholay)

70
Q

Art Indian filmmaking

A

Ray who was inspired by Italian neorealism (Pather Panchali)

71
Q

Britain free/New Cinema

A

Low budget docs, industrial settings, locations shooting, rebellious youth themes, black and white, unknown actors

72
Q

New german cinema

A

Rejection of conventional structure, neo-Marxist, anti-authoritarian themes

73
Q

Conventional elements

A

Rules/practices standardized by widespread use ie) hero rides off into the sunset to signal a film’s end, bad characters wear black
prior experience with additional artifacts helpful in understanding

74
Q

Emotional elements

A

represented in Characters

affective reactions of audiences ie) use of minor key for a sad scene

75
Q

4 types of meaning

A
  1. referential
  2. Explicit
  3. Implicit
  4. Symptomatic
76
Q

Referential

A

overall story/plot summary

77
Q

Explicit

A

the purpose of the story

78
Q

Implicit

A

themes: generalized interpretations/abstractions of the story’s meaning

79
Q

Symptomatic

A

reflection of wider cultural values; ideology: culturally specific religious, political, social belief systems that inform filmic choices

80
Q

5 formal principles

A
  1. function
  2. Similarity/repetition
  3. variation/difference
  4. Unity/disunity
  5. Development
81
Q

Function

A

Purpose/role of specific elements
Characters (e.g., stereotypes: the “airhead,” the “athlete”, the “manipulative rich kid”; the “boring teacher”; the “regular guy”; the “self obsessed/inattentive/clueless parent”)
Settings (e.g., and island for Jaws?)
Music, props, costumes, etc.

82
Q

similarity/repetition

A

Artistic patterns repeated throughout a work; Motifs

83
Q

variation/difference

A 
Changes/differences in characters/setting/tone/mood/pacing 
Opposing motifs (DDLJ → “cold” London vs. “warm” Punjab)
84
Q

unity

A

all elements clear and economically related (“tight”)

85
Q

Disunity

A

elements out-of-place and not related; can be a “mistake” or “intentional” (e.g., Last Year at Marienbad)

86
Q

Development

A

Causal progression, Segmentation

87
Q

Segmentation

A

Outlining a film’s major and minor parts to identify patterns (note: usually different/more detailed that DVD “chapters”)

88
Q

Causal progression

A

vents toward ending → AB→AC→ etc.

89
Q

Narrative analysis

A

Narrative elements: causality, time, and space
Narrative: chain of cause-effect-related events in time and space
story and plot

90
Q

Story

A

master sequence of cause-effect events, typically in linear time
starts before the plot; often carries on afterwards
Diegetic elements only–from the story-world

91
Q

plot

A

events depicted within the film, in the order presented

includes non-diegetic elements (titles, background score)

92
Q

Cause-effect of characters

A

causal agents; create causes and experience effects. traits: attitudes, skills, etc.

93
Q

Cause-effect of Motivations

A

legal function of event in plot; may have ambiguity as they withhold or forget their motivation, this helps to create suspense

94
Q

Causal motivation

A

planting info for later use

95
Q

Developmental patterns

A

beginning end: reduction of all possibilities (beginning) to those necessary to drive plot to the conclusion–> in the close there is only one or two plot possibilities left

96
Q

3 temporal components

A
  1. Order
  2. Duration
  3. Frequency
97
Q

order

A

How events are presented in time

98
Q

duration

A

story time (months) vs. plot time (days) vs screen time (hours/min)

99
Q

frequency

A

repetition of key events; Omission of mundane/repeated actions

100
Q

3 spatial components

A
  1. story space
  2. plot space
  3. screen space
101
Q

story space

A

seen and unseen locales for story events

102
Q

plot space

A

locals actually depicted in the movie, could also be metaphoric

103
Q

screen space

A

Mise-en-scene: organization of plot space within the frame via camera placement (foreground, midground, background)

104
Q

Plot development components

A

Initial situation –in progress – already in action (“in medias res’ )
Exposition – backstory to plot
Setup — provide range of causes/effects for main conflict
Obstacles, change of character’s knowledge, and goals
Climax and resolution

105
Q

Story Flow

A
  1. Narration – distribution of story information for varying effects
  2. Range of narration
  3. Depth of psychological presentations: Objective or Subjective
  4. Narrators: Character – tell us what happened; Non-character – “voice of God”-style announcers (documentaries)
106
Q

Unrestricted narrative

A

the audience is aware of all of the events in an omniscient manner and has more knowledge about the situation than the protagonist

107
Q

Restricted narrative

A

neither the audience nor the character knows “what’s behind the door”

108
Q

Classical character Hollywood style

A

primary causal agents (plot)
Disaster/loss prompts psychological drama
Lone character’s desire → main goal he/she wants to achieve
(as opposed to experimental causal agents (e.g., collective reaction to rotten food in Potemkin [no singular protagonist])

109
Q

Classical duration/time Hollywood style

A

subordinate to cause-effect
Unimportant events not reported, only those that drive plot forward
Appointment – character motivation
Deadline – temporal restriction that forces action

110
Q

Strong sense of closure

A

Few, if any, loose ends; all plot lines concluded (except for serial narratives with sequels)
Puzzle films – require repeated viewing/debates to determine “what happened”

111
Q

Director’s Goal

A

eliminate unwanted visual content, keep only that absolutely necessary within the frame, realist vs. stylized

112
Q

realism

A

filmmakers attempt to mimic settings and scenes found in the real world

113
Q

stylized

A

emphasize a certain mood or metaphor when approaching lighting, costuming, setting, and performance

114
Q

4 key elements of mise-en-scene

A
  1. Setting
  2. Lighting
  3. Costuming
  4. Performance
115
Q

Locations

A

Profilmic environment, Filmic, Unwanted objects removed from environment, Desirable objects placed into the set

116
Q

Profilmic environment

A

total location space that can be organized on-camera

117
Q

Filmic

A

that which is actually shot

118
Q

Set/studio

A

Total control overall all aspects of location (easier to control than locations),
Place wanted objects/props and background into set

119
Q

lighting intensity

A

hard/harsh vs. soft/diffused

120
Q

lighting Direction

A

path from instrument to subject

121
Q

lighting source

A

frontal/flat, side/sculpted, back/silhouette, underlighting, toplighting

122
Q

Three-point lighting

A

Key (main source) to fill (diffuser) to back (separator)

123
Q

Shadow

A

attached vs. cast

124
Q

performance/acting

A

Appearance, gesture, facial expression, voice, and effects

125
Q

Frontality

A

“cheating” of performance blocking to address camera/audience spectatorial plane

126
Q

Total Mise-en-scene system

A
  1. Shapes audience expectations and viewing experience
  2. Space
  3. Time
127
Q

5 Depth cues

A
  1. Overlapping edges
  2. Movement
  3. Aerial perspective
  4. Size diminution/perspective
  5. Shadow
128
Q

5 Temporal cues

A
  1. Stasis
  2. Movement of oppositions
  3. Differing speeds/directions in competition
  4. Short duration requires rapid viewer assessment
  5. Long takes allow viewer contemplation of space
129
Q

style of Mise-en-scene

A

“personality” of the film; Set of choices paradigmatically made by people associated with a film project, often led by the director

130
Q

Steps for Analyzing Style of MES

A
  1. Determine organizational structure of components
  2. Identify salient techniques
  3. Trace patterns of techniques
  4. Determine functions and meanings for patterns
131
Q

who directed catching fire?

A

Lawrence

132
Q

who directed the birds?

A

Hitchcock

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