Exam II Terms

Question 1

cutting from one shot to another while the subject is still in motion

Answer 1

cutting on action

Question 2

cutting to an insert shot of something and then back

Answer 2

cutaway

Question 3

two shots of the same subject where one is altered in angle or composition, noticeable change; an elliptical cut that appears to interrupt a single shot and thus creates temporal discontinuity

Answer 3

jump cut

Question 4

cuts from one shot to a similar shot by either matching the action or the composition

Answer 4

match cut

Question 5

dissolving either to or from black

Answer 5

fade in / fade out

Question 6

blending one shot into another

Answer 6

dissolve

Question 7

abrupt transitions, like waking from a dream

Answer 7

smash cut

Question 8

circle fade in / fade out

Answer 8

ins

Question 9

when the scene wipes and another scene takes the screen, come in all shapes

Answer 9

wipe

Question 10

give the impression of a single take, but transition is hidden in blackness

Answer 10

invisible cut

Question 11

audio-based, audio from current shot carries over to the next shot

Answer 11

L-cut

Question 12

audio from the next scene starts before you get to it

Answer 12

J-cut

Question 13

graphic values are kept relatively similar shot to shot

Answer 13

graphic continuity

Question 14

two successive shots are joined so as to create a very strong similarity of compositional elements

Answer 14

graphic match

Question 15

dramatic difference in graphic quality between successive shots

Answer 15

graphic conflict

Question 16

cutting together portions of a space in a way that prompts the spectator to assume an offscreen, spatial whole; also called constructive editing

Answer 16

the Kuleshov effect

Question 17

delineating overall space, “setting the scene,” does not follow 180 degree system

Answer 17

establishing shot / master shot

Question 18

once the 180 degree is established, cutting btwn. either side

Answer 18

shot/reverse shot

Question 19

shot A looks at something offscreen, shot B shows what it is

Answer 19

eyeline match

Question 20

an approach to film editing that focuses on creating meaningful things w combination of shots; purpose is to politically influence an audience through editing, NOT to entertain

Answer 20

Soviet montage editing

Question 21

How true is what you hear to what you see?

Answer 21

fidelity of sound design

Question 22

ADR stands for

Answer 22

automated dialogue replacement

Question 23

Why are ADR and foley used?

Answer 23

we have become conditioned to take in a heightened sense of immersivity

Question 24

compresses a passage of time

Answer 24

montage sequence

Question 25

plot alternates shots of story events in one place with shots of another event elsewhere; spatial discontinuity w/ unrestricted knowledge

Answer 25

crosscutting

Question 26

What are David Bordwell's four main aspects of intensified continuity?

Answer 26

more rapid editing, bipolar extremes of lens lengths, more close framings in dialogue scenes + a free-ranging camera

Question 27

rapid editing in an action-oriented film that largely obeys the 180 degree rule

Answer 27

intensified continuity

Question 28

closer shot of the characters established in the establishing / master shot

Answer 28

cut-in

Question 29

What does "Mise-en-scene" literally translate to?

Answer 29

"putting into the scene" / placing on the stage

Question 30

What are some aspects of mine-en-scene?

Answer 30

setting, costume, lighting, makeup, performance of actors, etc.

Question 31

What are some aspects of setting to look for in a mise-en-scene analysis?

Answer 31

color, props, space available, digital SFX

Question 32

What are some aspects of costume and makeup to look for in a mise-en-scene analysis?

Answer 32

purely graphic quality (how the character stands out from / blends into the background), makeup accentuating expression, complementary + primary vs. contrasting color schemes, CGI body sculpting

Question 33

What are the four main aspects of lighting to consider in a mise-en-scene lighting analysis?

Answer 33

quality (intensity of the light), direction (path of light to the object), source (what produces the light), color (color of the light itself)

Question 34

the arrangement of figures and objects within the frame

Answer 34

staging / blocking

Question 35

staging in depth

Answer 35

when the foreground, mid ground and background are all showing

Question 36

a light that directly illuminates the subject talking / shown on screen

Answer 36

key light

Question 37

a light that eliminates shadows cast by the direct source of light

Answer 37

fill light

Question 38

creates a silhouette when other two lights are not as bright, provides lighting from behind the subject

Answer 38

backlight

Question 39

stark relationship between the key and fill lights, creates softer lines

Answer 39

low-key lighting

Question 40

crisp, harsh lines created by the lighting

Answer 40

hard lighting

Question 41

minimal key and fill lights to make a silhouette

Answer 41

backlighting

Question 42

onscreen space and 6 areas of offscreen space

Answer 42

the frame

Question 43

Do you shoot more or less frames per second to create a fast motion effect?

Answer 43

less

Question 44

Do you shoot more or less frames per second to create a slow motion effect?

Answer 44

more

Question 45

What is the standard shooting and projection rate?

Answer 45

24 frames/second

Question 46

lens that allows the picture to be shot out in the far distance / taken from far away / zoomed out

Answer 46

telephoto lens

Question 47

lens that allows the picture to move from a wide angle shot to telephoto shot, has both in one lens

Answer 47

zoom lens

Question 48

lens that allows for a wide view, makes distance seem huge

Answer 48

wide angle lens

Question 49

foreground, mid ground and background all in focus

Answer 49

large depth of field

Question 50

one plane in focus, not really w / the other planes

Answer 50

shallow depth of field

Question 51

shifting the area of sharp focus from plane to plane

Answer 51

racking focus

Question 52

What are the six areas of offscreen space?

Answer 52

all 4 sides of the camera (right, left, up, down), behind the film set and behind the camera

Question 53

the camera is above characters, providing an angle from up above

Answer 53

high angle

Question 54

camera is at the same angle as the characters, head-on

Answer 54

straight-on angle

Question 55

camera is below characters, perspective from the ground-ish

Answer 55

low angle

Question 56

the angle of the camera is tilted

Answer 56

canted angle

Question 57

Which two shot types mean the same thing?

Answer 57

"plan américain" and medium long shot

Question 58

camera can move in a curved arrow horizontally

Answer 58

pan

Question 59

camera can move in a curved arrow vertically

Answer 59

tilt

Question 60

camera can move on a physical track to follow the action

Answer 60

tracking

Question 61

camera can move forward and back at a fixed angle

Answer 61

dolly

Question 62

camera can be lifted into the air and its angle can be changed, typically to provide landscape or bird's eye view

Answer 62

crane

Question 63

looping or rerecording of dialogue to match it up with the visual recording

Answer 63

ADR

Question 64

people who recreate sounds with props, rerecord sounds in sync with the visual, find equivalents for what things sound like

Answer 64

foley artists

Question 65

full orchestra playing through a movie soundtrack

Answer 65

film scoring

Question 66

What kind of effect can low tones typically have on a viewer?

Answer 66

they fundamentally freak people out

Question 67

when the sound and the image are taking place at the same time

Answer 67

simultaneous sound

Question 68

when the sound and the image are not happening at the same time

Answer 68

non-simultaneous sound

Question 69

when a sound can be heard in the context of the film by the characters / the sound comes from the story

Answer 69

diegetic sound

Question 70

when the sound lives outside of the story world entirely

Answer 70

nondiegetic sound

Question 71

everyone in the movie's story is able to hear the sound

Answer 71

diegetic objective / external

Question 72

only a few / one character(s) can hear the sound in the story

Answer 72

diegetic subjective / internal

Question 73

the fundamental assumption that a single person, typically the director, is responsible for important film features

Answer 73

authorship criticism

Question 74

What are some primary benefits of authorship criticism?

Answer 74

- help foster thinking of film as an art, worthy of study - classic Hollywood films now reevaluated and appreciated - visual style emphasized (which is the director's greatest power) - filmmakers inspired

Question 75

What are some primary drawbacks of authorship criticism?

Answer 75

- director lauded at the expense of collaborators - consistency does not equal quality - over-valuation of directorial talent

Question 76

According to "The Director's Style," what categories should we look at to determine an author's style?

Answer 76

values (intellectual v. emotional, realistic v. fantasy, etc.), subject matter, cinematography, editing, setting + set design, sound + score, casting + acting performances, narrative structure

Question 77

when audio is carried over the visual transition to tie together two scenes

Answer 77

sound bridge

Question 78

when relations between shots function to control film pace

Answer 78

rhythmic editing

Question 79

horizontal line that determines the spatial divide of the plane, relative to the 180 degree rule

Answer 79

axis of action