film exam 2 Flashcards
(83 cards)
1
Q
Story
A
- basic story: the narration of a series of events in their chronological order
- allow us to empathize and live through experiences of other people without physical and emotional risk
2
Q
Story (children)
A
- narratives important for children
- narratives help children organize their experiences, when to young to have theories on cause and effect
- bedtime narratives help children make sense of daily interactions in the world with symbols, icons, and actions
3
Q
Jerome Bruner
A
- did a study called “ Narratives from the Crib” 1980
- found that children had more sophisticated conversations with themselves rather than with adults
- studied emily at 36 months
- cinema verite
4
Q
elements of narrative fiction
A
- plot
- character
- theme
5
Q
secondary elements of narrative fiction
A
- point of view
- setting
- style
6
Q
plot
A
- the purposeful organization of the actions and events of a story
- the sequential arrangement of actions and events in a story for maximum dramatic, emotional, and thematic effect
7
Q
2 categories of plot
A
- progressive
- episodic
8
Q
character
A
- main character: protagonist
- include major and minor characters
- antagonist is a major character
- traditionally we expect the protag to go through a character change because of his conflict
9
Q
theme
A
- the idea that interests the filmmaker and unifies the film
- reveals something about the human condition
- based on the honest experiences of the filmmaker
- reveals the world view of the writer and or director
10
Q
point of view
A
- a question of who is narrating the story and whether the narrator is reliable
- 1st person, omniscient, third person, and objective
11
Q
1st person point of view
A
- narrator tells his or her own story
- could be objective or subjective, thus reliable and unreliable
12
Q
omniscient
A
- generally are not participants in the story, but are all knowing
13
Q
third person
A
- when an anonymous commentator speaks on background of character
- many times used in documentaries
14
Q
objective
A
- most detached of all narration
- like omniscient
- does not enter the consciousness of characters
15
Q
setting
A
- look, mood, or atmosphere of film
- has to do with time and place
- can reveal underpinnings of the theme
16
Q
style
A
- brings into play three classic tensions of filmmaking: realism vs formalism, misenscene vs montage, and invisiblity vs self reflexivity
17
Q
three act drama structure
A
- thought up by aristotle
- including a beginning, middle, and end
- developed further by dramatist Gustav Freytag
18
Q
Freytag’s triangle
A
- developed by Gustav Freytag
- triangular pyramid shape to illustrate how conflict is plotted
- beginning: provides exposition of characters, motivations, and setting. The conflict sets a narrative movement of increased action in motion
- middle: conflict reaches a point of climax due to crisis or reversal of fortune. There is then a falling action as a result of the climax
- end: there is a resolution, called denouement, to the conflict where all loose ends are tied up
19
Q
conflict
A
- that which the protagonist must overcome in order to reach his desire
- inherently dramatic
- important for action and character motivation
20
Q
four categories of conflict
A
- person vs higher power or force
- person vs another person or society
- person vs nature
- person vs self
21
Q
example of progressive plot structure
A
bourne identity
- highly plot driven
22
Q
example of episodic plot structure
A
whos afraid of Virginia Woolfe?
- not much plot, but setting is emphasized
23
Q
role of the cinematographer
A
- to visualize a director’s ideas through cinematograhy
- manage the camera, lighting, and grip equipment
- responsible for all the cinematography of production
24
Q
tools of cinematography
A
- camera : film or digital
- capture format: in film (16, 35, 65 mm), digital sensor size (1/4, 1/2, 1/3, 2/3, or 1”)
- aspect ratio
- lenses
- lighting
- points of view
- composition and framing
- camera movement
- filters
- special effects cinematography
25
capture format (film)
- lense resolves light on film stock, which combines the functions of a sensor and a memory storage system
26
capture format (digital)
- lense resolves light on a single sensor or three sensors which seperates each coler into (R G B) then processes the color and luminance into digital data, which is then stored in storage device or hard drive
27
color or black and white?
- color: can be important element of meaning in different ways. symbolism, mood, and narrative progression represent only a few possibilities
- black and white: by its nature, not realistic, more primal and more abstract. gives it strong expressive power
28
film formats
8, 16, 35, and 65 mm are common formats for film
29
digital formats
- digital formats are hd
- defined by sensor size
- ranging from : 1/3, 1/2, 2/3, and 1 inch sensors
- most popular cameras are Red One, Scarlet, and Epic cameras and the Arriflex Alexa
30
Aspect Ratios and Common capture
- 1.33/1 Standard aspect ration (tv screen)
- 1.37/1 Academy aperture
- 1.66/1 Modern standard European Ratio
- 1.85/1 Vistavision Modern Standard American
- 2.35/1 Cinemascope, Warnerscope, panavision, techniscope, cinemascope 55, superscope 235
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lenses
- designed to collect light from a scene and focus light upon a film plate
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how lenses function
- resolve light on a frame of film or a digital sensor
| - spherical or anamorphic
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lense focal length
- shorter lenses see a wider field of view than a longer lense
- types of lenses: wide angle (12mm-28), Normal (50mm; 35-60mm), long angle (85 mm and up)
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wide angle lenses
- pull space in from the sides
- push objects away from the camera
- distance expands
35
long lense
- compress distances
| - brings objects closer to camera
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anamorphic lenses
- lens system that horizontally squeezes the image exposed on the negative
- the negative and the printed squeeze positive is unsqueezed by projecter so that the image appearing on widescreen will appear normal
- exposes 59% more film area
37
spherical lenses
- generic term for flat non-anamorphic photography
38
lighting (most important questions)
- where do we want the audience to look?
| - what moods and feelings do we want to create?
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quality of light
- hard light
| - soft light
40
hard light
- light from a single source that produces highly defined shadows
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soft light
- highly diffused light that produces a soft gradation from light to shadow
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lighting styles
- low key
- high key
- graduated tonality
43
- low key lighting style
- dark and moody lighting style
- places emphasis on the shadows in the scene
- tends to be high in contrast in terms of scene luminance range
44
high key lighting style
- bright in mood and low in contrast
| - however, highly contrasting colors can be present in art direction
45
graduated tonality
- lighting with luminance range wide enough to include many distinct gradations between black and white
46
studio lighting terminology
- key light
- fill light
- backlight
- set lights
- practical lights
47
key lights
- usually the main or brightest light on set
| - defines direction and strength of light that illuminates actor
48
fill light
- the soft light that fills in the shadows and reduces contrast
- usually placed next to the camera lense
49
back light
- light that rims the body and seperates the actor from background
50
set lights
- lights that illuminate specific areas of the set without affecting actors
51
- practical lights
- light that emanates from real light producing fixtures including desk lamps, neon signs, and computer screens
52
Hollywood 3point lighting style
- has roots in antiquity
- artists sometimes used the style for centuries for a more realistic lighting scheme for paintings
- key light: set in 45/45 degree position
- fill light: placed next to the camera to control the contrast produced by the key light
- back light: (usually a 3/4 back) to seperate actors and other objects from the background. with color film, backlight is not always necessary
53
camera angles and points of view
- objective
- subjective
- indirect subjective
54
objective point of view
- camera angle from audience point of view, not character
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subjective
- camera angle from a personal point of view
- represents the eye of the character
- often shaky with characters talking directly at the camera
56
indirect subjective
- camera is very close to the actor and in his perspective, but not quite the eye of the character
57
composition
- the arrangement of visual elements within the frame
58
framing
the frame-re-frame dynamic
59
filters
- change the physical properties of the image as it enters the lense
60
types of filters
- diffusion filters- defocus the lense
- fog filters - lower contrast
- color filters - change overall color
61
laboratory and post manipulation
- special laboratory procedures
| - digital manipulation
62
special laboratory procedures
- methods of silver retention including bleach bypass and enr
- will increase contrast
- cross processing (e to c in photo slang) increases contrast in unusual ways
63
digital manipulation
- digital intermediate process: film by scanning frame by frame into a digital file where color and contrast can be manipulated far more thoroughly than traditional lab timing.
- file can then be laser rescanned back onto films.
64
role of director
- primary creative force in a film
- job is to create moving images that will narrate the actions of a screenplay
- must collaborate creatively with artists and utilize tools available to produce a personal vision on screen
65
artistic and practical challenges
- time
- budget
- personnel
- tools of production
- location realities
- imagination
66
director as collaborator
- working with writers
- studio or independent production
- working with actors
-
67
the production process
- block
- light
- rehearse
- shoot
are also called set ups by assistant directors
think blurs without the u
68
block
- rough in the lighting
- block actor movement
- block camera movement
- evaluate action
69
light
- light the stand ins for principal actors
| - rehearse camera and dolly moves in terms of lighting and grip requirements, camera, lighting, and sound departments
70
rehearse
- first team actors do their final rehearsals
- assistant camera and dolly grip set marks
- electricians and grips "tweak"
71
shoot (the take)
- roll sound
- roll camera
- slate
- action begins
- cut by director
- final appraisal, "was it a good take?"
72
question of authorship
- depends on how much artistic power a director has
- is he a creator or interpreter
- in tv producers have the artistic power and directors are their to inerpret screenplay ensure consistency
73
Auteur theory
- developed by Andre Bazin
- the idea that the director is the auteur or author of a film, the primary artistic force
- based on alexander astruc's idea that the camera is the equivalent of a pen, "camera stylo"
74
Francois Truffait
- took ideas of Bazin and proposed that the greatest directors are able to use personal experience to film difficult to capture moments on film
- called the politique de auteur
- helped to start the french nouvelle vague in the 1950s- 1960s
75
notable french new wave directors
- jean luc godard
- francois truffait
- eric rohmer
- claude chabrol
- jacques rivette
- agnes varda
- jacques demy
76
Le Politique de auteur
- Truffait's strategy to promote the idea of auteur
included:
- elevating the status of underrated hollywood studio directors
- vilifying french and european directors for their emphasis on literary classics that had no personal feelings involved. called this a "tradition of quality" sarcastically
- emphasized importance of stylistic consistency and "world view" of a director's work
- raise the status of film from trivial popular entertainment to a major form of art
77
Truffait's question of authorship
- auteurs must have a consistent world view that spans all their collection of pictures
- this collection of pictures is called "ouvres"
78
style and personal vision
ways a director can bring a personal style to their works:
- choice of genre or narrative interest (consistency over a series of films)
- world view (recurrent themes regardless of genre
- camera style (composition, framing, movement, lighting, lenses)
- editing style (montage and or misenscene)
79
two ways that directors can confront and shape the material of film
- design a style to suit material: de-emphasizes personal style
- design material to suit a personal style: has consistent style within all their films. can create their own "special worlds" because their style is so distinct
80
kurosawa's world views
- constantly deal with a protag that must break away from the social and cultural patterns of Japan in order to survive
81
Ozu's world views
- constantly deal with a protag that resists the cultural and social patterns of Japan and eventually accept them in order to find freedom and happiness
82
Naruse's
- the constant social and cultural patterns of Japan are unacknowledged and freedom is lost as it is sought
83
world view
- the use of personal experience and honest self expression in order to create and portray a personal and
