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art and technique of filmmaking > film exam 3 > Flashcards

film exam 3 Flashcards

1
Q

three approaches to editing

A
  • classical continuity editing
  • formal montage
  • disjunctive editing
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2
Q

classical continuity editing

A
  • rhythm
  • time
  • narrative coherence
  • invisibility
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3
Q

classical continuity editing (rhythm)

A
  • directors that have lost narrative coherence through mis en scene, can save the film’s rhythm through editing
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4
Q

classical continuity editing (time)

A
  • editing can be used to expand and compress time, just as cinematographers can use lenses compress and expand space
  • scenes can be lengthened or shortened
  • actor’s performances can be improved through selective cutting
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5
Q

classical continuity editing (narrative coherence)

A
  • most essential part of classical editing

- story is told by making judicious choices of the best images and sounds.

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6
Q

classical continuity editing (invisibility)

A
  • editing is often referred to as “the invisible art”

- the creation of an illusion of continuous action, even though the film is made up of different kinds of shots.

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7
Q

formal montage

A
  • Kuleshov effect

- Formalist Soviet Montage

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8
Q

formal montage (Kuleshov effect)

A
  • the discovery that editing could be used to create meaning other than through the strict classical continuity approach
  • discovered by Lev Kuleshov in the late 1910’s.
  • paired a shot of an actor’s facial expression with three different shots including a bowl of soup, an attractive woman, and an old woman in a coffin.
  • showed three different emotions with one shot
  • called the Kuleshov effect
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9
Q

formal montage (formalist Soviet montage)

A
  • editing theory created by Sergei Eisenstein
  • took Kuleshov’s theory to another level
  • believed that there should be a dynamic collision between antithetical shots to present new meanings
  • not necessarily for continuity, but for construction of new meaning
  • relates shots by subject, theme, and/or mood
  • Koyanosquatsi (1982) is a famous film touching on the impact of humans on the world through graphic and thematic means
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10
Q

Disjunctive editing

A
  • first appeared during the Nouvelle Vague (French New Wave)
  • Directors such as Jean Luc Godard and Francois Truffait mixed classical Hollywood Cinema techniques of linear editing along with radical anti-classical techniques.
  • were more self-reflexive forms of editing where editing was not invisible and were apparent
  • non-linear editing approach
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11
Q

concepts of continuity editing

A
  • establishing a shot
  • shot and reverse shot
  • reaction shots
  • parallel editing
  • inserts and cut-ins
  • 30-degree rule
  • 180-degree rule and crossing the line
  • flashbacks and flash-forwards
  • pace
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12
Q

establishing a shot

A
  • a shot, typically a wide shot

- establishes the setting and spacial relations among actors and objects in a scene

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13
Q

shot and reverse shot

A
  • shots that alternate between two or more characters

- often in conversation

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14
Q

parallel editing

A
  • alternating shots of action from different locations all happening at the same time
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15
Q

inserts and cut-ins

A
  • usually closer shots that interrupt a wider shot providing information or emphasis
  • example: during a long shot, an actor looks down at her desk to see a close up of a phone
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16
Q

30-degree rule

A
  • rule of thumb stating that the camera angle must change by at least 30 degrees when cutting to another angle
  • if less than 30 degrees, cut will be noticeable
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17
Q

180-degree rule

A
  • continuity is maintained when cutting between two actors

- only when left to right relationship is maintained

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18
Q

flashbacks and flash-forwards

A
  • cutting a scene or sequence in the past or jumping ahead to the future
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19
Q

pace

A
  • the rhythm of editing, whether fast or slow

- important since it is the most musical of editing characteristics

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20
Q

transitions between shots

A
  • cut
  • match cut
  • jump cut
  • fade in and fade out
  • dissolve
  • wipe
  • freeze frame
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21
Q

cut

A
  • a direct change from one shot to another
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22
Q

match cut

A
  • a change from one shot to another where spatial and temporal relations are maintained
  • invisible to the audience
  • common match cuts: eye-line match, action match, and graphic match
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23
Q

jump cut

A
  • a change between shots where spatial and temporal relations are not maintained
  • audience is made aware of the mismatch
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24
Q

cut

A
  • a direct change from one shot to another
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25
Q

match cut

A
  • a change from one shot to another where spatial and temporal relations are maintained
  • invisible to the audience
  • common match cuts: eye-line match, action match, and graphic match
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26
Q

jump cut

A
  • a change between shots where spatial and temporal relations are not maintained
  • audience is made aware of the mismatch
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27
Q

fade in and fade out

A
  • a cut where the shot turns darker until it becomes black (fade out) or turns from black to an image
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28
Q

dissolve

A
  • a transition from one shot to another where the new image is temporarily superimposed as the original image fades
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29
Q

master scene

A
  • shooting the entire scene, called the master, in a long shot
  • next shoot the entire scene again with medium shots, and then again with close ups of each principle actor’s dialogue or reactions
  • shots are called coverage
  • advantageous because one gets many different angles and shot sizes within a scene for more choices during editing
  • allows editor to choose the best takes from a scene
  • disadvantageous because it calls for much planning and actions must be repeated identically for continuity
  • improvisation is more difficult
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30
Q

freeze frame

A
  • a moving image transforms into a still image
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31
Q

shooting strategies for continuity

A
  • master scene
  • shot by shot
  • triple-take
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32
Q

master scene

A
  • shooting the entire scene, called the master, in a long shot
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33
Q

shot by shot

A
  • scenes are carefully planned or storyboarded
  • most flexible approach
  • disadvantageous because there may not be enough footage and mismatches can occur
  • highly skilled directors needed to envision what shots are needed within the editing process
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34
Q

triple-take technique

A
  • commonly used in documentary films
  • illustrates how a particular event or controlled process takes place
  • breaks complicated action or longer scenes into three consecutive shots.
  • main idea is to overlap the action at the beginning and end of each shot
  • Joseph mascelli’s “The five c’s of cinematography” describes this
  • action at end of first shot begins the second and so on to provide perfect matching
  • disadvantages: editor can end up with a collection of distracting angles and shot sizes that lack mood or thematic value
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35
Q

What defines a director’s directorial tendencies?

A
  • approaches that can be applied to any of the style and personal vision categories
  • realism vs formalism
  • montage vs mis-en-scene
  • invisible vs self-reflexive
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36
Q

abstract ideas and internal state of beings

A
  • what director’s or auteurs strive to visualize regarding certain aspects of the human experience
  • an attempt to go beyond realism of photography and bring out a special meaning or illumination
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37
Q

What defines a director’s style and personal vision?

A
  • choice of genre or narrative interest
  • recurrent themes (world view)
  • camera style (composition, framing, movement, lighting)
  • editing style and mis-en-scene
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38
Q

What defines a director’s directorial tendencies

A
  • approaches that can be applied to any of the style and personal vision categories
  • realism vs formalism
  • montage vs mis-en-scene
  • invisible vs self-reflexive
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39
Q

Carol Reed

A
  • British filmmaker (1906-1876)
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40
Q

Carol Reed Stylistic signature

A
  • novelistic filmmaker
  • most preferred his films over their source novels
  • transformed poorly drawn novel characters into living, breathing people with real complicated lives
  • directed great performances
  • preferred real locations (realism), but used camera and lighting in expressionistic ways.
  • highly effective use of mood and atmosphere
  • interesting camera angles
  • including dutch tilt in “The third man”
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41
Q

Carol Reed World View

A
  • people are highly complicated and not predictable
  • there are mostly grey areas in life, makes conflict difficult to resolve. no easy answers.
  • things usually don’t work out. life is often disappointing.
  • very mature world-view
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42
Q

Carol Reed significant films

A

“odd man out”
“the fallen idol”
“the third man”
“oliver”

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43
Q

Frederico Fellini

A
  • Italian director (1920-1993)
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44
Q

Frederico Fellini Stylistic Signature

A
  • juxtaposition: juxtaposed reality against constructed situations for ironic effect.
  • placed objective and subjective views of the character side by side so that we are aware of the difference
  • minimized traditional drama or tranformed it
  • preferred episodic stories
  • explored the thin line between beauty from grotesque
  • celebrated the power of imagination in the life of his characters
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45
Q

Ozu, Yasujiro sylistic signature

A
  • formal closed framing
  • very little camer movement
  • avoided over the shoulder shots
  • emphasis on cinematography (the permanent)
  • emphasis on the particular, not the general (as in Haiku poetry)
  • gestures are important
  • family as a subject of interest
  • conflicts that develop between personal desire and societal demands
  • transitions that create conflict (growing up, marriage, cultural evolution)
  • strong female characters
  • transition shots are punctuated moments of contemplation.
  • strong graphic elements utilizing lines, space, and form, weight and balance
  • narrative ellipses, nothing is spelled out
  • major events usually occur off screen
  • showed slower and less dramatic pace of life
  • camera usually three feet high, at level of his seated characters
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46
Q

Frederico Fellini significant films

A

“La Strada”
“La Dolce Vita”
“8 1/2”
“Armacord”

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47
Q

Ozu, Yasujiro

A
  • Japanese director (1903-1964)
48
Q

Ozu, Yasujiro sylistic signature

A
  • formal closed framing
  • very little camer movement
  • avoided over the shoulder shots
  • emphasis on cinematography (the permanent)
  • emphasis on the particular, not the general (as in Haiku poetry)
  • gestures are important
  • family as a subject of interest
  • conflicts that develop between personal desire and societal demands
  • transitions that create conflict (growing up, marriage, cultural evolution)
  • strong female characters
  • transition shots are punctuated moments of contemplation.
  • strong graphic elements utilizing lines, space, and form, weight and balance
  • narrative ellipses, nothing is spelled out
  • major events usually occur off screen
  • showed slower and less dramatic pace of life
  • camera usually three feet high, at level of his seated characters
49
Q

Ozu, Yasujiro world view

A
  • life is sad so we must react to events with calm acceptance
  • things are transient, and life is impermanent.
  • the cycle of nature mirrors the cycle of life.
50
Q

Ozu, yasujiro significant films

A

“early summer”
“tokyo story”
“late spring”
“late autumn”

51
Q

Michelangelo Antonioni

A
  • italian director (1912-2000)
52
Q

Michelangelo Antonioni stylistic signature

A
  • focused on character and theme
  • very little plot and minimal drama
  • explored characters in stasis
  • ungrounded, de-centered, and lack of purpose
  • resist simple interpretation, highly complex
  • environment is in counterpoint to the characters
  • meaning expressed principally through cinematography
  • self-reflexive view
  • long takes with unusual compositions, framing, and editing strategies
53
Q

Michelangelo Antonioni world views

A
  • people retain rigid morality of primitive age and are unable to adapt to the complexity of the modern world
  • objects and machines of modern world are often more interesting than people
  • people are so empty spiritually, that they are principally motivated to pursue money and sex as a way to fill their emptiness.
  • when fulfillment is not reached they wonder why
54
Q

Michelangelo Antonioni significant films

A 
"cronace di un amore
"l'ayventura"
"la notte"
"L'eclisse"
"blow-up"
55
Q

Zhang, Yimou

A
  • Chinese director (1951- )
56
Q

Zhang, Yimou stylistic signature

A
  • focus on character and theme
  • very little plot and minimal drama, often ambiguous endings
  • one of the most versatile of major directors
  • moves between formalism and realism with great dexterity
  • creates films from a single image-idea that informs the genre, dramatic structure, color and overall visual style of each film
  • emphasizes the transient and impermanent nature of life.
  • this view, same as Ozu’s, is one of the great contributions of Asian Cinema
  • bold, lush cinematography, rich in color and texture.
  • emphasizes female beauty
  • breaks cultural and traditional rules of visual arts
  • asymmetrical framing often apparent
57
Q

Zhang, Yimou world view

A
  • words are finite but the heart is infinite
  • women, and in particular, the desires of women, are a powerful force of nature
  • resilience and stubbornness are necessary for survival in the face of adversity and hardship
58
Q

Zhang, Yimou significant films

A 
"red gorghum"
"ju don"
"raise the red lantern"
"to live"
"the road home"
"the story of qui ju"
"hero"
"the house of flying daggers"
59
Q

three perspectives of performance

A
  • philosophies of acting
  • styles of acting
  • categories of actors
60
Q

philosophies of acting

A
  • how an actor should be trained and what techniques to be applied in the creation of a character
61
Q

styles of acting

A
  • what style of acting is needed within the context of the genre
  • one style is better for comedy as opposed to a drama
62
Q

categories of acting

A
  • how the star system can expand or limit an actors’ range
63
Q

Technical approach to acting

A
  • identified along with a British theatrical tradition of acting
  • external
  • outside-in
  • intellectual understanding of character
  • emphasis on the body and creation of the movements of the character
  • correct physical actions lead to correct emotional reactions
  • for training: be obervant of physical actions and accents of different people.
  • many devoted to the training of voice and mastery of body movements
64
Q

Method approach to acting

A
  • American style of acting based on the teachings of Constantin Stanislavsky
  • internal
  • inside-out
  • emotional understanding of the character
  • emphasis on the emotional history of character
  • correct emotion within actor will lead to correct physical reaction
  • for training: development of a rich sense memory of different emotions
65
Q

rational actor

A
  • plans out every detail of voice intensity, movement and gesture
66
Q

Technical approach to acting

A
  • identified along with a British theatrical tradition of acting
67
Q

Method approach to acting

A
  • American style of acting based on the teachings of Constantin Stanislavsky
68
Q

Constantin Stanislavsky

A
  • originator of the ideas that resulted in the method approach to acting
  • greatest discovery was the nexus
69
Q

Stanislavsky’s nexus

A
  • concept that describes how the actors body can function as the link that brings all of his or her past experiences of taste, touch, sight, smell and sound together.
  • this link enables active retrieval of one’s inner emotional life at will
  • actors can draw on these experiences to bring out the emotions necessary for a scene
  • lee strasburg said “the emotions are hung on the strings of the five senses”
70
Q

representational acting

A
  • creates the complete illusion that he or she is the character being performed.
  • actor is giving a representation of real life that would continue on even if the audience were not present
  • suits realistic films
  • style most often seen
71
Q

presentational acting

A
  • embraces theatricality
  • not concerned with realism
  • mostly associated with Greek and Shakespearean dramas.
  • goal is to intensify and heighten conflicts and emotions of characters so they stand out from real life
72
Q

clearest distinction between representational and presentational acting, according to Stanley Kahan

A
  • representational acting is centered on the other actors in the play and within the area of the stage itself
  • presentational acting tends to be audience-centered, with continual awareness of the existence of the audience as the focal point of the action.
73
Q

categories of actors

A
  • leads
  • supporting (characters)
  • non-professional performers
  • extras
74
Q

lead actors

A
  • men and women who are usually cast in the principal roles of the film
  • most often these actors are stars as well, but occasionally character actors will be cast in lead roles
  • very often lead stars will play supporting roles and character actors will try lead roles to become leading actors
75
Q

character actors

A
  • usually play secondary or supporting characters
  • often typecast because of specific appearance
  • often recognizable but name is unknown
76
Q

non-professional performers

A
  • people with no professional training are chosen for their naturalism or representative types
  • unknown famous people
  • major sports figures, pop-stars, jounalists, politicians, etc..
77
Q

extras

A
  • actors cast in non-speaking parts in order to enhance the realism of the film
  • often called background actors
78
Q

types of star actors

A
  • personality star

- actor star

79
Q

personality star

A
  • actors play limited roles that fit closely to their public persona
  • brings public history to their performances that provide the basis of audience identification
  • ex: ben stiller, harrison ford, cameron diaz, clint eastwood, bruce willis
80
Q

what is art direction?

A
  • to create the world that the character will inhabit
  • the world will reflect and show the state of the character and provide info without the use of expository dialogue
  • helps the audience to get a feel for the character
81
Q

Robert Bresson’s style of directing

A
  • highly exacting approach to acting
  • disliked technical and emotional techniques, saying they were inherently dishonest
  • used nonprofessional actors
  • worked with them only once
  • didn’t see them as actors, rather they were models
  • would exhaust his actors with multiple takes to bring out genuine movement and emotion
  • flat style but intriguing
  • similar to Ozu
  • called transcendental style
82
Q

Production designer or Art director

A
  • at the most basic level, the people and physical objects of the world will be the subjects that need to be photographed
  • production designer makes sure these people and objects are interesting
  • creates the world for the actors to inhabit
  • the world will support the overall theme in addition to character and plot
  • the name production designer is usually given for historical periods and those sets needing great stylizations
83
Q

early film theory

A
  • film tended to be looked at as either a realist or formalist perpective
  • asked questions of :
  • what are the raw material of film
  • what are the methods and techniques that shape the raw material
  • what are the forms and shapes ex: what kinds of films have been made and what kinds of films might be possibly made
  • what is the purpose and value of film
84
Q

production designer’s team

A
  • art director: functions as a PD on smaller productions
  • set designer: essentially a draughtsman for the interior sets
  • set construction: carpenter that builds sets
  • set decorator: set dressers, arrange ojects
  • painters: for sets and backdrops
  • costume designer: designs and selects costumes
  • costumer: makes sure the costumes are made properly
  • make-up artist: make up or prosthetics
  • hair stylist: hair continuity
  • property master: in charge of items handled by actors
  • model maker: makes miniature models for shot planning
  • greens department: in charge of plants, trees, etc.
85
Q

first film theorists: Hugo Munsterberg

A
  • a gestalt psychologist
  • argued that the illusory nature of film is the most salient characteristic
  • art of mind: how the mind constructs a complete perception out of separate sensations were of interest to him
86
Q

first film theorists: Rudolf Arnheim

A
  • background in art criticism and perceptual psychology
  • material limitations are utilized to create the perfect illusionism
  • disapproved of sound
  • called the 1920’s silent era the perfect form
  • he said sound ruined the art of film
87
Q

first film theorists: Sergei Eisenstein

A
  • russian constructivist who studied engineering
  • each shot is a building block with which the content must be totally controlled
  • cinema art is achieved through the montage
  • realism is important
  • artistic creation through montage is the goal of the art of film
88
Q

first film theorists: realists

A
  • siegfried kracauer

- andre bazin

89
Q

first film theorists: siegfried kracauer

A
  • believed that the appropriate content for cinema was the real “photographic world”
  • form is much less important
  • fascinated by how the physical world looked more interesting and important through photography
  • wrote book called “theory of film: the redemption of physical reality”
90
Q

first film theorists: Andre Bazin

A
  • most influential of all early theorists
  • also a major film critic of the 1930-50s
  • valued documentary realism and mis-en-scene over montage
  • enduring contribution is his emphasis on the importance of the director as the auteur.
91
Q

film theorists: realists

A
  • siegfried kracauer

- andre bazin

92
Q

film theorists: siegfried kracauer

A
  • believed that the appropriate content for cinema was the real “photographic world”
  • form is much less important
  • fascinated by how the physical world looked more interesting and important through photography
  • wrote book called “theory of film: the redemption of physical reality”
93
Q

film theorists: Andrew Bazin

A
  • most influential of all early theorists
  • also a major film critic of the 1930-50s
  • valued documentary realism and mis-en-scene over montage
  • enduring contribution is his emphasis on the importance of the director as the auteur.
94
Q

Contemporary film theory

A
  • film theory has become almost exclusively the province of academia
  • film theory is highly specialized and there is an agreement on the complexity of film as an art
  • more specialized, rather than grand theories
95
Q

Robert Warshow, James Agee, Otis Ferguson

A
  • film critics writing for popular magazines
  • wrote on which movies were worthwhile
  • said that American cinema was still very artistically immature compared to Europe and Asia
96
Q

1950s vibrant film culture

A
  • American film benefited from the influx of international films
  • art theaters developed providing artistic international film to the masses
  • was an era of innovation
  • inspired writers and filmmakers
97
Q

important critics of the 1950’s and 1960’s: intellectuals

A
  • dwight macdonald
  • stanley kauffman
  • john simon
98
Q

important critics 1950s intellectuals: dwight macdonald

A
  • defined audiences and films in terms of tastes they appealed to
  • high brow: highly educated audience with exacting taste
  • middle brow: the informed mostly college educated audience
  • low brow: non-college educated audience
99
Q

important critics of 1950s: populists

A
  • andrew sarris: introduced and promoted auteurism to the US, tried to revive the studio era
  • pauline kael: most influential of all time
  • never went to a film more than once
  • feared movies were becoming too high-brow
  • accused of liking alot of trashy movies
  • liked movies that inspired the younger generation
100
Q

important critics 1950s intellectuals: john simon

A
  • most austere and critical of all

- emphasized the influence of drama and fiction

101
Q

important critics of 1950s: cross-overs

A
  • Manny farber: a writer, painter, and professor at ucsd

- one of the most original and passionately engaged critics

102
Q

important critics of 1950s: populists

A
  • andrew sarris

- pauline kael

103
Q

the sarris- kael controversy

A
  • Sarris wrote a book of auteurism and pointed out the rating of popular directors
  • he marked directors with strong world views over directors with stronger individual films
  • Kael and Sarris argued over this in many popular journals
  • helped bring out that idea that style alone was not the key to great films. more is needed for great filmmaking
104
Q

three films considered the best on sights and sounds list

A
  1. Vertigo
  2. Citizen Kane
  3. Tokyo Story
105
Q

sound in early silent films

A
  • silent films never really silent
  • always had music.
  • some theaters had sound effects
  • vitaphone system: vinyl phonograph recording that ran in sync with the film
  • Warner bros. released “The Jazz Singer” in 1927
  • this ended the silent era
106
Q

Elements of Film Sound

A
  • diagetic sound

- non-diagetic sound

107
Q

diagetic sound

A
  • sound from a source within the world of the film

- ex. dialogue, radio, rain

108
Q

non-diagetic sound

A
  • sound that does not come from the world of the film

- ex. soundtrack

109
Q

speech

A
  • dialogue

- narration

110
Q

sound effects

A
  • the physical world: rain, fire, thunder, usually created by Foley artists
  • people: walking, running, opening doors, starting cars, airplanes
111
Q

ambient sounds

A
  • location sounds: muffled conversation, creaking hardwood floors
112
Q

two ways musical scores function

A
  • to provide structural rhythms, or to stimulate emotions
113
Q

silence

A
  • dramatic silence: creating an awareness of the lack of sound
114
Q

anatomy of soundtrack

A

contemporary theaters are equipped with one or more sound systems

  • digital sound track
  • analog sound track
  • DTS (time code for audio cd)
  • SDDS track
115
Q

two ways musical scores function

A
  • to provide structural rhythms, or to stimulate emotions

-

116
Q

creative uses of music in film

A
  • providing transition
  • setting tone of film
  • providing a sense of time and place
  • describing a character
  • dramatizing dialogue
  • building dramatic tension
  • foreshadowing events
  • narrating an inner story
  • providing meaning to visual images
  • covering weaknesses in the narrative
117
Q

transitions in sound editing: what to listen for

A
  • transitions provide continuity or discontinuity and direct the viewers attention when cutting into new shot
  • shot A ends, sound 1 ends then shot B begins, sound 2 begins
  • sound dissolve: as shot A and sound 1 ends, sound 2 begins and fades into shot B
  • as shot A becomes shot B, the sound overlaps into shot B
  • sound for shot B begins long before shot B actually begins
  • a single sound is used to connect several shots

art and technique of filmmaking (3 decks)

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