Final Exam Review Flashcards
(105 cards)
1
Q
The “Big Five” studios
A
Warner Bros
RKO
20th Century Fox
Paramount
MGM
2
Q
The “Little Three” Studios
A
Universal
Columbia
United Artists
3
Q
studios that are completely vertically integrated- owned distribution companies, chains of movie theaters, means of production
A
The Big Five
4
Q
studios that are not vertically integrated, but they had access to first run theater owned by the Big Five
A
The Little Three
5
Q
when production companies owned all movie theaters and means of production and controlled distribution and exhibition of the films
A
Vertical Integration
6
Q
1945 film directed by Vincente Minnelli and advertised by MGM
A
Meet Me In St. Louis
7
Q
How the film exists in relation to the media surrounding it as well as how Hollywood promotes and markets it’s movies nationally; includes movie posters
A
Intertextual Relay
8
Q
case in 1948 where the supreme court tells the studios they have too much power; this is the beginning of the end of the Studio Era
A
Paramount Case
9
Q
people need to know the formula to be familiar with it
A
Standardization (generic formula)
10
Q
Universals house style
A
horror
11
Q
Warner Bros house style
A
gangster movies
12
Q
Fox house style
A
detective pictures
13
Q
idea that each film had to be different enough to attract paying moviegoers
A
Differentiation
14
Q
time when studios became a factory for producing stars and genre cycles
A
The Studio Era
15
Q
Dominates the industry in the 30-40s
Tagline is- “All the stars in the heavens”
A
MGM
16
Q
historical romances, musicals, family-friendly movies; ex. Meet Me In St. Louis
A
Saccharine worldview
17
Q
a central figure that is considered the author of the film; originated from the Cahiers du Cinéma
A
The Auteur Theory/auteurism
18
Q
French film journal/magazine that developed the idea of a single person being in charge of the film and it’s narrative
A
Cahiers du Cinéma
19
Q
Visual conventions/repeated patterns of visual imagery over several decades; can become cliches in genre
A
Iconography
20
Q
the believability of a work of fiction
A
Generic Verisimilitude
21
Q
generically marketed film
A
Film Genre
22
Q
generically modeled film (evokes traditional definitions)
A
Genre Film
23
Q
how local theaters promote and market a film
A
Exploitation
24
Q
Groups of films made within a specific and limited time span and founded on the characteristics of individual commercial successes
A
Cycle
25
when music, singing, and dancing are integrated naturally into the plot
Integrated musical
26
the technological aspect of film such as: technology, narrative, screening conditions, mental machinery
The Cinematic Apparatus
27
1986 film directed by James Cameron
Aliens
28
a film editing/montage effect where you have one photo that has a different meaning depending on the shot to follow
The Kuleshov Effect
29
Genres made known to audiences through: statements, manifestos, programme notes, lectures, introductions, discussions, etc.
Institutionalized genres
29
Films known to be cheap, crappy, over stylized, not a large budget
The B Movie
30
1954 film directed by Nicholas Ray produced by Republic Pictures
Johnny Guitar
31
A genre that can almost be made fun of due to excessive performance (Sontag)
Camp
32
a pose of gender identity to conceal a different identity underneath (Jennifer Peterson)
Masquerade
33
Group that wanted to protect the interests of the studios during the HUAC
IATSE – International Alliance of Theatrical Stage Employees
34
Occurred in 1947 that was a backlash against FDR and the New Deal
HUAC (House Committee on Un-American Activities)
35
Organization in Hollywood that led to communists trying to gain a foothold
SWG – Screen Writers Guild
36
Friendly witnesses during HUAC hearings
Walt Disney and Ronald Reagan
37
19 witnesses who refused to answer questions about their political beliefs. “Are you or were you ever a part of the communist party?”
Unfriendly witnesses
38
10 of the 19 unfriendly witnesses who refused to testify before the committee, including Dalton Trumbo, Edward Dmytryk, Adrian Scott
Hollywood Ten
39
the published names of who was a communist
the Hollywood Blacklist
40
1946 film directed by Robert Siodmak and produced by Universal
The Killers
41
a term coined by the French cineastes; is a response to WW2, increase in crime, and the mounting paranoia regarding working women’s place in society
Film Noir
42
any topological pattern in the artistic work that references real life situations with everyday associations for audiences, helping to create a sense of shared place
Chronotype
43
the danger women poses towards masculine characters in films, as they are a powerful figure in the story, throwing off masculine confidence
Femme Fatal
44
Idea that when we are watching film, we are in two spaces at once, where we are and where the film is
The Double Occupancy of Cinematic Space
45
idea that there are no homes in film noir, contributing to the anxiety; is a part of a national idea after WW2 with efforts and nostalgia of the home front
There’s No Place Like Home
46
The world (time and space) of the screen and the world (time and space) outside of the screen
Chronotope
47
characters have too much time on their hands, which leads to them crafting murder plans; everyone is bored and finding things to do
Idyllic/idle
48
it’s a single unit, the experience of time is spacialize
Time-Space
49
we have experienced the space and have spent much time there; ex. Starbucks, Clemson, etc.
Modern chronotopes
50
A space devoid of one’s personality; typically seen in film noir
Negative Existentialism
51
how you connect the space of the film and the space of reality/the real world
Coherence
52
Comedies, epics, women’s pictures, noir
Paramount genres
53
Is put in place in 1930, but not actively being issues until 1934; put a limit on sexuality and violence
Production Code
54
limited by its style and typical tropes; they exist through time
genre
55
builds on genre by also being a product of its time and place; are of their time
Movement
56
1944 film directed by Billy Wilder and produced by Paramount
Double Indemnity
57
genre that encapsulates social political phenomenons
Royal Genre
58
additional maps you can put on a film to expand it generically
Generic cartography
59
2017 film directed by Makoto Shinkai
Your Name
60
an imitation of previous genres and styles that is more of a celebratory take
Parody
61
Imitates previous genres and styles WITHOUT being critical, ironic, or subversive
Pastiche
62
genres that have a physical impact on the spectator’s body
Body genres
63
Psychoanalytic Structure by Lacan
The Imaginary
The Mirror Stage
The Symbolic
The Phallus
64
the desire to make amends, but recognizing it’s too late
Agnition
65
terms wrapped up together and apply to melodrama, with an emotional response setting up further action
Pathos vs Action
66
characters in melodramas will spend the majority of the film attempting to return to their place of origin; while attempting to return to this, the narrative teases
Temporal and Rhythmic Elements
67
where action feels fast paced, yet the duration of the event feels slow
Melodramatic time
68
sense that the characters are overreacting, yet acts as a merger between morality and feeling
Excess
69
idea we go to the movies we watch things that please us
Cinema of attraction
70
when a picture speaks more powerfully than words
Tableau
71
melodrama focuses on the recognition of virtue with the main character, who goes from being the victim of their life and plot to the hero
Victim Hero
72
1942 film directed by Irving Rapper and produced by Warner Bros
Now, Voyager
73
A Warner Bros top celebrity
Bette Davis
74
melodrama heavily relies on the inversion of it to carry the film from problem to solution
Realist narrative
75
the crucial recognition of virtue that concludes the moral journey of the melodramatic film in a tableau, relying on imagery rather than words to reveal the truth
Melodramatic denouement
76
relies on the classic linear narrative structure and interrupts a stricter journey from beginning to end with emotional sequences and tableau, but still manages to cling to classical Hollywood cinema
System of melodrama
77
How does Linda William’s define melodrama?
It is a critical study of morality and brings audiences to a moral recognition
A uniquely American mode of telling stories
Can be a genre and a mode, where the mode is used in any kinds of films, looking at character’s virtues and morality
78
First central feature of melodramatic mode
Melodrama begins, and wants to end, in a space of innocence
79
Second central feature of melodramatic mode
Melodrama focuses on victim-heroes and the recognition of their virtues
80
Third central feature of melodramatic mode
Appears modern by borrowing from realism, which serves as the melodramatic passion and action
81
Fourth central feature of melodramatic mode
It involves a dialectic of pathos and action- a give and take of “too late” and “in the nick of time”
82
Fifth central feature of melodramatic mode
Presents characters who embody primary psychic roles organized in Manichean conflicts between good and evil
83
television supported by advertising
linear television
84
Lotz term; a dominating belief and idea that is a cultural norm and doesn’t even realize there are alternative ideas
Hegemony
85
2002 film directed by Spike Lee
25th Hour
86
Smith term referring to the duality of constructed American identity and the enactment of said identity
pluralism
87
The difference between terror and horror
Horror is the inferior product of gothic text, while terror is the expanding dread of the unseen
88
Lotz term that describes a person who is overwhelmed by the choice of where to watch their show and “throw away their money” in order to watch what they want
Subscription creep
89
a general classification of content, but more specific than genre
Vertical
90
similar to vertical, defined by viewing patterns and preferences of those who watch rather than the content itself
Taste Cluster
91
Broader Taste Cluster, aggregated by general viewing behaviors
Taste Community
92
describes a user’s taste or preference. The user determines what content they like and watch, which will affect how Netflix interprets their viewing patterns
sensibility
93
A Feeler word; Lotz suggests Netflix considers this from the media we consume
tone
94
a value that indicated how important access to the title is to a viewer deciding to maintain the service (can be seen by the amount of hours streamed)
Satisfaction coefficient
95
when the streaming service funds and creates the series/movie
commissioning
96
when streaming services pay for the rights to put the series/movie on the platform
Licensing
97
A strategy that Netflix seeks first for its library to be different from what is familiar and readily available on linear ad-supported television
45 degrees shift
98
most viewers see only the bit of the library that interests them, and thus that corner becomes the totality of their imagined Netflix
Rorschach prompt
99
industry factors in the 1950s that led to production and advertisement of films as adult (PG-13, R)
Competition with television
The import of foreign films
The statue of film censorship
The Paramount Case
100
Suggests how artificial the US is
Uses mirrors to have characters “reflect on themselves”
You can’t get the full picture, there is always something that obstructs your view
Draws us to different spaces in time
Sirks Mise en Scene
101
1959 film directed by Douglas Sirk and produced by Universal International
Imitations of Life
102
bellhooks term that is the idea of black women shedding their identity to watch the movie from a different point of view
The oppositional gaze
103
bellhooks term when you watch a film and deconstruct how white women are portrayed and how black women are portrayed, in both the film and society
The pleasure of interrogation
104
bellhooks term that is the discernible influence of a particular individual on some social or textual practice even when they are not present
the absent presence
