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CDM 001 > Midterm > Flashcards

Midterm Flashcards

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1
Q

extreme close-up

A

zooms in on very small detail (eyes or hands); used for emotion or tension

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2
Q

close-up

A

face or object fills frame; used for emphasizing emotion or focus

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3
Q

medium close-up

A

chest-up view of character; used for dialogue & personal space

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4
Q

medium long shot

A

knees-up framing; used for balancing character & setting

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5
Q

long shot

A

full body of subject visible; used for placing character in environment

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6
Q

extreme long shot

A

tiny figures in large landscape; used for scale or setting tone

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7
Q

two shot

A

2 characters in 1 frame; used for relationships or conversation

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8
Q

zoom

A

camera lens moves closer/father (not physically); used for emphasis or dramatic effect

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9
Q

camera angle (high/low/level/canted)

A

high = looks down, low = looks up, canted = tilted; used for power dynamics, confusion, & unease

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10
Q

pan

A

camera rotates side-to-side; used for sweeping views of following action

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11
Q

tilt

A

camera moves up or down; used for revealing vertical space

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12
Q

tracking/dolly

A

camera moves smoothly on wheels; used for following motion

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13
Q

crane/boom

A

camera lifts up/down through space; used for dramatic entrances/exits

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14
Q

steadicam vs handheld

A

steadicam = smooth, handheld = shaky & raw; used for immersion or chaos

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15
Q

POV vs unmatched POV

A

POV = we see what character sees, unmatched = distorted, disconnected POV; used for empathy or confusion

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16
Q

deep focus

A

everything (foreground to background) is in focus; used for complex scenes

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17
Q

shallow focus

A

only subject is sharp, background blurry; used for isolating characters

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18
Q

fade in/out

A

scene gradually appears/disappears; used for time passing, closure

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19
Q

dissolve

A

1 image fades into another; used for passage of time or visual connection

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20
Q

wipe

A

1 image replaces another with shape

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21
Q

mask/iris/iris in-out

A

shapes that close in or out (often circular); used for emphasizing subject

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22
Q

jump cut

A

abrupt jump forward in time; used for disorientation or tension

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23
Q

continuity system

A

editing creates logical flow of space & time between shots; keeps story coherent (standard Hollywood style)

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24
Q

establishing shot

A

wide shot shows location before action; sets scene

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25
180-degree rule
camera stays on 1 side of imaginary line between 2 characters; maintains spatial orientation
26
match on action
cut between 2 shots of same action for seamless flow; keeps movement fluid
27
eyeline match
cut from character looking off-screen to what they’re looking at; links POV & object
28
graphic match
cut between 2 shots that visually resemble each other; symbolic or smooth transition
29
shot/reverse shot
cuts between 2 characters in conversation; back-and-forth dialogue
30
parallel editing
2+ events shown happening at same time in different places; creates suspense or contrast
31
discontinuity editing
breaks continuity rules to disorient viewer; used in experimental film
32
soviet constructivism
editing to provoke emotion & intellectual meaning, not realism; Eisenstein’s style
33
graphic clash
visual contrast between shots for dramatic effect; creates shock or tension
34
pure cinema
story told mainly through visuals & editing, not dialogue; Hitchcock’s suspense style
35
single set
film takes place in 1 location; creates intensity & focus
36
film vs theater
film = visual units, editing; theater = performance-driven; film uses shots to shape performance
37
visual patterning
repeated visual elements throughout film; adds symbolic meaning
38
parallel narrative structures
2+ storylines running side-by-side; common in thrillers (Rear Window)
39
story vs plot
story = all events, plot = events shown in order; plot can manipulate time
40
diegetic vs. non-diegetic
diegetic = story world, non = outside (music, narration); soundtrack = non-diegetic
41
voiceover
narration over visuals; often non-diegetic
42
flashback/forward
scene jumps back or ahead in time; fills in background or foreshadows
43
kuleshov effect
meaning created by editing shots together, not shots themselves; face + food = hunger, face + coffin = sadness
44
montage (Hollywood)
condensed sequence to show time passing; training montage in sports films
45
Eisenstein’s dialectical montage
clashing shots to produce new idea; thesis + antithesis = synthesis
46
metric montage
cuts based on exact timing, regardless of content; creates rhythm
47
rhythmic montage
editing based on movement within frame; follows motion
48
tonal montage
editing to evoke emotional tone; mode-based transitions
49
associational montage
links symbolic images to imply ideas; juxtaposition of rich & poor scenes
50
intellectual montage
ideas created by combining contrasting images; workers + machines = dehumanization
51
sequence shot
long take that covers entire scene; not cuts, used for realism
52
macro vs micro relations (Roma)
macro = social/political, micro = daily life details; Roma blends both scales
53
neorealism
style using real people, locations, natural lighting; focus on everyday struggles
54
classic Hollywood cinema
narrative clarity, continuity editing, goal-driven characters; Hollywood standard format
55
third cinema
film movement opposing colonialism & commercial cinema; political activism in film
56
imperfect cinema
raw, experimental films that involve audience in political critique; anti-Hollywood aesthetics
57
definition of documentary
telling stories with evidence & argument; aims to inform or persuade
58
formal/social/historical analysis
film analysis through visual style, society, & context; different lenses to critique film
59
nichols’s 3 C’s
credible, compelling, convincing; qualities of strong documentaries
60
expository mode
voiceover + images, argumentative; most common style
61
poetic mode
visual & sound patterns over narrative; experimental, mood-based
62
observational mode
camera as passive observer; no narration or interviews
63
participatory mode
filmmaker is part of story; interviews, direct engagement
64
reflexive mode
film draws attention to itself as film; challenges objectivity
65
performative mode
subjective, emotional, often about identity; personal storytelling
66
ethnographic film
documentaries about culture, often cross-cultural; can raise ethical questions
67
documentary modes of address
how film speaks to viewer (direct, indirect, etc); shapes viewer engagement
68
film as microcosm
film represents small version of society or broader idea; small stories reflect larger systems
69
realism vs formalism
realism = lifelike; formalism = stylized, artistic
70
male gaze
camera/viewer positioned to view women from heterosexual male perspective; objectifies female bodies
71
voyeurism
pleasure in secretly watching others; Rear Window
72
scopophilia
pleasure from looking, especially at human body; relayed to cinema’s visual power
73
fetishism
fixation on body part of object; can objectify or dehumanize
74
fetishizing vs modeling desire
fetishizing = objectifying, modeling = show how to desire; media teaches what is desirable
75
ideology
system of beliefs that shape perception; hidden messages in film
76
dominant ideology
beliefs accepted as “normal” or “natural” by society; often reinforced by media
77
hegemony
cultural dominance through consent, not force; audience adopts ruling class ideas
78
immanence of place
physical & historical significance of setting; setting reflects power/history
79
dialectic
clash of opposing ideas leading to new one; montage & political theory
80
colonization
control over another group’s land, culture, economy; colonial presence in film
81
decolonization
process of reclaiming culture & power; seen in third cinema
82
neocolonialism
modern control through economics/media, not force; critique of globalization
83
radical form/content
experimental structure + political message; imperfect cinema or third cinema

CDM 001 (2 decks)

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