Midterm Exam

Question 1

3 kinds of film (Modes) - traits and differences.

Answer 1

Narrative- (cause-and-effect story and fictional)

Documentary- (real-world people, places, events)

Avangard/experamental (visual art rather than storytelling – more about composition, symbolism, and metaphors – often do not contain characters)

Question 2

What is the diegesis of a film?

Answer 2

of a films narrative - the entire created world.

the suspension of disbelief.

Question 3

Diegesis and Non-diegisis

Answer 3

Diegetic, textual elements:
Known by characters
heard or seen in imagined world
includes settings, characters, sounds and events

extradiegetic Extradiegetic elements - also includes non-film elements – stars, genre, directors, etc.
extratextual elements:
not contained in story/unknown by characters
narrative, visual, sound elements
Making meaning outside the film world

Question 4

Parallels

Answer 4

Parallel arises when two characters, events, or locations are compared through the use of a narrative element or visual or sound device

Encourages viewers to consider similarities and differences between the characters and situations

Question 5

3 kinds of statements about film

Answer 5

Evaluative - baced on criteria, found in film reveiw (subjective)
Expresses personal opinions and reflects one’s own taste and beliefs– a film is “good,” “bad,” or “mediocre” based on established criteria and meant to help you determine whether you should see a film (used more by everyday viewers and film critic reviews)

Descriptive - objectively true to everyone (usually paired with evaluative and interporative)
A neutral account of a film’s basic characteristics - does not change based on who views the film

Interporative - Objective statement of evaluation
More intellectual – make an argument about a film’s meaning and significance – that is supported with evidence from the film or details about its production or reception to support the interpretation (used more by scholars and critics)

Question 6

3 film styles: Specific traits and differences

Answer 6

Classical- (classical realism) . Hollywood studio system films (1930s to 1960s) – do not call attention to film form – meant to be immersive and absorptive –focus on clear-storytelling, plot-driven, usually give closure

Realist– More character-driven/interested in exploring characters and capturing life and focused on everyday people and places – not focused on the story/providing closure – intimate and spontaneous – do not necessarily present a “truer version of reality”

Formalist- Overtly interventionalist work and Self-conscious, can be more abstract than the other styles, draw attention to the film form and process of representation
Can also be films that are not presenting a realistic world and employ overtly artificial sets, production design, and plots
Often meant to challenge viewers and illicit intellectual responses

Question 7

4 Types of writing about film

Answer 7

Film Analysis paper- academic, focus on each individual shot, identify links between filmic elements

Scene analysis paper- academic, focus on an entire film, develop a thesis and isolate examples of specific scenes that illustrate that thesis

Research paper- – academic, summarize and synthesize others’ ideas to support your “reading” of a film and to go beyond/contest other readings, topics vary, can include Archival Research*

Popular reviews- not strictly academic, main goal is to encourage audiences to see a particular film, not necessarily easier to write nor do they exclude descriptive/interpretive claims – but they are more evaluative

Question 8

Ch.4
Unit Two: Film Analysis (Part Two in the book) - covers analytical tools and terminology to help you describe film techniques (the how)

Answer 8

Formal/Technical Elements of film include:

Narrative Form*

Mise-en-Scène (“cinematic staging”)

Cinematography

Editing

Sound

Question 9

Narrative Form

Answer 9

Is the organizing framework that determines how a story is told and when information is revealed to the viewer

Question 10

Narrative films

Answer 10

are usually fictional and always scripted to some extent:

A Narrative is “a story, a chain of events linked by cause-and-effect logic” or “an account of a string of events occurring in time and space”

Narrative Films usually last 90-120 minutes (1 page of a script is roughly one minute of screentime)

Question 11

Narrative films continued

Russian narrative theorist Tzvetlan Todorov’s theory

Answer 11

Narratives must have an identifiable ORDER (though not always chronological)

Must be Goal-oriented (not always a positive or clear one from the start – can be loose)

Russian narrative theorist Tzvetlan Todorov’s theory about narrative structure:
equilibrium, disequilibrium, restoration of equilibrium

Obstacles that blocks the protagonist (can be an antagonist or other challenge) from achieving their goal

Question 12

Basic Elements of Narrative Storytelling

Answer 12

Motivation – “the central causes behind a character’s actions”

Exposition – “the opening scenes of a film in which a great deal of information about the characters and situation is imparted”

Backstory – “story events that take place before the film begins”

Narrative films generally focus on “human characters and their struggles”

Question 13

Russian theory about how to identify Narrative Structures

Answer 13

Fabula (story – complete and chronological; all events in a narrative) (who, what, where within the concept)

Syuzhet (plot – abbreviated story and some elements are left out or “reordered”) (how, when, and why what happens in the story)

Story: the king and queen dies
Plot: the king and queen died of grief
both reveal important aspects of structure, character, and theme.

Question 14

Story Versus Plot

Answer 14

Story (includes chronological and complete explanation of all represented and implied events): Moonlight follows three chapters in a young black queer man’s life in poverty in Florida as he struggles to form and finally accept his identity

Plot (includes specific order of events, not necessarily chronological, and only represented elements): Moonlight spends equal time on each key phase of Chiron’s development and ends by circling back to the beginning after reuniting him (for an indefinite amount of time) with his past lover and after he confronts the trauma of his childhood with his mother

Question 15

Narrative Structure

Syd Field’s model (set up, confrontation, resolution)
Kristen Thompson’s Model (

Answer 15

The standard pattern that shapes narrative films:

Three-Act Structure (Syd Field’s model):

1. ) Exposition
2. ) Complications/Obstacles to Climax
3. ) Resolution/Epilogue (Dénouement)

Four-Act Structure (Kristen Thompson’s Model):

1. ) Exposition
2. ) Complications/Obstacles to (halfway 	mark/midpoint)
3. ) Climax
4. ) Resolution/Epilogue (Dénouement)

Question 16

Conventional Narrative Structure

Classical Hollywood Narrative Structure (pg.86)

Answer 16

Clarity - Viewers should not be confused about setting, time, events, or character motivations

Unity – Connections between cause and effect must be direct and complete

Characters – They should invite viewer identification, be active, and seek goals

Closure – Third (Fourth) Act and epilogues should tie up loose ends and answer all questions

Unobtrusive craftsmanship – Stories are told in a manner that draws viewers into the diegesis and does not call attention to the storytelling process – does not “break the fourth wall”

Propp’s Character Types (Not in the book) and The Hero’s Journey

Why so many restrictions on the stories told and how they are told:
The Motion Picture Production Code
(aka The Hays Code) – 1930-1968* - censorship of certain story elements/narrative content – made all films produced during this period follow a set narrative structure in many ways.

Question 17

Alternatives to CHWNS (Often Non-US and Non-mainstream films) – not 3 Acts/4 Parts

Two-part Narrative Structure

More Acts (pulp fiction)

Frame Narrative (i.e. Cabinet of Dr. Caligari)

Episodic

Answer 17

Two different tales in the same film with equal share of the running time

Not necessarily in chronological/linear order

A character who narrates an “embedded tale” to onscreen or implied viewers
Two distinct diegetic worlds exist
The narrator may be unreliable

 No strict cause-and-effect 
Emphasizes repetition of everyday events 
No rise and fall necessarily 
AKA “a day in the life of…” 
Often open-ended

Question 18

Other Ways to Break from CHWNS (classic neritive)

Answer 18

Lack of clarity
Related to: Characters, Goals, Lines of action, Motivation, Perspective

Lack of Unity
Broken Chain of Cause-and-Effect

Open-endedness
Questions are left unanswered or conflicts unresolved; no closure

Unconventional Characterizations
Distanced from the viewer; talk or think but do not act; goals are unclear; narrator may be unreliable; not necessarily sympathetic

Intrusions or Obstructive Craftsmanship
Breaks the fourth wall/cinematic illusion - can be in the form of direct address

Question 19

Types of Narrators

Answer 19

Narrators take on multiple levels of knowledge in the film and communicate that knowledge to viewers

(usually through VO or POV shots)
First Person (Uses “I”) – VO by one character in the diegesis
Third Person ( Uses “He/She”) – Usually not a character, and has limited knowledge about characters and diegesis
Omniscient Narration (All-knowing):  Usually not a character in the film/diegesis

Question 20

Perspective and Meaning

1. Restricted Narration
2. Character Subjectivity

Answer 20

1. most common, no narrator, events unfold, and we follow one/a few characters closely as events unfold – which align viewers with them
2. Refers to who are we aligned with or who is leading viewers through the story world (not always a hero/likable or reliable

Question 21

Perspective and Meaning Continued

Answer 21

Point-of-view shot:
The audience shares the visual perspective of a character(s) to either encourage or discourage viewers to align with them, Can also explain their motivation and perspective

Voice-over (if non-diegetic) and Direct address
“break the fourth wall” - engage viewers and is obtrusive

Question 22

CH.5

Bicycle Theaves

Answer 22

Defining film of Italian Neorealism
Post-WWII European film movement that lasted from 1943 (i.e. Osessione) to 1952 (i.e. Umberto D)

Influenced French New Waves (aka The Nouvelle Vogue) film Movement (i.e. The 400 Blows and Breathless)

Rejected and Challenged various aspects of Classical Hollywood narrative structure and form in favor of more realist and episodic narratives about life in Post-WWII Italy

Rejected Classical Italian filmmaking traditions

Question 23

Key Stylistic Characteristics of Italian Neorealism (Documentary aesthetic but Narrative Films)

ellipses (everyday life and “small moments”

Answer 23

Shot on-location (not sets)
Loose and episodic structure (not plot-driven but character-driven - narrative is about everyday people, places, events in post-WWII Italy)
Non-actors
Natural lighting
Working class/lower class characters
Common Themes: Oppression, desperation, injustice, alienation, poverty
A main character and extras/minor characters are all important and shown on-screen (everyone is suffering)
Open-ended – Cynical
Critical of societal institutions and authority - religion, police, etc.
Children – hope for the future, symbol of innocence and naivety
Individuals vs Crowds vs. Society/Societal Institutions
Editing and Cinematography: Wide shots/Long shots, Long takes, and tracking shots that showcase the environment (war-torn) and make the characters feel distant and diminutive
Mostly “invisible” editing
Focus on ellipses (everyday life and “small moments” usually cut out of Classical Hollywood films)
Attempts to elicit an emotional response from viewers/empathy for the characters

Long Takes and Tracking Shots
Long Shots that emphasize the environment
Focus on minor characters and extras – not just the main character
No closure – biggest break from Classical Hollywood narrative structure

Question 24

(4) Elements of Mise en Scène

Answer 24

Setting

The Human Figure (i.e. acting, costume, props, make-up, placement, casting)

Lighting

Composition (and Framing)

Question 25

Mise en Scène / Production design

Answer 25

Translates to “putting/staging of the scene (or frame)” – also known as cinematic staging or production design - originated in theater. Book definition - “the artful arrangement of actors, scenery, lighting, and props – everything the viewer sees” (pg. 103) purpose/function – “develops characters, supports themes, creates mood Context matters when analyzing each element of mise en scène The production design is also an aspect of documentary and avant-garde filmmaking Not concerned with sound, camera movements (cinematography), or transitions (editing) – but can work with these other elements to create meaning in films

Question 26

Setting

Answer 26

The site of the story action (pg. 139) The overall design of a setting can shape how we understand story action Visual and spatial attributes Offers insight into characters’ emotional states Functions of setting Establish time and place, introduce ideas and themes, create mood Can be real or imagined and can be built (sets) or natural settings

Question 27

Forced Perspective

Answer 27

A system of constructing and arranging buildings and objects on the set so that they diminish in size dramatically from foreground to background, which creates the illusion of depth.

Question 28

The Human Figure EX: Many close-ups (constriction and emotional attachment) Isolation (compartments/compression) Vast spaces (freedom/oblivion) – the bluffs Triangles (relationships/power struggles) Low angles (power vs. weighing down) Color (red vs. beige)

Answer 28

Figure Placement and Movement (acting styles and typecasting will be discussed with Star Studies*) Function: develop motifs, reinforce themes, reveal information about characters and their relationships Costume Often develops to change with the character Props Object in the setting has a function within the ongoing action; can become a motif Anachronism (a thing not belonging to that time period) Make-up Used in a variety of ways Construct of gender and beauty

Question 29

Lighting

Answer 29

Sculpting with light and shadow Function: Guides viewer’s attention Sets Mood Can reflect characters’ subjectivity Artificial Light or Available/Natural Light

Question 30

Three features of lighting:

Answer 30

Quality Placement Contrast

Question 31

Light Quality

Answer 31

``` Hard light: Clearly defined shadows Crisp Textures Sharp edges Harsh ``` Soft light: Diffused illumination More flattering Softer haze What situations might you use these types of lighting in and why?

Question 32

Light Placement

Answer 32

Direction from which light strikes subject Frontal Eliminates shadows; flat-looking image Backlighting Creates silhouettes Underlighting Distorts figures Top lighting Defines features, outlines upper areas of figure Helps separate figure from background Eye lights – lights aimed directly into the actors’ eyes

Question 33

Light Contrast

Answer 33

High Key Lighting: Low contrast between bright and dark Low Key Lighting Strong contrast between light and shadows Natural Key Lighting Middle-ground Not as gloomy as low-key Not as cheerful as high-key

Question 34

Lighting: 3-Point Lighting

Answer 34

Key Light: Primary source Fill Light Opposite direction of key light Fills in shadows Backlight Separates background from action Creates 3-dimensional feel

Question 35

Lighting Trends

Answer 35

Flat lighting: High key Can’t identify light source Soft light ``` Chiaroscuro (Italian for light-dark) Comes from a technique in paintings Low key Specific light sources High contrast between light and dark ```

Question 36

Composition

Answer 36

The visual arrangement of actors, objects, and space in the frame Rule of thirds (rule of threes) Creates four compositionally strong points More interesting to place action on intersecting points Don’t want horizon in exact center; place above or below Pay attention to what is in the foreground and background of the frame at all times Balance and Symmetry Lines and Diagonals Framing – Tight (restrictive) vs. Loose (open/free) Foreground and Background Light and Dark Color – Saturation and Desaturation

Question 37

Pathetic Fallacy

Answer 37

When the weather reflects the themes, characters’ subjectivity, or foreshadows plot – i.e. the hurricane in Romeo + Juliet foreshadows the tragic deaths of the main characters

Question 38

German Expresionism

Answer 38

German Expressionism - Film Movement from 1918-1928 Reflected the anxiety and paranoia of post-WWI and pre-WWII Germany Overtly artificial (formalist) sets and lighting techniques to mirror its psychological themes Challenged Hollywood – even with smaller budgets/more technical limitations Gothic horror – German Expressionist Cinema is also influenced by this genre of English literature influenced by expressionism art

Question 39

The Cabinet of Dr. Caligari – Overview

Answer 39

Unconventional Narrative structure Frame narration – two distinct diegetic worlds – i.e. the mental hospital (the frame narrative) and Holstenwall (the embedded tale) An “imagined” Flashback makes up the majority of the film Unreliable Narrator Six Acts – intertitles introduce each act and denote clear turning points in the narrative Open-ended/unresolved twist ending Iris shots – editing transitions* The camera can iris in or iris out to a specific part of the frame Different shapes – circles, triangles, etc. Different places in the frame are emphasized/your eye is drawn to them – can be considered breaking the fourth wall (as they are a form of obtrusive craftsmanship) This film Influenced horror and film noir filmmakers from the 1920s through today – the style is referred to as Caligarisme Lighting Lots of Shadows High contrast of dark and light – chiaroscuro and low-key – to create an eerie mood and reflect the darker themes and warped character subjectivity

Question 40

Expressionist art

Answer 40

When: Early Twentieth Century Central focus: The image of reality is distorted to make it expressive of the artist’s inner feelings or ideas – non-realist and non-naturalistic – more formalist Painting Techniques: simplified shapes, bright colors, gestural marks and broad brush strokes, abstract images Themes and Subjects: Self (subjective reality), psyche, body, nature, spirit, sexuality – emotional rather than intellectual

Question 41

Caligari Framing

Answer 41

Composition Loose framing - Characters appear isolated in the frame– lots of loose framing Tight framing – around Cesare in particular – shows his vulnerability and constriction

Question 42

Ch.6 CINEMATOGRAPHY Focus on the why (not the how) context matters must understand and modulate camera movement, camera placement, composition, focus, and most importantly, lighting… A good cinematographer taps into the ethos of a scene in the context of a narrative arc and uses light to underline the subtleties and emotional subtexts of the plot

Answer 42

“Involves both the spatial characteristics of the frame and the temporal, or time-dependent, character of the medium” (pg.146) Works most closely with the film’s mode of organization, mise en scène, editing, and sound design to produce meaning in films Purposes: Displays technical expertise AND provokes emotional, intellectual, and aesthetic responses in viewers Also: supports the narrative and tells a story, develops characters, reflects the mood and themes, suggests ideas, and produces a distinctive look Includes photographic processes and digital technologies Occurs in every phase of production – pre-production, principal photography, reshoots, and post-production

Question 43

Four Elements of cinamatgrophy

Answer 43

1) Camerawork (the operation, placement, and movement of the camera) 2) Lenses and Filters 3 ) Film Stock 4) Special Visual Effects

Question 44

The Shot

Answer 44

The Shot – a single uninterrupted series of frames - can be one frame long up to a whole roll of film long (i.e. one long take) – length is determined by editing Joined together, shots create scenes (a coherent narrative unit) - each with its own beginning, middle, and end Cinematographers can shape the perception of a moment in time and space (in each shot) by: Adjusting the rate at which the film runs through the camera (fps) Positioning the camera to give the audience a particular perspective (angle and height) Moving the camera during filming (up, down, side to side) A take is each version of a shot (shots are usually filmed more than once) and out-takes are shots the director and editor reject Long Takes: extended shots, no cuts, uninterrupted action (as long as a minute and up to a whole film) (woman and man getting into the club)

Question 45

Altering time

Answer 45

The standard recording speed is 24 fps (frames per second) – mimics real-life speed of motion

Question 46

Shot types

Answer 46

Motion affects viewers the viewer’s perception of time in a film The standard recording speed is 24 fps (frames per second) – mimics real-life speed of motion Fast-motion - record image at less than 24 fps (such as 16 fps) and project it at 24 fps to make motion appear to be sped up – can be used for comedic or dramatic effect Slow-motion – record image at more than 24 fps (such as 36 fps) and project it at 24 fps to make motion appear to be slowed down - can be used for comedic or dramatic effect Go-motion (Created by Industrial Light and Magic) - results in a blur in the animation) Stop-motion (pixilation) – no blur in the animation is created = smooth and clear movements Time-lapse photography (one frame per minute/per day) – presents a slow process in a matter of seconds Frozen time moment/bullet time moment (first used in Blade in 1998) – the result is a “time-frozen” subject seen from multiple vantage points – combines with still images/traditional photography and post-production digital technology Two-shot (Two people in a shot – who are connected in some way) Three-shot (Three people in a shot

Question 47

Camera space

Answer 47

Onscreen Space What we see in the frame Offscreen Space What we assume (or is referred to) outside the frame Uses: Establishes Point of View and can create suspense Part of an object or person protruding onto onscreen space is often seen

Question 48

Camera height

Answer 48

Not the same as camera angle Refers to how high or low a camera is to the ground Camera Height is generally fixed at approx. eye-level (as if we are standing or sitting) – 5 or 6 ft from the ground Occasionally some directors may wish to change positioning from eye-level to other levels:

Question 49

Camera Angle

Answer 49

Common Angles in Films: Straight-on and Level (eyeline match with subjects) or Neutral View High-Angle (the camera/viewer looks down on the characters) Low-Angle ( the camera/viewer looks up at the characters) Bird’s Eye View (more extreme than high-angle and is also called an overhead shot) – gives a unique perspective of the action from above and emphasizes dancers’ precise movements in musicals – distances the viewer Worm’s Eye View (more extreme than a low-angle) - not used often but can give the viewer a unique perspective from far below the characters – can affect identification with the character – engulfs the viewer Canted (or Dutch): rarely used – but tips the camera to one side or another to skew the angles High-angle shots – tend to minimize the subject and suggest helplessness/vulnerability/disempowerment and panic – but not always (context matters) Low-angle shots – tend to exaggerate the size and volume of the subject – makes the subject appear powerful and makes them dominate the frame – can make characters appear in control – but not always (context matters) Canted or Dutch Angle – signify a moment of imbalance, confusion, or loss of control – can also signify a “crooked” character Reframing- Whenever the camera height, angle, or distance changes merely to account for changes in character position

Question 50

Camera Distence

Answer 50

Camera distance can determine how emotionally involved the audience becomes with characters Most filmmakers vary shot distance and use the full spectrum of shot types and angles in each film Why the shot distance matters – it not only serves the needs of the narrative, but also create patterns, develop motifs and support themes Closer placement of the camera to the subject – more intimate and emotionally connected Farther away camera placement is relative to the subject – more distanced and not as emotionally connected

Question 51

Distence continued

Answer 51

Extreme long shot: human figure is barely visible, and the surrounding environment is emphasized Long shot: figures are more visible/the entire human form is visible and dominates the frame, but landscape still dominates and is emphasized Medium long shot (the human body in the frame from the knees up - MLS) – creates balance between figures and surroundings Medium shot (the human body in the frame from the waist up) – gestures and expressions are now more visible Medium close-up (the human body in the frame from the chest up) – produce a greater sense of intimacy for viewers with characters, as do close-ups, because the focus is on characters’ faces and emotions in these shots Close-up (one single section of the body in the frame) – i.e. face, torso, legs, hands Extreme close-up (one single part of the body in the frame) – eyes, lips, finger, ear – magnifies a detail

Question 52

Camera Movement through space Reveals information in a dramatic fashion Establish a character’s perspective Convey a sense of space Suggest mood Emphasize the continuity of time and space

Answer 52

Still Camera shots – can become stagnant; A moving camera encourages viewers to become more involved in characters’ physical and psychological sensations or may act as a counterpoint to the action Horizontal and Vertical movements can be made by the camera Pan: the horizontal turning motion of a camera fixed on a tripod (side to side) – similar to a human head’s movement – camerawork is integrated with narrative development when used Swish/Whip Pan: fast pan that creates a blurred image (used often by Edgar Wright, Wes Anderson, among others) – indicates rapid activity and sometimes the passage of time or used to create tension Tilt: the vertical turning motion of a camera fixed on a tripod (up and down) – also mimics human head’s movement – helps to isolate or exaggerate the vertical dimension of an object or setting Dolly (in and out) shot: camera is mounted on a rolling platform that can move closer to or far way from a subject – ensures fluid, controlled motion Crab Dolly: has wheels that rotate so that the dolly can change direction (this effect can be created when a camera is put in/on a shopping cart) Tracking shots: moving the camera, on a dolly, along a specially built track – traces movement laterally – can be used to create a sense of “following” alongside characters Crane Shot: camera moves above ground (all directions) on a crane Aerial Shots: From airplanes or helicopters – allow filmmakers to compose shots from great distances

Question 53

Camera focus and lenses overview

Answer 53

In a camera – lenses focus light rays entering the aperture on the film stock – like how the human eye processes light rays that enter the pupil on the retina Lenses Affect the perception of the visual field, particularly in terms of depth and focus Filters Manipulate color and light

Question 54

Depth of Field: Focal length - short lens (wider focus) vs. long lens (narrower focus)

Answer 54

The distance that appears in focus in front of and behind the subject (of the frame) Depth of Field is determined by: Aperture – small and variable opening on a camera lens that regulates the amount of light entering the camera and striking the surface of the film Distance – between the camera and the subject Focal length - short lens (wider focus) vs. long lens (narrower focus)

Question 55

Camera Focus Depth of Field: Shallow – only one plane is visible and in focus Deep – all three planes are visible and in focus

Answer 55

Achieved with lenses and filters Focus: can shape the environment, create the mood, and develop themes Focus Puller: a crewmember that works with the DP. They “pull focus” from one part of the frame to another for to get certain shots - by moving the focal ring (they usually measure for focus and then mark the ring) Selective Focus: A technique of manipulating focus to direct a viewer’s attention - There is a “selective” focus on a portion of the frame while other aspects are effectively ignored or not in focus – can be used to highlight the perspective Rack Focus: A change of focus for one plane of depth to another. As the in-focus subject goes out of focus, another object which has been blurry, comes into focus in either the foreground or background Book Example: Ratcatcher (1999) Shallow vs. Deep-Focus (aka Depth of Field) Shallow – only one plane is visible and in focus Deep – all three planes are visible and in focus

Question 56

Focal Length

Answer 56

The measurement, in millimeters, of the distance from the surface of the lens to the surface of the film in the camera The shorter the focal length – the wider the angle/shot - a short lens The longer the focal length – the narrower the angle/shot – a long lens Lense Uses: Can compress and expand the three visible planes (i.e. foreground, middle ground, background) in different ways. 4 Common Types: Normal, Wide-Angle (“Fish-eye” is an Extreme Wide-Angle Lens), Telephoto, Zoom Deep space-the more planes are visible the deeper the space.

Question 57

Deep-focus cinematography requires:

Answer 57

Lenses with short focal lengths (less than 27 mm) or wide-angle lenses A large distance between camera and subject Fast Film Stock – to get high contrast with the least amount of exposure Composition in depth – A technique of arranging the actors on the set to take advantage of deep-focus cinematography, which allows for many planes of depth in the film frame to remain in focus All three planes are in focus – foreground, middleground, and background Citizen Kane (1941, Orson Welles)

Question 58

Standard/Normal Lens

Answer 58

Most commonly used lens in Hollywood films/mainstream narrative films Effect: Mimics what the human eye sees No distortion or compression of distance among the three visible planes. Focal length: Ranges from 27-75 mm

Question 59

Wide-angle lens

Answer 59

Effect: A wider angle than the human eye and exaggerates the frame’s depth (used in deep focus cinematography) The distance between the foreground and background appears further than it actually is Focal Length: less than 27 mm (sometimes called short lenses) Other image aspects when using this lens: Characters (or objects) in the foreground appear larger than they are, and characters (or objects) in the background appear smaller than they are The lens accelerates the convergence of parallel lines to bend more than they do through a normal lens The subject appears small Long depth of field (expanded depth in the frame) Sharp and Deep Focus

Question 60

Fish-eye Lens

Answer 60

(15mm or less and is also known an extreme wide-angle lens) - Examples

Question 61

Telephoto Lens

Answer 61

Effect: Compresses the distance between objects at different distances from the lens The distance between the foreground and background appears to be less than it actually is Focal Length: Ranges from 75 mm-1000mm (sometimes called long lenses) Other image aspects when using this lens: Slows down the motion of an object or character toward the camera Inhibits the convergence of parallel lines, so they will not appear curved The subject appears large Short depth of field (diminished depth in the frame) Soft and Shallow focus

Question 62

Zoom lens

Answer 62

Have a variable focal length Zooming in occurs by rotating the barrel of the lens to go from wide-angle to telephoto Zooming out occurs by rotating the barrel of the lens to go from telephoto to wide-angle Whether you zoom in or out, the subject remains in focus Effect: Changes the size of the subject in the frame, not the distance between the subject and the camera

Question 63

Camera Filters

Answer 63

Filters: Control how much light is let into the lens Filters change the quality of light that enters the lens by absorbing it in different ways – usually made of glass or gelatin Filter Types (pictures on the next slides): Neutral-density filters – absorb all wavelengths, less light overall on film stock Polarizing filters – increase color saturation and contrast in outdoor shots Diffusion filters – “bends” the light coming into the lens, blurring the image resulting in soft-focus Fog filters – creates the appearance of “water droplets” in the air Star filters – points of light that “streak” outward Color filters – absorb certain wavelengths, leave others unaffected Day for night – makes daytime look like nighttime – underexposure combined with a filter (looks more effective on black-and-white rather than color film stock)

Question 64

Film Stock

Answer 64

Influences the color and depth of contrast of the images produced Film Stock: Thin, flexible material comprised of two layers where film images are produced The base (support for the emulsion) and emulsion (light-sensitive chemical layer on which the image is recorded) layers - onto which light rays are focused and which is processed in chemicals to produce film images Three parts: Gauge – Size of the film, measured horizontally across the film stock (in mm) – Standard feature films are projected on 35 mm film Speed – The measure of a film stock’s sensitivity to light – the greater the sensitivity to light, the “faster” the film stock Grain – The suspended particles of silver or color-sensitive grains in the emulsion layer – grains may become visible as dots - grainy images may be chosen for a specific effect – newsreels and documentary footage, for example

Question 65

Fast Stock vs. Slow Stock

Answer 65

Light sensitivity Fast Stock High sensitivity to light Requires less light to produce an acceptable image Works well under conditions of low light Prone to producing grainy images (often used in newsreel footage and documentary films) Slow Stock: Relatively insensitive to light Light must be carefully controlled Works well under optimal lighting conditions Can produce high-quality images (less grainy) and high production value (Hollywood, studio sets)

Question 66

Special and/or Visual Effects

Answer 66

Optical illusions created during production and post-production (i.e. create by adding and subtracting frames) Variety of types: Older: models and miniatures, matte paintings, glass shots, rear and front projection, double exposures, super impositions, prosthetics, optical composting, wide film and widescreen formats, 3D, Newer: digital composting, performance capture, blue screen, green screen, digital set extension, traveling matte, CGI, etc. Citizen Kane uses a mix of them that are still used today (see next slide)

Question 67

In the mood for love Editing:

Answer 67

Jump cuts (“random” cuts mid-action) Breaks 180-degree rule Non-linear sequencing of scenes Repetition of scenes/moments Style: Formalist (more so than realist) Lighting - Shadows/silhouettes, low-key lighting, overhead lighting, hard light – reflects themes and sets the mood Frame within a frame and “tableaux vivant”(living picture) shots A static scene containing more than one or more actors who are usually stationary or silent and usually in costume, carefully posed, with props or scenery that may be theatrically lit Distances the audience – like watching a play A long shot in which the frame resembles a proscenium arch of a stage – reflects the limits of the frame and reminds viewers they are watching a fictional story

Question 68

Ch.7 | Editing

Answer 68

Focus on the why (not the how) and context matters Editors work closely with directors to decide how to construct the film in post-production Many other crew members are also involved in editing (pg. 227) – i.e. script supervisor, assistant editor, negative cutter, etc. - especially in Hollywood/when using continuity editing

Question 69

Editing

Answer 69

Definition: “The process of joining together two or more shots” Practical Functions: Makes multiple lines of action possible (LOTR), Makes scenes easier to choreograph (short takes vs. long takes – can throw “bad” takes out) Cuts down on production costs Aesthetic Functions: More rapid/kinetic/dynamic editing (akin to music videos) – compliments other elements of film form

Question 70

Purpose of Editing in Narrative Films

Answer 70

Emphasizes Character Development and Motivation Establishes Motifs and Parallels Marks turning points Develops Themes and Ideas Encourage emotional and intellectual responses Works closely with cinematography and mise-en-scène to tell the story and create meaning Opening Chapter Quote: “the deliberate guidance of the thoughts and associations of the spectator” Primary Function: Shape the audience’s sense of time and draw attention to important details of the story space

Question 71

Editing Manipulates 3 Things

Answer 71

Collage (order) - joining shots together (CU, MS, LS, etc.) to create meaning the order that shots are edited in to compare/contrast/juxtapose them and make meaning Tempo (length) - manipulated through the length of each shot and shot transitions Timing (when) – shots are usually edited to coincide with other visual elements and sounds

Question 72

The Kuleshov Effect (1910’s)

Answer 72

The general principle of editing - The meaning created in two shots joined together transcends the meaning in each individual shot Conclusion: Meaning comes from the content but also by its association with preceding and succeeding shots Similarities or differences can be emphasized

Question 73

Tempo

Answer 73

Different Lengths: Short takes – quickens pace and intensity (action films) Long takes – slows down the pace Combining short and long takes - allows for more variation and sophistication in narrative spacing Average Shot Length: 5.15 seconds (Older films), 4.75 seconds (Newer films) Average processing time: 0.5 – 3 seconds

Question 74

Shot Transitions: Types

Answer 74

Common: Cut – Shot A abruptly ends and Shot B immediately begins Fade-out/Fade-in – Shot A gradually darkens until the screen is completely black (or white or another color) and then Shot B gradually appears Dissolve – Shot A gradually disappears, while simultaneously, Shot B gradually appears. Less Common: Wipe – Shot A appears to “push” Shot B off the screen (the screen is divided/split-screen – no overlap) Iris in/out – A circular mask on the lens constricts inward or expands outward until the entire frame is black or the entire frame is in view *Superimpositions – aka double-exposure – layered images

Question 75

Parallel Editing (cross-cutting) Narrative Sequencing: Arranging Order of Events Techniques

Answer 75

Cutting back and forth between two or more events occurring in different spaces to suggest they are all happening at the same time

Question 76

Continuity Editing Tableau Shot (used often in early cinema) – a long shot - distances the audience – the frame resembles the proscenium arch of a stage (calls attention to the artifice) Shot/Reverse Shot – conversations (one face, then the other) Eyeline Match – a character looks offscreen then cut to show what they are looking at – line of sight motivates the cut/matches with the line of sight Cutaways – to draw your attention away from characters to an object/details Graphic Match Cut – Two shots are juxtaposed in a way that emphasizes their visual similarities

Answer 76

Also referred to as “invisible editing” – cutting is “seamless” from one shot to the next – to clearly present space and time Most common type of editing for Hollywood films – Classical Hollywood films in particular Two goals: To depict space with a coherent geography To create the illusion that narrative time unfolds in a linear fashion Standard Shot Pattern: Start: Establishing Shot (of the setting) Move to: individual shots of characters and action Finally: Re-establishing Shots to reorient the viewer as new elements enter the story

Question 77

(most importent) | Continuity Editing: Rules and Techniques Continued

Answer 77

The 180-Degree Rule – you must position the camera on the same side of the action from shot to shot – the camera does not move across an imagined line between two characters (doing so would reverse their position in the frame) Jump Cuts – abrupt cut within in a scene that disrupts continuity = not allowed in continuity editing. Example: Breathless (dir. Godard, 1960) 30-Degree Rule – each time you cut you need to move the camera at least 30 degrees (otherwise the cut feels “unnecessary”) Match on Action – if a cut occurs in the middle of a character’s action, the subsequent shot must begin so that audiences see the completion of that action Continuity errors – unintentional breaking of these rules

Question 78

Ch.8 | Sound

Answer 78

Sound works with the visual elements of the film to create meaning and tell the story Sound is an expressive element Sound can operate independent of image – and is used to illicit emotional and intellectual responses from viewers

Question 79

replaced sound on disk in 1930

Answer 79

Optical Soundtrack (electronic signals recorded as light impulses - wavy lines along the edge of the film print read by a photoelectronic cell on the projector)

Question 80

3 Types of Sound in Film

Answer 80

Dialogue – all spoken words Music – includes the score (music specifically written for the film); and lyrical or popular songs that already exist Sound Effects – created by Foley artists – artificial sounds Mixing – the process of combining the three elements into one soundtrack, which is added to the image-track in post-production Direct Sound – sound recorded on set or on location (or at actual real-world events in the case of documentaries)

Question 81

His girl Friday (genre)

Answer 81

Screwball comody

Question 82

text and reading

Answer 82

Text – refers to a film Reading – refers to one’s interpretation of a film’s meaning