Midterm Terms Flashcards
(121 cards)
1
Q
Who directed Die Hard?
A
John McTiernan
2
Q
When was Die Hard released?
A
1988
3
Q
Who directed Battle of Algiers?
A
Gillo Pontecorvo
4
Q
When was Battle of Algiers released?
A
1966
5
Q
Who directed Sunrise?
A
F.W. Murnau
6
Q
When was Sunrise relased?
A
1927
7
Q
Who directed Casablanca?
A
Michael Curtiz
8
Q
When was Casablanca released?
A
1942
9
Q
Who directed Singin’ in the Rain?
A
Stanley Donen and Gene Kelly
10
Q
When was Singin’ in the Rain released?
A
1952
11
Q
Who directed Psycho?
A
Alfred Hitchcock
12
Q
When was Psycho released?
A
1960
13
Q
The subject of an artwork
A
content
14
Q
the particular or characteristic use of formal elements
A
style
15
Q
the visual and aural shape of a film. form embraces all aspects of a film’s construction that can be isolated and discussed: the elements of narrative, mise-en-scene (the look of the scene), camera work, sound and editing
A
form
16
Q
the role or effect of an element within the film’s form. for example, an element might be important to advancing the plot, establishing a character trait, reinforcing a theme, etc.
A
function
17
Q
- Repeated images, lines of dialogue, or musical themes that are significant to a film’s meaning” (Lewis).
- An element in a film that is repeated in a significant way (from B&T):
o Musical themes (music cues)
o Props (physical objects used in a film, such as a gun, a necklace, etc.
o A line of dialogue
o Visual elements (the “look” of a shot, etc.)
A
motif
18
Q
the presentation of narrative information that provides context for the story and plot, including character development and the establishment of setting and/or location
A
exposition
19
Q
a shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type
A
theme
20
Q
the justification give in the film for the presence of an element. this may be an appeal to the viewer’s knowledge of a) the real world, b) genre conventions, c) narrative causality, or d) stylistic patterns with the particular film, etc
A
motivation
21
Q
this usage overlaps with our everyday use of the term and focuses on the reason given for a character’s action
A
character motivation
22
Q
this is a specialized usage of the term that - unlike our everyday usage - does not involve individuals
A
motivation of an element
23
Q
an essential element of film narrative; many of the beings who play functional roles within the plot, either acting or being acted on
A
character
24
Q
a taking unawares that is potentially shocking; generally a surprise occurs when both the audience and a character in the movie learn something at the same time
A
surprise
25
the anxiety brought on by partial uncertainty; generally suspense occurs when the audience is aware of a danger of which one or more characters are ignorant
suspense
26
a category of film based on its narrative pattern and/or emotional effect
film genre
27
the film's hero; the protagonist is the main character of the film, but does not have to be an idealized figure; protagonist does not carry a moral implication
protagonist
28
the so-called studio era roughly from the advent of sound through world war ii; distinguished by an approach to filmmaking that strove for an invisible style that allowed viewers to become absorbed by the world of the film
classical hollywood overview
29
1. specific historical period: lewis limits it to the 1930s and 1940s, but, in this class, where we are emphasizing the aesthetics of the films rather than economics of the industry, we also include the 1950s
2. a particular type of filmmaking: associated with very specific narrative and stylistic traits
classical hollywood refers to two things:
30
1. narratives are character-centered and characters are goal-oriented
2. there is a chain of cause and effect
3. highly motivated
4. high degree of resolution and closure (not necessarily a happy ending)
four features of classical hollywood narrative
31
or the tendency to see the world in terms of opposing concepts: raw/cooked, nature/culture, man/woman, and darkness/light. "These binary oppositions are so much a part of the worldview of all cultures that they can be seen in their language, myths, and art. Binary thinking is a universal human condition, yet expressed differently in each culture and individual. In addition, each binary opposition reveals an underlying tension, a potential conflict that myth or art tries to reconcile"
binary opposition/dualism
32
Also called crosscutting and intercutting. [NOTE: although these three terms have slightly different meanings we will use them interchangeably]. Cutting back and forth between two or more lines of action, generally—but not necessarily—suggesting that they are occurring simultaneously. This is a very familiar convention in chase or rescue sequences.
parallel editing
33
using various cinematic devices to encourage the viewer to closely compare and contrast two elements. Example 1: If you cut from one woman looking in the mirror and putting on make-up to another one doing the same thing, the viewer would likely compare them, especially if the women were framed in very similar ways. Parallel editing can be used to set up a parallelism. Example 2: The comic film A Fish Called Wanda cuts back and forth between an enthusiastic young couple getting ready to have sex and a middle-aged couple preparing to sleep in separate beds, inviting a comical comparison
parallelism
34
Who directed the Teddy Bears?
Edwin S. Porter
35
When was Teddy Bears released?
1907
36
Who was the master of parallel editing?
D.W. Griffith
37
1. blocking
2. business
3. vocality
4. physicality/body awareness
acting four elements
38
those movements of the actor that are set by the director
blocking
39
Pantomimed action with or without props, the smaller movements not involving full crosses.
business
40
The application of vocal awareness, that is, quality, rhythm and tempo, articulation, pronunciation, pitch, volume, word choice, nonverbals, and influences (habits).
vocality
41
That is, the habits, adaptations, and cultural bindings that the actor takes on to represent a specific character.
physicality/body awareness
42
1. acting (the actor's physical aspect)
2. clothing
3. props
4. lighting
non-verbal cues
43
-Frame: a single image (like one photograph) captured on the film strip
-Sprocket Holes: along the side of the film strip allow it to move systematically through the camera or projector
basic elements of celluloid film strips
44
1. The claw advances the film strip using the sprocket holes
2. The register pin holds each frame in place
3. The shutter blocks the image while the film strip is being moved
how a motion picture camera works
45
A method of animation in which three-dimensional objects are moved and photographed for each frame
stop motion animation
46
A framing in which the scale of the object shown is very small; a crowd of people or a building landscape would fill the screen
extreme long shot
47
A framing in which the scale of the object shown is small; a standing human figure—shown head to toe—would appear nearly the height of the screen
long shot
48
(Also called "the American shot") A framing in which the figure is relatively large but much of the background is still visible. The human figure would be shown from the knees up; This was a common framing in American films of the silent era
medium long shot
49
A framing in which the scale of the object shown is of moderate size; a human figure seen from the waist up would fill most of the screen.
medium shot
50
A framing in which the scale of the object shown is fairly large; a human figure seen from the chest up would fill most of the screen
medium close up
51
A framing in which the scale of the object shown is relatively large; a head seen from the neck up, or an object of comparable size would fill most of the screen
close up
52
A framing in which the scale of the object shown is very large; a part of a face or a small object would fill the screen
extreme close up
53
the cards that appear between shots, revealing narrative information, such as dialogue) to convey meaning; rather it communicates volumes of information visually
inter titles
54
"Everything that a movie presents on its surface"
explicit meaning
55
"An association, connection, or inference that a viewer makes on the basis of the given (explicit) story and form of a film. Lying below the surface of explicit meaning, implicit meaning is closest to our everyday sense of the word meaning"
implicit meaning
56
"Meaning expressed by a film that reflects beliefs on the part of filmmakers, characters, or the time and place of the movie's setting. Ideological meaning is the product of social, political, economic, religious, philosophical, psychological, and sexual forces that shape the filmmakers' perspectives."
ideological meaning
57
The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema.
editing
58
1. In France, the word for editing, from the verb "monter," "to assemble or put together."
2. In the former Soviet Union in the 1920s, the various forms of editing that expressed ideas developed by theorists and filmmakers such as Sergei Eisenstein [and associated with the Soviet Montage movement].
3. In Hollywood, beginning in the 1930s, a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events (also called a montage sequence).
montage
59
One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of the film stock in the camera
shot
60
An indication of the number of times a particular shot is taken (e.g., shot 14, take 7)
take
61
Material that is not used in either the rough cut or the final cut, but is cataloged and saved
outtake
62
A direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins; one result of cutting
cut
63
Also known as splicing. The actual joining together of two shots. The editor must first cut (or splice) each shot from its respective roll of film before gluing or taping all the shots together
cutting
64
In filmmaking, generally an omission of time - the time that separates one shot from another - to create dramatic or comedic impact.
ellipsis
65
A complete unit of plot action incorporating one or more shots; the setting of that action
scene
66
A series of edited shots [or scenes] characterized by inherent unity of theme and purpose
sequence
67
A style of editing (now dominant throughout the world) that seeks to achieve logic, smoothness, sequential flow, and the temporal and spatial orientation of viewers to what they see on the screen. Continuity editing ensures the flow from shot to shot; creates a rhythm based on the relationship between cinematic space and cinematic time; creates filmic unity (beginning, middle, and end); and establishes and resolves a problem. In short, continuity editing tells a story as clearly and coherently as possible
continuity editing
68
The direction of a figure's or object's movement on the screen. [NOTE: Since film is 2-dimensional and the world is 3-dimensional, matching screen direction is useful in helping the spectator stay oriented].
screen direction
69
Also known as axis of action, imaginary line, line of action, or 180-degree rule. The fundamental means by which filmmakers maintain consistent screen direction, orienting the viewer and ensuring a sense of the cinematic space in which the action occurs. The system assumes three things:
a) the action within a scene will always advance along a straight line, either from left to right or from right to left of the frame
(b) the camera will remain consistently on one side of that action; and
(c) everyone on the production set will understand and adhere to this system
180-degree system
70
Also known as establishing shot or cover shot. A shot that ordinarily serves as a foundation for (and usually begins) a scene by showing the location of ensuing action [The master shot/establishing shot usually involves a distant framing that shows the spatial relations among the important figures, objects and setting in a scene.] Although usually a long shot or extreme long shot, a master shot may also be a medium shot or close-up that includes a sign or other cue to identify the location. Master shots are also called cover shots because the editor can repeat them later in the film to remind the audience of the location, thus "covering" the director by avoiding the need to reshoot.
master shot (establishing shot or cover shot)
71
A return to a view of an entire space after a series of closer shots following the establishing shot.
re-establishing shot
72
This phase consists of closer shots that dissect the space established by the master shot.
the breakdown phase
73
All of the individual shots, from the various distances and angles, which comprise the photographing of a particular scene. To cover a scene is to give it a wide variety of shots.
coverage
74
One of the most prevalent and familiar of all editing patterns, consisting of parallel editing (crosscutting) between shots of different characters, usually in a conversation or confrontation. When used in continuity editing, the shots are typically framed over each character's shoulder to preserve screen direction
shot/reverse shot
75
An instantaneous shift from a distant framing to a closer view of some portion of the same space.
cut-in
76
An instantaneous shift to a shot of a space not included in the master shot
cut-away
77
A cut that preserves continuity between two shots
match cut
78
A match cut in which the action continues seamlessly from one shot to the next or from one camera angle to the next.
match-on-action shot
79
A match cut that joins shot A (often a point-of-view shot of a character looking offscreen in one direction) and shot B (the person or object that the character is seeing)
eyeline match cut
80
-The joining together of a point-of-view shot with a match cut to show, in the first shot, a character looking and, in the second, what that character is looking at
-Point of View Shot (POV shot): A shot taken with the camera placed approximately where the character's eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking.
point of view editing
81
A match cut in which the similarity between shots A and B is in the shape and form of what we see. The shape, color, or texture of objects matches across the edit, providing continuity.
graphic match cut
82
Originally an in-camera effect, now the iris-shot is an optical wipe effect in which the wipe line is a circle; named after the iris of a camera. The iris-in begins with a small circle, which expands to a partial or full image; the iris-out begins with a large circle, which contracts to a smaller circle or total blackness. [Note: An iris is marked by BOTH the circular shape of the image and the fact that there is NO IMAGE on the outside of the circle. Generally the area is black, but it could be another color]
iris shot
83
Transitional devices in which a shot fades in from a black field on black-and-white film or from a color field on color film, or fades out to a black field (or a color field).
fade in/fade out
84
Also known as lap dissolve. A transitional device in which shot B, superimposed, gradually appears over shot A and begins to replace it at midpoint in the transition. Dissolves usually indicate the passing of time
dissolve
85
Also known as lap dissolve. A transitional device in which shot B, superimposed, gradually appears over shot A and begins to replace it at midpoint in the transition. Dissolves usually indicate the passing of time
wipe
86
when was the first public showing of a motion picture?
December 28, 1895 at grand cafe in Paris
87
first feature-length film with synchronous sound
the jazz singer, 1927
88
All elements of style—cinematography, editing, mise-en-scène, and sound—are subordinated to the narrative
invisible style
89
All of the elements placed in front of the camera to be photographed:
1) setting (props)
2) costume and makeup
3) lighting
4) staging: movement and acting
mise-en-scene
90
improvised use of a prop often in musicals
bricolage
91
the world of the story
diegesis
92
Has a presumed source within the world of the story; on-screen/off screen; internal/external
diegetic sound
93
comes from outside the world of the story; ex: theme music (MICKEY MOUSING)
non-diegetic sound
94
sound that matches our expectation, sound that is faithful to apparent source
fidelty
95
the standard lighting technique of classical hollywood; back light, key light, fill light
three point lighting
96
the primary source, providing the dominant illumination and casting the strongest shadows
key light
97
A less intense illumination that "fills in," softening or eliminating shadows cast by the key light.
fill light
98
The essential component; Light placed behind the character; helps separate the character from the background, highlights hair, extreme backlighting can produce a halo effect
back light
99
Realist films deal with everyday social problems. They take up the kinds of uncomfortable social issues—extreme poverty, racism, religious intolerance—that mainstream entertainment cinema tends to either avoid all together or to drastically oversimplify.
realism in relation to content
100
Films that are in one of the many realist modes in terms of style do not particularly draw attention to their stylistic elements. Typically, realist approaches seek to involve the spectator in the narrative rather than to focus attention on the style. There are many different "realist" styles and these tend to shift over time
realism in relation to style
101
The process of capturing moving images on film or some other medium. *A general term for all the manipulations of the filmstrip by the camera in the shooting phase and by the laboratory in the developing phase. generally includes:
* Framing issues and mobile framing (a.k.a. camera movement).
* Questions of film stock (type of film used: color, black and white, etc.)
* Camera lenses
* Aspect ratios (the shape of the frame/screen)
cinematography
102
the location of camera in relation to objects filmed
framing
103
There are six zones of off-screen space: the space beyond each of the four edges of the frame, the space behind the set, and the space behind the camera.
on screen/off screen space
104
The level and height of the camera in relation to the subject being photographed
shooting angle
105
The camera is placed above the subject and looks down on it.
high-angle shot
106
The camera is placed below the subject and looks up at it
low-angle shot
107
The camera looks directly at the subject with no noticeable high or low angle
straight-on shot
108
A shot that is made from the observer's eye level
eye-level shot
109
shot [a.k.a Canted frame]: Also known as Dutch shot or oblique-angle shot. A shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance
dutch-angle shot
110
Also known as bird's-eye-view shot. An omniscient-point-of-view shot that is taken from an aircraft or extremely high crane and implies that the observer can see all
aerial-view shot
111
The size and placement of a particular object or a part of a scene in relation to the rest - a relationship determined by the type of shot used and the placement of the camera
scale
112
[verb: "to pan"] *The horizontal movement of a camera
pan shot
113
[verb: "to tilt"] *Vertical movement of the camera lens
tilt shot
114
A wheeled support for a camera that permits the cinematographer to make noiseless moving shots
dolly
115
A shot taken by a camera fixed to a wheeled support called a dolly. *Directors often use the dolly shot to record short movements ("dolly/move in" or "dolly/move out")
dolly shot
116
Two parallel runners that can be placed on a surface to allow the camera, which is generally mounted on a dolly, to move smoothly along the path laid out
track
117
the camera moves smoothly along a specially built track. This type of shot is often used for longer takes that move in parallel with a character. For example, a character runs down the sidewalk as the camera smoothly moves along from the vantage point of the street.
track shot
118
A device used to elevate the camera. It usually has wheels allowing it to move on smooth surfaces
crane
119
the camera is stationed on a crane (an elevating device), which can move up and down, but can also move in or out ("crane up/down/in/out"). Because the arm of the crane (where the camera is mounted) can be well in front of the wheels that move it along, it can move the camera over obstacles on the ground (UNLIKE the dolly and tracking shots)
crane shot
120
A shot made while the camera is being physically held by the operator rather than using a device such as a tripod, dolly, or crane. Because—unlike digital-video equipment—even high-end film cameras cannot steady the image, handheld shots tend to be shaky
handheld shot
121
is when two or more image are placed over each other in the frame. This effect can be accomplished by exposing the same piece of film more than once as we see with double exposure. In narrative film, superimposition is often used for dissolve shots
superimposition
