Movies Flashcards
(133 cards)
1
Q
who coined the term “Modernity?”
A
Charles Baudelaire
2
Q
Modernity is typically considered:
A
to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility art has to capture that experience.
3
Q
The term “modern” (Latin modernus from modo, “just now”) dates from:
A
the 5th century, originally distinguishing the Christian era from the Pagan era. Cassiodorus appears to have been the first writer to use “modern” (modernus) regularly to refer to his own age (Freund, 1957, cited by O’Donnell, 1979, 235, n. 9).
4
Q
The word “Modern” entered general usage only in the:
A
17th-century quarrel of the Ancients and the Moderns—debating: “Is Modern culture superior to Classical (Græco–Roman) culture?”—a literary and artistic quarrel within the Académie française in the early 1690s.
5
Q
The distinction between “modernity” and “modern” did not arise until:
A
the 19th century (Delanty 2007).
6
Q
Jonathan Culler (2001) describes narratology as:
A
comprising many strands ‘implicitly united in the recognition that narrative theory requires a distinction between “story,” a sequence of actions or events conceived as independent of their manifestation in discourse, and “discourse,” the discursive presentation or narration of events.’
7
Q
Narratology is:
A
both the theory and the study of narrative and narrative structure and the ways that these affect our perception.
8
Q
How has the meaning of the term “modern” changed over the years?
A
a
9
Q
What does “classical modernity” mean
A
a
10
Q
How does Clement Greenberg define “modernism”?
A
“the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence.”
11
Q
What, according to Kovacs, is missing from Greenberg’s definition of modernism?
A
a
12
Q
What are some of the ways in which the term “avant-garde” has been defined?
A
a
13
Q
What is Peter Bürger’s theory of the avant-garde?
A
a
14
Q
What is the relationship between “modernism” and “the avant-garde”?
A
a
15
Q
“modernism” and “the avant-garde”, Do they refer to the same thing or are they opposed to each other?
A
a
16
Q
Should “the avant-garde” be defined as “political activism” or “aesthetic radicalism” (15)?
A
a
17
Q
What are the three main ways in which cinema became ‘modern’ in the 1920s?
A
a
18
Q
What are some of the characteristics of ‘French impressionism”?
A
a
19
Q
Why does Kovacs argue that French Impressionism was “the most synthetic phenomenon of early modern cinema” (19)?
A
a
20
Q
The last film that was screen in class was Jean Epstein’s The Three-Sided Mirror (1927). What makes this film a good example of French Impressionism?
A
a
21
Q
What were the major stages in the institutionalization of art cinema?
A
a
22
Q
What is the relationship between the following three terms: “avant-garde,” “experimental,” and “underground”? What kind of film practice do they refer to?
A
a
23
Q
What is Peter Wollen’s theory of “the two avant-gardes”?
A
a
24
Q
Why does Kovacs argue that the distinction between modernism and the avant-garde does not apply to cinema?
A
a
25
what is the difference between Film Theory and Film Critisism?
a
26
what is generally considered the "Apparatus of going to the movies?"
Projection + Public + Paying
27
What is the "Cinema of Attractions"?
a cinema that displays its visibility, willing to rupture a self-enclosed fictional world for a chance to solicit the attention of the spectator." This meaning that cinema could be created, not necessarily as an entertainment function but more along the lines that a film would attract its spectators by presenting something exclusive, something unique.
28
in an article by Gunning he states that Eisenstein states:
“According to Eisenstein, theater should consist of a montage of such attractions, creating a relation to the spectator entirely different from his absorption in ‘illusory imitativeness.’ I pick up this term partly to underscore the relation to the spectator that this later avant-garde practice shares with early cinema: of exhibitionist confrontation rather than diegetic absorption.”
29
Cinema after 1906, according to Gunning:
pushed towards the structure of linear narrative, and away from the immediacy of the "spectacular image". He states, "Film [after 1906] clearly took the legitimate theater as its model" (68).
30
from the notions of he cinema of attractions wiki article, the adoption of narrative remade film as a:
medium of tradition and emulation, placing movies alongside the stage in the artistic establishment.
31
When Gunning notes that, "It was precisely the exhibitionist quality of turn-of-the-century popular art that made it attractive to the avante-garde," he links early cinema's refusal of narrative to a:
refusal of the previous foundations of artistic communication.
32
To the progressive artists of the early 20th century, film had the ability to produce:
"exhibitionist confrontation rather than diegetic absorbtion" (66), and as such, had the ability to affect audiences with power, radical images in motion.
33
Gunning's observation that film was potentially robbed of its immediate effectiveness due to the emphasis of narrative over spectacle implies:
that audiences would be less affected by narrative cinema, and thus more accepting of the events taking place within the structure of traditional narrative. Politically, the implications of the insulating narrative extend to the exploitation of familiar linearity to promote quiet acceptance, rather than the inevitable questioning and recontextualization provoked by the "cinema of attraction".
34
Recontextualization
| definition:
to place (as a literary or artistic work) in a different context.
35
diegetic absorbtion
| definition
absorbed within:
1.
the telling of a story by a narrator who summarizes events in the plot and comments on the conversations, thoughts, etc., of the characters.
2.
the sphere or world in which these narrated events and other elements occur.
36
Diegesis is:
a style of fiction storytelling which presents an interior view of a world and is: that world itself experienced by the characters in situations and events of the narrative. telling, recounting, as opposed to showing, enacting. In diegesis the narrator tells the story.
37
what is significant about the date of May 20, 1895?
the Latham Family, using a device called a panoptikon, progected a film of a boxing match before a paying audience in Broadway,.
38
What is significant about the date of late September 18
C.Francis Jenkins and Thomas Armat showed films with thier Phantoscope to paying audiences in Atlanta.
39
Eidoloscope/Panoptikon
| definition
a prototype movie projector. it is perhaps the first widescreen film format, with an aspect ratio of 1.85. It had a film gauge of 51 mm and an aperture of 37 mm by 20 mm. It was instrumental in the history of film in that it created what became known as the "Latham loop", which are two loops of film, one on each side of the intermittent movement, which act as a buffer between continuously moving sprockets and the jerky motion of the intermittent movement. This relieved strain on the filmstrip and so enabled the shooting and projection of much longer motion pictures than had previously been possible.
40
Phantoscope
| definition
the first projector to allow each still frame of the film to be illuminated long enough before advancing to the next frame sequence. This was different from Thomas Edison's Kinetoscope, which simply ran a loop of film with successive images of a moving scene through the camera shutter, which gave a jumbled blur of motion. The Phantoscope, by pausing on each frame long enough for the brain to register a clear single picture, but replacing each frame in sequence fast enough (less than a tenth of a second), produced a smooth and true moving picture.
41
In the history of film theory the combination of these aspects has crystallized in two main patterns of theorizing cinematic modernism.
One depicts modernism as the result of the aesthetic and technical evolution of the cinema while the other considers it as an alternative stylistic movement appearing in different forms in certain moments of film history.
42
anti-cinematic definition
Any form of cinema that defies cinematic conventions.
43
How does the evolutionists’ approach to the classical-modern distinction differ from the style analysts’ approach?
a
44
How does Deleuze understand the classical-modern distinction?
a
45
What dotheorists like John Orr mean when they argue that modernism is “an unfinished project”?
a
46
In the final analysis, how does Kovacs understand the classical-modern distinction?
a
47
What are the major characteristics of classical Hollywood cinema?
a
48
How does North by Northwest exemplify these characteristics? Do you see any ‘modern’ elements in the film or is it entirely ‘classical’?
a
49
What are the two major approaches mentioned in Kovacs' "Screening Modernism" chapter 2?
Evolutionist Approach
| Stylistic Approach
50
Evolutionists say that the development of modern cinema is from:
the evolution of film language
51
the Stylistics say that the development of modern cinema is:
that modern cinema is an alternate cinema and co-exists with classical cinema.
52
The French New Wave is part of the:
Evolutionists.
53
What is Eric Romare's position mentioned in "Screening Modernism"?
That Modern Cinema replaces lyric poetry as art
54
What are many of the French New Wave critics of cinema opposed to?
the reduction of cinema to theater.
55
define: Early Cinema (according to Dictionary of Film Studies, Oxford):
the period in which cinema appeared from the mid 1890's to the mid 1910's but can also be defined as cinema pre-ww2.
56
Editing is also refereed to as:
Cutting.
57
Surrealism was founded during:
WW1
58
Surrealism's artistic aim was to:
reach beyond the limits of the real, to challenge the boundaries between rational and irrational, the conscious and the unconscious, and to take inspiration from the energies of fantasy, dream, and sexual desire.
59
Surrealism is primarily characterized by:
disorienting and shocking juxtapositions of random language and imagery.
60
Man Ray's "Etoile de mer" is an example of:
Avant-garde film.
61
in film studies, Surrealism is treated as:
a historical film movement and as part of the story of Avant-garde.
62
Remake definition:
basically what it sounds like, the re-hashing or remaking of an earlier film.
63
remakes are often associated as a:
Commercial ploy.
64
Remakes are also associated most with:
Contemporary Hollywood film.
65
Naturalist Melodrama definition:
a
66
Classical Melodrama definition:
a
67
Modernist melodrama definition:
a
68
How did cognitive theorist Torben Grodal contribute to our understanding of modernist melodrama?
a
69
What was the significance of the active-passive ‘shifter’ that Grodal introduced?
a
70
Why is Sartre’s notion of “Nothingness” important in understanding modernist melodrama?
a
71
How does Antonioni’s film Eclipse (1962) exemplify the characteristics of modernist melodrama?
a
72
Name 7 of the Modernist forms which was also discussed in "Screening Modernism":
Investigation, Waundering, Closed Situation drama, Mental journey, reflexive parody genre, and Film Essay.
73
Investigation genre is:
a
74
Waundering genre is:
a
75
Closed situation genre is:
a
76
mental journey genre is:
a
77
reflexive parody genre is:
a
78
Film Essay genre is:
a
79
How does the film Last Year at Marienbad challenge traditional norms of storytelling? What does Kovacs mean when he says that in this film—and other similar films—“story is nothing, narration is everything” (110)?
a
80
What makes Last Year at Marienbad a modernist film? Which one of the modernist forms discussed in the chapter does it belong to?
a
81
the David Hockney film that is talking about the great Chinese scroll featuring the trip of an emperor can be said to feature the earliest forms of what found in film?
by displaying a number of different perspectives, the artists can be said to be "cutting" as well as depictions of the people in the piece as they react to the presence of the emperor as "Reaction Shots."
82
as we unroll the Chinese scroll, much as a camera does for is through the rapid movement of still images in progression, we can create:
time and motion psychologically as we watch it.
83
1818, Earliest known:
use of the term "Modern Art."
84
What are the 4 concepts of Modernity?
Moral and Politcal
Cognitive Concept
Socio-economic Concept
Hyperstimulus
85
Vertov's "Man With a Moving Camera" is an example of art that can be considered:
as an understandable device and that art can be used as a scientific instrument.
86
Verotv, and other filmmakers like him called for:
the elimination of "acted films."
87
Vertov believed that everyone should be:
Filmakers.
88
Finish sentence: "film affixes subjects...
"...in time."
89
Film introduces a new theory or regard for:
time.
90
Time is:
Relative, a psychological factor.
91
Festival attractions play on:
fears of losing your safety and stability.
92
what is the Quote origin of "Seize the Time...Live Now! Make now always the most precious time. NOw will never come again."
Cpt. Picard, "Star Trek the Next Generation."
93
Hank Azaria is famous for:
Doing many of the voices on the television show "The Simpsons."
94
Offscreen Space Definition:
space that is part of a film scene but is not visible on screen.
95
Cutaway or Cutaway shot definition:
a shot that briefly takes the spectator away from the action of a scene.
96
in phyco analytic film theory, Suture is:
the filmic processes by which the spectator is continuously 'sewn' into the series of shots and spaces playing out on the cinema screen.
97
Transnational cinema definition:
films and cinemas that transcend national boundaries and/or fashion there narrative and aesthetic strategies with references to more then one national or cultural tradition or community.
98
what does Hale's Tours and Films have in common?
they both provide a reassuring fantasy.
99
Chase Films are:
Pure celebration of motion. it builds through steadily increasing episodic moments that centers more on the reaction then the action.
100
The camera doesn't show the world, it shows...
the world in relation to the camera.
101
Buster Keaton's "The Cops" has the element of:
defying time and space that gets read as part of the speed in the film.
102
Who is Windsor McCoy?
a
103
Define Embodied Spectatorship
a
104
Hale's Tours and Star tours created:
embodied experiences by making the spectators part of the cinema bodily.
105
What is the contradiction involved when riding a roller coaster, going on a Hale's tour or watching a movie?
you allow yourself to buy into the illusion even though you know the whole time it is not real.
106
what are Body genres?
they are genres that provoke a bodily response, like Horror genre that induces the adrenaline rush of shock or fear.
107
the notion of cinema as being a passive experience is thought by some thinkers to not be entirely true because:
with something like body genre's, your body gets in the way of complete passive experience.
108
"Mr. bean, the Ultimate Disaster Movie" has a scene involving a Cinematic ride, what does this possibly parody?
the buying of illusion.
109
What is the source of this Quote?
"...In his mind’s eye,events real or imagined will be seen only as they relate to a welter of similar events, events in which he has not participated, abortive events. What am I saying: he will judge them in relationship to one of these events whose consequences are more reassuring than the others. On no account will he view them as his salvation..."
"The Manifesto of Surrealism" by Andre Breton (page 2).
110
what is the source of the Quote:
"...The image is a pure creation of the mind.
It cannot be born from a comparison but from a
juxtaposition of two more or less distant realities.
The more the relationship between the two juxtaposed
realities is distant and true, the stronger the image will be -- the greater its emotional power and poetic reality...* (Nord-Sud, March 1918)
Pierre Reverdy
111
what is "intellectual Montage"?
uses shots which, combined, elicit an intellectual meaning
112
Eisenstein's "October" and "Strike", and the end of "Apocalypse Now" are examples of
Intellectual Montage.
113
How does "Strike" work as intellectual montage?
In Strike, a shot of striking workers being attacked cut with a shot of a bull being slaughtered creates a film metaphor suggesting that the workers are being treated like cattle. This meaning does not exist in the individual shots; it only arises when they are juxtaposed.
114
How does the end of "Apocalypse Now" exemplify Intellectual Montage?
the execution of Colonel Kurtz is juxtaposed with the villagers' ritual slaughter of a water buffalo.
115
What is Metric Montage?
where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
116
Define "The Uncanny Valley"
a hypothesis in the field of human aesthetics which holds that when human features look and move almost, but not exactly, like natural human beings, it causes a response of revulsion among some human observers. The "valley" refers to the dip in a graph of the comfort level of humans as subjects move toward a healthy, natural human likeness described in a function of a subject's aesthetic acceptability.
117
examples of the Uncanny Valley can be found in:
the field of robotics and 3d computer animation.
118
the six perspectives viewed in visual communications combined with motion pictures and television are:
```
Personal Perspective
Historical Perspective
Technical perspective
Ethical perspective
cultural perspective
critical perspective
```
119
the deep focus effect was created by:
Greg Toland
120
define: Deep focus effect
a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image — that is, how much of it appears sharp and clear. Consequently, in deep focus the foreground, middle-ground and background are all in focus.
121
define Auteurism
A critical theory, popular in France in the 1950s and 60s, that ascribed overall responsibility for the creation of a film to its director and thereby provoked renewed critical analysis of much previously neglected Hollywood work. The "politique des auteurs" (auteur policy) was first stated by Francois Truffaut in the January 1954 issue of Cahiers du Cinema; the main exponent of the auteur "theory" in America was the critic Andrew Sarris.
122
mise-en-scene
Everything placed within the frame, including set decoration, costume, and styles of performance (implies an emphasis on psychological and visual unity in a film from one frame to the next).
123
which famous Disney film was the author of the book it was based on rabidly against in its creation and ended up cursing Disney to her death?
Mary Poppins.
124
At the 2013 PaleyFest, Falchuk compared the series to horror films, what does he say that the differences are?
"If you want to kill everybody in a movie except one person, you can kind of get away with that, but if you’re looking to do a horror TV show, you have a different responsibility to the characters because the audience has a different affection for them."
125
what is sometimes credited as the first horror film?
"Le Manoir du Diable" (Melies, 1890's).
126
what is Lon Chaney credited as?
the first american horror movie actor.
127
The Incredible Shrinking Man (1957), from Richard Matheson's existentialist novel. While more of a science-fiction story, the film conveyed the fears of
living in the Atomic Age and the terror of social alienation.
128
what is the difference between film and cinema according to Christian Metz?
Metz suggests that Cinema is the film making institution which encompasses production, distribution, exhibition, and film viewing while film is the test which is the product of the cinema industry.
129
the formalist film theory believes that film:
is an art film which transcends realism.
130
"The Cabinet of Doctor Caligari" is what type of film?
German Expressionist.
131
what is Natural Horror?
Art-horror is supposed to be an emotion felt in response to a fictional monster that defies our scientific understanding of the world.
132
What is Art Horror?
Natural horror on the other hand is an relation to an event that we might naturally find horrific. It is the kind of horror that one would express in saying “I am horrified by the prospect of ecological disaster” or “ What the Nazis did was horrible.” It does not serve the purpose of crossing art and media as does the term art-horror.
133
Noel Carol believes that just because actions taken in a movie might cause it to be classified as horror...
the movie does not necessarily become art-horror based solely on its medium.
