Film Final
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37 terms
Terms | Definitions |
|---|---|
 Sound | talking, laughing, singing, music and the aural effects of objects and settings |
| 1. sound design-creating sound 2. recording-microphone converts sound waves into electrical signals that are recorded and stored 3. Editing-longest part of film making 4. mixing-each type of sound including dialogue, sound effects and music and are combined to a single track | 4 phases of sound |
| sound editor | supervises sound mixers, rerecording mixers, sound effects personnel and foley artists |
| Onscreen sound | comes from a source that we can see |
| offscreen sound | derives from a source that we cannot see |
| internal sound | occurs whenever we hear what we assume are the thoughts of a character |
| external sound | comes from a place within the world of the story and we assume that it is heard by the characters in that world |
| dialogue | speech of characters who are either visible onscreen or speaking offscreen |
| Narration | the commentary spoken by either offscreen or onscreen voices |
| Ambient sound | emanates from the background of the setting or environment |
| Sound effects | all artificially created sound for the soundtrack but they are "wild" recordings of real things |
| Foley Sounds | substituting one sound for another |
| 1. Audience Awareness 2. Audience Expectations 3. Expression of Point of View 4. Rhythm 5. Characterization 6. Continuity 7. Emphasis | Functions of Film |
| Persona Actors | Actors appearance and mannerisms of moving and delivering dialogue unique creations that are consistent at least on some level from role to role and from performance to performance. Usually rooted in their natural behavior |
| Chameleon Actors | actors who have a wide range of roles |
| Non-Professional Actors | Singers, musicians, sports stars |
| Lillian Gish | invented screen acting |
| Movie Star | actor and characters he or she has played |
| Method Acting | requires actors conscious effort to tap their unconscious selves- use past experiences and emotions |
| Naturalistic Acting | acting that re-creates recognizable or plausible human behavior for the camera |
| Casting | the process of choosing and hiring actors for a movie |
| 1. Major Roles 2. Minor Roles 3. Character Roles 4. Bit Players 5. Extras 6. Cameos | Types of Roles |
| Improvisation | delivering lines based on a loosely written script |
| Film Theory | gives us a model for contemplating and understanding a movies various meaning, it provides a way of looking at movies from a particular intellectual or ideological perspective |
| Film Criticism | evaluating a film's artistic merit and appeal to the public |
| Formalism | holds that a films power comes from giving it form to reality not to its ability to create reality: key is editing |
| realism | belief the power of movies came from its ability to mirror reality not shape it |
| Explicit meaning | sum of the things that movie presents on the surface, mostly plot summary |
| Implicit meaning | meaning that lies below the surface |
| Ideological meaning | meaning that communicates beliefs belonging to the filmmakers, one or more characters or the same time and place it was made |
| mimesis | belief that art mimics reality |
| catharsis | ability of art to have a therapeutic effects, mostly by watching tragedy, which through fear and pity purged viewers of such emotions |
| Dualism | belief that art, including film that captures polarity in life and can be used to interpret art |
| Auteurism | belief that certain directors should be seen as "authors" of a distinctive body of work |
| Freudianism | art may reveal emotional dynamics not deliberately fashioned by the artist |
| cognitive psychology | seeks to explain how we recognize objects, fit desperate elements into orderly patterns, experience joy and sadness through art |
| Cultural studies | interprets movies as a cultural artifact and tries to explain the roles of the artifact in culture |
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