Film 192A midterm
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50 terms
Terms | Definitions |
|---|---|
 Film Ontology | The Nature of film. Its determining features and traits. (Greek: study of being) |
| What is film? (is a type of ____ question) | ontological |
| Film Epistemology | the psychology of knowing and interpreting. (Greek: study of knowledge) |
| What makes meanings occur to the viewer? How is film comprehendable? (a type of _____ question) | epistemological |
| Film Aesthetics | Judging the film. (Greek: to feel, perceive) |
| What makes this scene powerful or mediocre? How are techniques used properly? (a type of _____ question.) | Aesthetics |
| Film Ideology | the psychology of belief and how attitudes are formed. (Greek: study of the ideal prototype.) |
| How does this film relate to society/politics/institutions/history? (a type of ____ question.) | Ideological |
| Realism | 'life as it realy is,' or a focus on ordinary life. History: 19th C. literary & art movement reacting to classic idealism. |
| indexicality of photography | The camera was considered a natural tool of realism because it reproduced mechanically what was once there. |
| Reality Effect | Realism attempting to conceal the illusion of realism. |
| Documentary-style Reality | Understands the 'reality effect' inherent when filming actual life, and seeks to minimize it so the viewer can develop their own views. |
| Who said: What happens in the mind when we perceive a work of art? | Arnheim |
| Who said: Is film a literal representation of reality, or does it instead shape our interpretation of reality? | Arnheim |
| Who said: Do perception and thought differ? | Arnheim |
| "Our only access to reality is sensory experience...it includes mental images and knowledge based on experience." -who? (Like Locke!) | Arnheim |
| Who emphasized ways in which we share a common experience of the world and art? | Arnheim |
| Believed all human perception shares principals of proximity, similarity, common fate, continuity, closure, and symmetry. | Gestalt Theory |
| Emphasized the common experience of art and the world | Arnheim |
| This Gestalt principal says things which are closer together will be seen as belonging together. | Proximity |
| This Gestalt principal says things that share visual characteristics like shape, color, size, texture, value, or orientation will be seen as belonging together. | Similarity |
| This Gestalt principal says shared movement indicates a change of grouping or association. | Common Fate |
| This Gestalt principal says we prefer to perceive objects as single figures rather than many. | Continuity |
| This Gestalt principal says in perception one tends to eliminate gaps in simple figures - filling in information to make a whole. | Closure |
| This Gestalt principal says the smaller of two overlapping figures is perceives as a figure while the larger is the background. | Area |
| This Gestalt principal says symmetrical contours define a figure and isolate it from the background. | Symmetry |
| Believed film is art because film transforms the world that is photographed. Film technique reshapes what is filmed. | Arnheim |
| The structure of language; the signs and systems of meaning | Semiotics |
| Believed reproduction killed the aura of art. | Benjamin |
| The Psychologist | Munsterberg |
| Author of "The Photoplay: A Psychological Study" (1916) | Munsterberg |
| Argued film's formal technique (like close-up, flashback & flashforward) were mirrors of the psyche | Munsterberg |
| Believed our attention created the meaning in the world | Munsterberg |
| Voluntary Attention | intentional focus upon a certain thing, filtered based on our personal interest and observations. "we ignore that does not fulfill this specific interest". (Munsterberg) |
| Involuntary Attention | attention is grabbed by outside events, to which we focus our attention. "what is loud and shining and unusual attracts out involuntary attention." "In [theater/photoplay] involuntary attention alone can be expected" (Munsterberg) |
| Editing technique which imitates mental act of focusing attention (Munsterberg) | close-up |
| editing technique which imitates the mental act of remembering (Munsterberg) | flashback/"cut-back" |
| editing technique which imitates the mental act of expecting/imagining. (Munsterberg) | flash-forward |
| editing technique which allows the viewer to feel as if they were in more than one place at one time. (Munsterberg) | Parallel editing |
| Emotions -> Meaning (& its assoc. technique) | Munsterberg, close-up |
| Behaviorism | Suggestion -> Belief -> Attitude -succumbing to suggestion (Munsterberg) |
| wrote "The Montage of Attractions" (1923) | Eisenstein |
| The Kuleshov Experiment | Lev Kuleshov of the Moscow Film School believed editing itself could create meaning. It intercut an actor's emotionless face with an image of a bowl of soup, a woman on a couch, and a child in a coffin. Supposedly the actor looked hungry at the soup, happy at the woman, and sad at the child. |
| Who pioneered Montage? | Eisenstein |
| Cattle-Slaughter scene in Strike! | Cross-cutting of footage of violence against Russian factory workers and cows being slaughter. Eisenstein is making a comment on the treatment of the workers. (Shot A) + (Shot B) = Symbolic Meaning C -- intellectual montage |
| Eisenstein's Ontology | "Cinema is montage." |
| Eisenstein's Epistemology | film is like a language. montage has more meaning than an individual scene, like a sentence has more meaning than a word. |
| Eisenstein's Aesthetics | Conflict is the most basic principal of every art. |
| Polyphonic Montage | many themes within one movie unifying to create one ultimate theme within the movie |
| Notion of the Total Picture | (Eisenstein) when seeing an image, it enters the consciousness and picks up additional meanings like emotions. it will forever be remembered with these additional meanings as part of its whole. Integral part to viewing a work of art. |
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