Film Lecture midterm
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81 terms
Terms | Definitions |
|---|---|
 narrative | type of film organization in qhich the parts relate to one another through a series of causally related events taking place in time and space |
| narration | process through which the plot conveys or withholds story information |
| Mise-en-scene | all ofthe elements placed in front of the camera to be photographed |
| setting/props | ... |
| on location | ... |
| studio shooting | ... |
| lighting | ... |
| costumes/makeup | ... |
| movement/acting | ... |
| plot | all the evets that are directly presented to us, including their causal relations, chronological order, duration, frequency, and spatial locations |
| story | all the events that we see and hear PLUS all thosethatweinfer orassume to have ocurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial relations |
| Parallels | film cues the spectator to compare two or more distinct elements by highlighting some similarity |
| Style | repeated and salient uses of film techniques characteristic of a single film or group of films |
| stylistics | editing, sound, cinematography, etc. |
| expressionism | ... |
| realism | ... |
| on location | provides authenticity |
| in studio | provides more control for filmmaker |
| lighting | ... |
| hard lighting | illumination that creates sharp-edged shadows |
| soft-lighting | illumiation that avoids harsh bright and dark areas, creating a gradual transition from highlights to shadows |
| frontal lighting | illumination directed into the scene from a position near the camera |
| side lighting | lighting comingfrom one side ofa person or objects, usuallyto create a sense of volume, bring out surface tensions, or rill in areas left shadowed by light from another source |
| backlighting | illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures |
| underlighting | illumination from a point of view below the figures in the scene |
| three point lighting | uses three directions of light on a scene; backlighting (sense of depth), key light (from one bright source) and fill light (a less bright source balan ing the key light) |
| High key lighting | creats comparitively little contrast between the light and dark areas of the shot; shadows are fairly transparent and brightened by fill light |
| low key lighting | creates a strong contrast between light and dark areas of the shot, with deep shadows and little fill light |
| editing | the transition between shots |
| cut | one image is replaced by another (indicates no time has passed) |
| wipe | wipe away image; replaced by a new image |
| fade | image goes to black |
| dissolve | one image fades into the next |
| graphic editing | two successive shots are joined so as to create a strong similarity of compositional elements (color, shape) |
| temporal editing | can control the time of the action denoted in a film (order, duration, frequency) |
| rhytmic editing | adjusting the length of shots in relation to one another |
| continuity editing | system of cutting to maintain continuous and clear narrative action; relies on matching screen direction, position, and temporal relations from shot to shot |
| 180 degree convention | camera should stay on one side oftheaction to ensure consistent left-right spatial relations between elements from shot to shot |
| axis of action | imaginary linethat passes from side to side through the main actors, defining the spatial relations of all elements of the scene as being to the right or left |
| discontinuity editing | alternative system of joining shots together using techniques unacceptable within continuity editing principles; ex mismatching temporal/spatial relations |
| shot/reverse shot | two or more shots edited together that alternate characters, typically in a converstation situation; characters in one framing look left, in the other framing, right (over the shoulder framings are common) |
| crosscutting | editing that alternates shorts of twoor more lines of action occuring in different places, usually simultaneously |
| Lev Kuleshev | conducted informal experiments in the 1920s by assembling shots of seperate dramatic elements; any series of shotsthat in the absenceof an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only potions of the space |
| 180 degree convention | camera should stay on one side ofthe action to ensure consistent left-right spatial relations between elements from shot to shot |
| axis of action | imaginary line that passes from side to side through the main actors, defining the spatial relations of all elements of the scene as being to the right or left |
| cinematography | manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase |
| photographic aspects of the shot | speed of motion, range of tonalities FILLLL THIS IN |
| Speed of Motion | 24 fps (frames per second)- standard speed shot and projected; looks like real life |
| fast&slow motion | for fast motion, shoot slower.... Vice Versa for slow motion |
| Range of tonalities | range of colors, textures, contrasts, etc. |
| emulsion | chemical property inside the film; determines the type of image you get |
| high and low contrast | how tones of the image compare to one another |
| exposure | how much light passes through the camera lens |
| overexposure | too bright; too much light admitted through lens |
| underexposure | too dark; not enough light admitted through the lens |
| depth of field | measurements of the closest and farthest planes in front of the camera lens betwee which everything will be in sharp focus |
| selective focus | choosing to focus on only one plane and letting the other plans blur |
| deep focus | use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus |
| racking focus | shifting the area of sharp focus from one plane to another during a shot |
| framing of the shot | theuse of the edges of the film frames to select and compose what will be visible onscreen |
| aspect ratios | the relationship of the frame's width to it's height; standard Academy ration is 1.85:1 |
| Horizontal vs Vertical compositions | is height more important or width? |
| POV shots (POINT OF VIEW) | literally see the world through the eyes of the character |
| extreme long shot | a building, landscape, or crowd of people will fill the screen |
| long shot | a standing human figure would appear nearly the height of the screen |
| medium long shot | an object about four or five feet high appears to fill most of the screen vertically |
| medium shot | a human seen from the waist up would fill most of the screen |
| medium close up | a human figure seen from the chest upwould fill most the screen |
| close up | a person's head seen from the neck up, or an object of comparable size fills most of the screen |
| extreme closeup | a small object or part of the body is shown on a very large scale |
| pan | camera body is turned to the right or left; on the screen it produces a mobile framing that scans the space horizontally |
| tilt | camera body swivels upward or downward on a stationary support; it produces a mobile fraing that scans the space vertically |
| tracking shot | mobile framing that travels through space forward, backward, and laterally |
| crane | camera comes up |
| long take | a shot that continuesfor an unusually lengthy time before transitioning to the next shot |
| sound provides | a synchronization of the senses |
| high pitch | metals |
| low pitch | hollow |
| timbre | quality of voice |
| diegnesis | the world of the film's story |
| diegetic sound | any voice, musical passage, or sound effect presented as originating from a source within the film's world |
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