Cinema
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christiegant on May 5, 2011
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84 terms
Terms | Definitions |
|---|---|
 Cinema Characteristics | most familiar and most accessible art form; like theater, but without the spontaneity of "live" performers |
| James Cameron | Titanic 1997, a Marxist-Socialist critique of America |
| Cinema Definition | aesthetic communication through the design of time and three-dimensional space compressed into a two dimensional image |
| Frames | series of still pictures |
| Persistence of Vision | motion picture does not really move due to an optical phenomenon |
| Ptolemy | astronomer who discovered persistence of vision |
| Classification of film (3) | narrative, documentary, and absolute |
| avant-garde | absolute |
| Narrative is also called______ | fictional |
| Narrative | tells a story |
| genre | familiar literary style |
| genres (3) | detective, western, horror story |
| Example of Narrative film | ET-- symbolizes the innocence and beauty of childhood |
| Documentary | attempts to record actuality using primarily either a sociological or journalistic approach; does not use professional actors normally;gives illusion of reality |
| Example of documentary | Olympics |
| Leni Riefenstahl | "Triumph of Will" -- Nazi Germany under control of Hitler (charismatic) |
| Absolute Film | record of movement or form; tells no story, but exists solely as movement or form; an artistic experience |
| Mise-en-scene (film) | "how the visual materials are staged, framed, and photographed" (Louis Giannetti "Understanding Movies" |
| Director | converts the mise-en-scene from three dimensional to two dimensional space |
| Auteur Theory | whoever controls the mise-en-scene is the true "author" of the film |
| Cahiers du cinema | french journal that described directorial dominance in film art- auter theory |
| Plasticity | the quality of film that enables it to be cut, spliced, and ordered according to the needs of the film and the desires of the filmmaker |
| Cutting | joining together shots in the editing process |
| Jump Cut | cut that breaks the continuity ofhttp://quizlet.com/create_set/#add-row time by moving forward from one part of the action to another that is obviously separated from the first by an interval of time, location, or camera position |
| Form Cut | cuts from one image to another-a different object that has similar shape or contour |
| Example of Form Cut | D.W. Griffith's silent film "Intolerance"--battering ram |
| Montage | most aesthetic use of the cut in film; handled in two ways, first; as an indication of compression or elongation of time, and second; as a rapid succession of images to illustrate an association of ideas |
| Example of Montage | Sergi Eisenstein--Russian army officer and the peacock |
| Angle Shots | open up the range of possible comments on the subject being filmed |
| Shot | what the camera records over a particular period of time and forms the basic unit of filmmaking |
| Master Shot | comprises a single shot of an entire piece of action, taken to facilitate the assembly of the composed shots in which the scene will finally be composed |
| Establishing Shot | long shot introduced at the beginning of a scene to establish the interrelationship of details, a time, or a place |
| Long Shot | far away from the subject |
| Medium shot | closer to the subject than a long shot |
| Close Up | closer than a medium shot |
| Two Shot | two people within the frame |
| Bridging Shot | inserted in the editing of a scene to cover a break of continuity |
| Tightly Framed Shot | the closer the shot, the more confined a figure seems |
| Loosely Framed Shot | suggest freedom |
| Jane Anderson | used tightly framing in "The Prize Winner of Defiance Ohio" to suggest nurturing intimacy in her film based on an Ohio housewife |
| Closed Form Films | the shot is carefully composed and self-contained |
| Open Form Film | frame is de-emphasized, suggesting the temporary masking |
| Gillian Armstrong | "Mrs. Soffel" uses open form for realism |
| Objective Viewpoint | third person viewpoint; universal spectator |
| Subjective Viewpoint | the audience feels like they are actually participating in the scene |
| Cutting Within the Frame | avoids editing process |
| John Ford | "Stage coach" uses cutting within the frame |
| pans | follows |
| Jaws | uses cutting within the frame |
| Russell Crowe and Ridley Scott | "Gladiator" uses cutting within the frame |
| Dissolves | transitional devices where the scene fades in and out |
| Lap Dissolve | Fade in and out occur simultaneously |
| Wipe | invisible line moves across the screen |
| Iris-out and Iris-In | closing or opening an aperture lens |
| George Lucas | "Star Wars"--uses iris-out technique |
| Depth of Focus | if both rear and distant objects appear clearly at the same time |
| Rack or Differential Focus | when either the foreground or background appears blurry and one appears clear |
| Track | a shot taken as the camera moves in the same direction and speed as the object being photographed |
| pan | taken by rotating the camera horizontally, keeping it fixed vertically--uses in TV |
| Tilt | moves the camera vertically or diagonally and adds variety to a sequence |
| Dolly Shot | moving the camera towards or away from the subject |
| Zoom shot | negates the need for camera movement |
| Cinema Verite | when natural or outdoor lighting is used and the camera is hand held, the film appears unsteady |
| Saving Private Ryan and We Were Soldiers | uses Cinema Verite |
| Alfred Hitchcock | Psycho--sense stimuli |
| Giovanni Bologna | Rape of the Sabine Woman---psycho remade this |
| Male Gaze | from a males perspective |
| Louis Genannetti and Mira Nair | Vanity Fair--uses male gaze |
| Cross cutting | alternates between two separate actions related by theme, mood, or plot |
| Parallel Development | The God Father--religious service, men destroying enemies |
| Direct Address | when characters look at or talk to the audience ex. tom jones |
| Camera Look | Buster Keaton-stare at audience, Charlie Chaplin-wink, Stan Laurel-gesture "how did all this happen" Bing crosby and bob Hope-comment to the audience |
| Magnitude and Convention | the means by which the film is communicated |
| Visual Metaphor | The Mission (Robert Dinero) guilt is felt by weaponry cut from him and tumbles down the mountain relieving him of his grief |
| Fellini | La Dolce Vita--symbolic villain in black |
| Scaarface | symbolic x when someone is about to be killed |
| John Ford | Apache--dust |
| Edwin S. Porter | The Kleptomaniac---parrallel development--wealthy woman, poor woman sent to jail |
| Fred zinnemann | High Noon--waiting for train |
| The grapes of wrath | "red river valley" audio theme when mother leaves |
| Frank Spotnitz | "the score is like a second screenplay, commenting on and enriching the first." |
| Nora Ephron | Sleepless in Seattle--classical tunes by contemporary singers |
| Voice over Narration | spoken commentary to display a characters thoughts |
| Non-synchronous | sound not derived from an obvious source |
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