| Term | Definition |
|---|
| screenwriter | Perhaps more than any of the director's other collaborators, the __________ has been brought forward from time to time as the main "author" of a film. |
| novelizations | Perhaps the worst kind of literary by-products of movies are " __________" – commissioned novel versions of popular films that are usually written by hired hacks to cash in on a movie's box-office popularity. |
| personality | Screenplays are often modified by the actors who will play the characters. This is especially true in script written for __________ stars, whose roles will usually include the qualities that make the star popular. |
| figurative technique | A/an __________ can be defined as an artistic device that suggests abstract ideas through comparison, either implied or overt. |
| motif | A/an __________ is so totally integrated within the realistic texture of a film that we can almost refer to it as a submerged or invisible symbol; it can be a technique, an object, or anything that's systematically repeated in a movie yet doesn't call attention to itself. |
| Symbols | __________ can also be palpable things, but they imply additional meanings that are relatively apparent to the sensitive observer; meanings of these things can shift with the dramatic context. |
| allusion | A/an __________ is a common type of literary analogy. It's an implied reference, usually to a well-known event, person, or work of art. |
| homage | In the cinema, an overt reference or allusion to another movie, director, or memorable shot is sometimes call a/an __________. |
| first-person | The __________ narrator tells his or her own story. In some cases, he or she is an objective observer who can be relied on to relate the events accurately while other narrators of this type are subjectively involved in the main action and can't be totally relied upon. |
| undervalued | Writers have probably never been so __________ in the American cinema as they are today. The majority of mainstream movie characters talk in monosyllables, or grunts. Dialogue consists mostly of a few terse lines, the fewer the better. |
| metaphor | A/an __________ is usually defined as a comparison of some kind that cannot be literally true. Two terms not ordinarily associated are yoked together, producing a sense of literal incongruity. |
| omniscient | The __________ point of view is often associated with the nineteenth-century novel. Generally, such narrators are not participants in a story but are all-knowing observers who supply the reader with all the facts needed, and in film such narration is almost inevitable. |
| third | In the __________ person, a nonparticipating narrator tells a story from the consciousness of a single character. Film offers a rough equivalent to this, usually the narration found in documentaries where an anonymous commentator tells us about the background of a central character. |
| objective | The __________ point of view, a variation of the omniscient, is the most detached of all and is more congenial to film than to literature. It is used generally by realistic directors who keep their camera at long shot and avoid all distortions or "commentary" such as angles, lenses, and filters. |
| loose | A/an __________ adaptation generally involves the independent development of an idea, a situation, or a character taken from a literary source. |
| Faithful | __________ adaptations attempt to re-create the literary source in filmic terms, keeping as close to the spirit of the original as possible. |
| Literal | __________ adaptations are usually restricted to plays, which share with film the two basic modes of drama: action and dialogue. |
| improvisation | Especially in the silent era, __________ was the rule rather than the exception. |
| multiple | The American studio system tended to encourage __________ authorship of scripts. |
| metaphors | Editing is a frequent source of __________ in film, for two shots can be linked together to produce a third, and symbolic, idea. |
| lens | In literature, the distinction between the narrator and the reader is clear: It's as if we were listening to a friend tell a story. In film, however, the viewer identifies with the __________, and thus tends to fuse with the narrator. |
| Omniscient | __________ narration is almost inevitable in film. Each time the director moves the camera—either within a shot or between shots—we are offered a new point of view from which to evaluate the scene. |
| writers are responsible for the dialogue | The writer has been brought forward from time to time as the main "author" of a film because __________. |
| a sense of a film's mise en scène | Movie scripts seldom make for interesting reading, because, unlike a play, which can usually be read with pleasure, even highly detailed scripts seldom offer us __________. |
| motifs | A figurative technique can be defined as an artistic device that suggests abstract ideas through comparison, either implied or overt. Perhaps the most pragmatic method of differentiating these techniques is their degree of obtrusiveness; __________ are the most totally integrated within the realistic texture of a film. |
| homage | In the cinema, an overt reference or allusion to another movie, director, or memorable shot is sometimes called a/an __________, a kind of quote, the director's graceful tribute to a colleague or established master. |
| Allegory | __________ is the figurative technique most seldom used in cinema. |
| realist | Dramatic context always determines symbolic content. To many __________ filmmakers, a fire is sometimes just a fire. |
| omniscient camera | The __________ can be a dispassionate observer, as it is in many of Chaplin's films, or a witty commentator—an evaluator of events—as in Hitchcock's films or those of Lubitsch. |
| literal | The real problem of the adapter is not how to reproduce the content of a literary work (an impossibility), but how close he or she should remain to the raw data of thesubject matter, and __________ film adaptations are pretty much restricted to stage plays. |
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