| Term | Definition |
|---|
| shot | The basic unit of construction in movies is the __________ , which lasts an average of only ten or fifteen seconds. |
| flashback | Temporal dislocations, like the __________ are rare in the live theatre, but commonplace in movies. |
| closed | Drama almost always deals with __________ forms. We don't imagine that the action is being continued in the wings or the dressing rooms of the theater. |
| frame | The "proscenium arch" in film is the __________ --a masking device that isolates objects and people only temporarily. |
| dialogue | Both theater and cinema are audiovisual mediums, but they differ in their stress of certain conventions. The two major sources of information in the live theater are action and __________. |
| words | Film is a medium of __________ visual saturation--that is, the pictures are densely detailed with information, requiring little or no filling in. |
| long shots | Theatrical action is restricted primarily to objective __________ , to use cinematic metaphor. |
| photography | The human being is central to the aesthetic of the theatre, but the aesthetic of film is based on __________ . |
| auter | In the mid-1950s, the French periodical Cahiers du Cinéma popularized the __________ theory, a view that stressed the dominance of the director in film art. |
| depth | In the cinema, the director converts three-dimensional space into a two-dimensional image of space. Even with deep-focus photography, __________ is not literal. |
| film | The __________ director has far more freedom in the use of settings. |
| process | Because the studio allows a director more control and precision than an actual location, some filmmakers use the so-called __________ shot in scenes requiring exterior locations. This technique involves the rear projection of a moving image on a translucent screen. |
| studio | Expressionistic sets are usually created in the __________ , where the contaminations of reality cannot penetrate. |
| Méliès | The first in a long line of special effects wizards, __________ usually painted his sets, often with trompe-l' oeil perspectives to suggest depth. He combined live actors with fanciful settings to produce a dreamlike atmosphere. He used animation, miniatures, and a wide range of optical tricks, charming his audiences with vistas of imaginary realms in the early 1900s. |
| Twentieth Century-Fox | The art directors at __________ specialized in realistic sets, like the turn-of-the-century Welsh mining village constructed on eighty-six acres in a California valley for the John Ford film How Green Was My Valley. |
| the Metro look | MGM specialized in glamour, luxury, and opulent production values, and their art director, Cedric Gibbons, virtually stamped each film with __________. |
| Warner Brother's | __________ art director, Anton Grot, was a specialist in grubby, realistic locales. This studio favored topical genres with an emphasis on working-class life: gangster films, urban melodramas, and proletarian musicals. |
| back-lot | Certain types of locales were in such constant demand that the studios constructed permanent __________ sets, which were used in film after film: a turn-of-the-century street, a European square, an urban slum, etc. |
| furniture | Even the __________ of a room can be exploited for psychological and thematic reasons. |
| costume | A __________ can become a medium in and of itself, especially in cinema where a close-up of a fabric can suggest information that is independent even of the wearer. |
| period accuracy | During the Hollywood studio era, powerful stars often insisted on costumes and makeup that heightened their natural endowments, regardless of __________. |
| make-up | Cinematic __________ is closely associated with the type of performer wearing it. |
| active | Because of the spatial differences, the viewer's participation is different in each medium. In the theater, the audience generally must be more __________. |
| continuous | Theatrical time is usually __________. |
| closed forms | Space in the live theatre is dependent on the basic unit of the scene. The action takes place in a unified area that has specific limits, usually defined by the proscenium arch. Drama, then, almost always deals with ___________. |
| Donati | Expressionistic sets appeal to our sense of the marvelous. The work of __________, Italy's best known designer, is a good example. |
| MGM | __________, "the Tiffany of studios," prided itself on its opulent and glossy production values. It was the most prosperous studio in Hollywood in the 1930s, boasting twenty-three sound stages and 117 acres of standing backlots, which included a small lake, a harbor, a park, a jungle, and many streets of houses in different periods and styles. |
| Visual and epic | In adapting a stage play, the filmmaker can alter the original text in ways never imagined. Even with classical texts the filmmaker can emphasize the psychological, the social or the _________ because these are determined in large part by the way space is used in movies. |
| the close-up becomes a cinematic "roomlet" | When the cinema director converts three-dimensional theatre space into two-dimensional cinematic space, __________ . |
| Nonprofessional players | Cinematic makeup is closely associated with the type of performer wearing it. _______________ probably wear the least amount of makeup. |
Combine with other sets
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