Looking at Movies, Chapter 5
Terms in this set (31)
The person responsible for transforming the production designer's vision into a reality on the screen, assessing the staging requirements for a production, and arranging for and supervising the work of the members of the art department.
Actual physical relationships among figures and settings.
The use of deep gradation and subtle variations of lights and darks within an image.
A frame of motion picture image that, theoretically, neither characters nor objects enter or leave.
The process of visualizing and putting visualization plans into practice; more precisely, the organization, distribution, balance, and genreal relationship of stationary objects and figures, as well as light, shade, line and color, within the frame.
The clothing worn by an actor in a movie (sometimes called wardrobe, a term that also designates the department in a studio in which clothing is made and stored).
The color and textures of the interior decoration, furniture, draperies, and cutrtains of a set.
The process by which the look of settings, props, lighting, and actors is determined. Set design, decor, prop selection, lighting setup, costuming, makeup, and hairstyle design all play a role in shaping this.
Any significant thing that moves on the screen -- person, animal, object.
The process by which the cinemategrapher determines what will appear within the borders of the moving image (the frame) during a shot.
The aspect of composition that takes into account everything that moves on the screen.
Also kown as staging. The overall look and feel of a movie -- the sum of everything the audience sees, hears, and experiences while viewing it.
The result of the dynamic functions of the frame around a motion-picture image, which can contain moving action but can also move and thus change its viewpoint
Cinematic space that exists outside the frame.
Shooting in an actual interior or exterior location away from the studio.
Cinematic space that exists inside the frame.
A frame around a motion-picture image that, theoretically, characters and objects can enter and leave.
Point of View (POV)
The position from which a film presents the actions of the story; not only the relation of the narrator(s) to the story but also the camera's act of seeing and hearing. The two fundamental types: omniscient and restricted.
A person who works closely with the director, art director, and director of photography, in visualizing the movie that will appear on screen; both an artist and an executive, responsible for the overall design concept, the look of the movie -- as well as individual sets, locations, furnishings, props, and costumes -- and for supervising the heads of the many departments that create the look.
A.k.a. props; objects such as paintings, vases, flowers, silver tea sets, guns, or fishing rods that help us understand the characters by showing us their preferences in such things.
A movement of the camera that adjusts or alters the composition or point of view of a shot.
A windowless, soundproofed, professional shooting environment that is usually several stories high and can cover an acre or more of floor space.
Video Assist Camera
A tiny device, mounted in the viewing system of the film camera, that enables a script supervisor to view a scene on a video monitor (and thus compare its details with those of surrounding scenes, to ensure continuity) before the film is sent to the laboratory for processing.
On a camera, the little window that the cameraperson looks through when taking a picture; the viewfinder's frame indicates the boundaries of the camera's point of view.
Animation that employs computer software to create the images used in the animation process (as opposed to analog techniques that rely on stop-motion photography, hand-drawn cels, etc.).
Reaction against both the content and the rapidly crystallizing grammer of the early fiction film; fragmentary films, impressionistic, and lyrical; disruption of the coherence of time and space (considered a modern element, even though this type of documentary appeared as early as the 1920's)
Speak directly to the viewer (often authoritative commentary employing voiceover or titles); proposes a strong argument and point of view; rheotrical and try to persuade the viewer
Attempt to simply and spontaneously observe lived life with a minimum of intervation; possible due to the mobile lightweight cameras and portable sound recording equipment; aimed for immediacy, intimacy and revelation of individual human character in ordinary life situations
influences or alters the events being filmed; emulate the approach of the anthropologist: participant-observation
Draws attention to their own constructedness and the fact that they are representations; question the authenticity of documentary in general; most self-conscious of all modes and highly skeptical of realism
Stress subjective experience and emotional response to the world; strongly personal, unconventional (perhaps poetic/experimental), and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world tat is not our own; link up personal accounts or experiences with larger political or historical realities
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THIS SET IS OFTEN IN FOLDERS WITH...
Chapter 2 Looking at Movies
Chapter 1 Looking at Movies
Chapter 3 Looking at Movies
Looking at Movies (3rd ed) Chapter 4