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Introduction to Film: Final Study Guide
Terms in this set (51)
words and a myriad of integrated techniques and concepts that connect us to the story while deliberately concealing the means by which it does so
Simply short for "motion pictures". Simplistic term. Descriptive of viewer experience.
Scholars consider these to be the more serious/challenging sort of movies. Derives from the celluloid strips that make up motion pictures that were originally captured, cut, and projected. Descriptive of the physical object, material, medium
"Reserved" for films that critics revere as works of art. Evolves from the Greek work "kinesis". The Lumiere brothers' name for the theatre where they first projected moving pictures. Descriptive of the place where the viewing happens.
an unbroken span of action captured by an uninterrupted run of a motion picture camera
the joining together of discrete shots
A direct change from one shot to another s a result of cutting; that is, the precise point at which shot A ends and shot B begins
Fade In / Fade Out
a transition that is meant to convey a passage of time between scenes
A transitional device in which shot B, superimposed, gradually appears over shot A and begins to replace it at midpoint in the transitions. Usually indicate the passing of time, much like a fade in/fade out.
Also known as low shot. A shot that is made with the camera below the action, and typically places the observer in a position of inferiority
Cutting on Action
Also known as match-on-action cut. A continuity editing technique that smooths the transition between shots portraying a single action from different camera angles. The editor ends the first shot in the middle of a continuing action and begins the subsequent shot at approximately the same point in the matching action.
The primary character whose pursuit of the goal provides the structural foundation of a movie's story
The character, creature, or force that obstructs or resists the protagonist's pursuit of her or his goal.
The meaning that lies below the surface of a film's story and presentation, is closest to our everyday sense of the word meaning
The meaning that lies on the surface of the film
The analytical approach primarily concerned with film form
Literally "shape". The particular configuration of a work of art, by virtue of its composition - structure, design, the results of deliberate aesthetic decisions. The means by which a subject is expressed
When the camera moves slowly toward the subject
Eyeline Match Cut
When a sequence repeatedly cutes back and forth between these point of view shots. This can dramatically intensify our narrative experience.
Three Point System
Perhaps the best known lighting convention in feature filmmaking, a system that employs three sources of light - key light, fill light, and backlight - each aimed at a different direction and position in relation to the subject
Printed text appearing in inserted shots, which serves to convey basic narrative information to the viewer. Typically introduce characters, establish settings, comment on the action, summarize actions not shown, and/or illustrate dialogue.
Also known as staging. The overall look and feel of a movie - the sum of everything the audience sees, hears, and experiences while viewing it.
Transmitted vibrations received by the ear and thus heard by the recipient. In cinematic terms, the expressive use of auditory elements, such as dialogue, music, ambience, and effects.
A cinematic structure in whic content is selected and arranged in a cause-and -effect sequence of events occurring over time.
A series of shots unified by theme or prupose
The subject of artwork; What the work is about.
Also called cross-cutting and intercutting, although the three terms have slightly different meanings. The intercutting of two or more lines of action that occur simultaneously; a very familiar convention in chase or rescue sequences.
Three Fundamental Principles of Film Form
Movies depend on light; Movies provide an illusion of movement; Movies manipulate space and time in unique ways.
Persistence of Vision
The process by which the human brain retains an image for a fraction of a second longer than the eye records it
The illusion of movement created by events that succeed each other rapidly, as when two adjacent lights on and off alternatively and we seem to see a single light shifting back and forth.
An agent, structure, or other form of element, whether human or technological, that transfers something, such as information in the case of movies, from one place to another.
Movies can seamlessly manipulate...
time and space
An interest in or concern for the actual or real; a tendency to view or represent things as they really are.
A treatment that is against or opposite of realism.
A convincing appearance of truth. Movies are verisimilar when they convince you that the things on the screen - people, places, and so on; no matter how fantastic or antirealistic - are "really there"
The act of telling a story, or the commentary and description that goes along with the events of the plot, which make sense of them in some kind of meaningful framework.
The Motion Picture Production Code of 1930
The code that restricted the content of films when it came to topics such sex, sin, etc.
The total compilation of a story - events, characters, objects, settings, and sounds - that form the world in which the story occurs.
Omniscient Point of View
The most common point of view portrayed in movies. It allows the camera to travel freely within the world of the film, showing us the narrative's events from a godlike, unlimited perspective that no single character in the film could possibly have.
Group Point of View
A point of view captured by a shot that shows what a group of characters would see at their level.
Single Character's Point of View
A point of view that is captured by a shot made with a camera close to the line of sight of one character (or surveillance camera), showing what that character would be seeing of the action.
The specific actions and events that filmmakers select, and the order in ehich they arrange those events and actions to effectively convey on-screen the movie's narrative to a viewer.
Three Types of Films
narrative, documentary, experimental
Film type that aims primarily to represent some aspect of "reality" as understood by the filmmaker; address to audience is instructive, informative, or educational
Sometimes referred to as avant-garde. Aim to primarily explore the possibilities of the medium, taking an innovative and challenging approach to form, and often defying cinematic conventions..
The Three Phases of Postproduction
editing, preparing the final print, bringing the film to the public
Guides the entire process of making a movie - from its initial planning to its release
The person who determines and realizes on the screen an artistic vision of the screenplay; casts the actors and directs their performance; works closely with the production design in creating the look of the film, including the choice of location; oversees the work of the cinematographer and other key production personnel; and in most cases,supervises all postproduction activity, especially editing
An approach to documentary film making that employs an unobtrusive style in an attempt to give viewers as truthful and "direct" an experience of events as possible. Used interchangeably with cinema verite.
Refers to the categorization of narrative films by the stories they tell and the ways they tell them.
Films that are composed out of imagery generated from some form of animation such as hand-drawn, stop motion, or computer animation.