TFM 160 Chapter 1-3, 11
Terms in this set (52)
the accepted systems, methods, or conventions by which the movies communicate with the viewer
uninterrupted run of the camera. Can be as long or short as the director wants, but it cannot exceed the length of the film stock in the camera.
the process by which an editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema.
a direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins
shot that often shows often part of the body filling the frame-usually a face, but can be any body part
transitional devices in which a shot fades in from a black field on black and white film from a color field and vice versa
shot below the action and puts the observer in a position of inferiority
cutting on action
a continuity editing technique that smoothes 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 in the matching action
primary character whose pursuit of the goal provides the structural foundation of a movie's story.
lies below the surface of the movie's story and presentation, implied or suggested
everything that a movie presents on its surface.
film analysis that examines how a scene or sequence uses formal elements to convey story, mood, and meaning
the means by which a subject is expressed. the form for poetry its words for drama its speech and action for movies its pictures and sound
a shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type
recurring visual, sound, or narrative element that imparts meaning or significance.
slow movement of the camera toward the subject
how much time in a movie. Three types of duration: Story Duration, Screen Duration, and Plot Duration
Point of A View (POV)
position from which a film presents the action of the story; not only the relation of the narrator to the story but also the camera's act of seeing and hearing. Two fundamental types of cinematic point of view omniscient and restricted
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.
Cinematic structure in which content is selected and arranged in a cause-and effect sequence of events occuring over time.
series of edited shots characterized by inherent unity of theme and purpose
complete unit of plot action incorporating one or more shots; the setting of the action.
subject of an artwork
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
illusion of movement created by events that succeed each other rapidly. This is cognitive phenomenon is part of the reason we see movies as continuing moving images
Critical Flicker Fusion
a phenomenon that occurs when a single light flickers on and off with such speed that the individual pulses of light fuses together to give the illusion of continuous light
the movie projector's tricking us into perceiving separate images as one continuous image rather than a series of jerky movements. Is the result of factors like phi phenomenon and critical flicker fusion
an agent, structure, or other formal element whether human or technological that transfers something like information from one movie to another
still image within a movie, created by repetitive printing in the laboratory of the same frame so that it can be seen without movement for whatever length of time the filmmaker desires
an interest in or concern for the actual or real, a tendency to view or represent things as they really are
a treatment the opposite of realism. However anti realism and realism are not strict polarities.
A documentary film that, usually presents people, places, or processes in a straightforward way meant to entertain and inform without unduly influencing audiences
A documentary film that seeks to educate viewers about common interests, rather than persuading them with particular ideas.
A documentary film that is concerned with presenting a particular perspective on social issues, or with corporate and governmental injustice.
A documentary film that systematically disseminates deceptive or distorted information
An apporach to documentary filmmmaking that employs an unobtrusive style in an attempt to give viewers as truthful and "direct" an experience of events as possible
Stream of Consciousness
A literary style that gained prominence in the 1920s in the hands of such writers as Marcel Proust, Virginia Woolf, James Joyce, and Dorothy Richardson and that attempted to capture the unedited flow of experience through the mind
categorization of narrative films by form, content, or both. Ex. of genres are biography, comedy, musical, Western, and so on.
Three Phases of Making A Movie
Preproduction, Production, and Postproduction
Three Categories of Movies
Narrative, Documentary, and Experimental
Six Elements of Film Genres
Story Formulas, Themes, Character Types, Setting, Presentation, and Stars
Four Basic Apporaches to Documentary Films
Factual, Instructional, Propaganda, and Persuasive
letting cultural stereotypes and mores go unnoticed when you are watching a movie
when you take the cinematic language in the movie for granted that you begin to see it as invisible
theme of the american dream, during the prohibition, very violent and sexually explicit,
hard hitting realistic films during 1940's, antagonist is a female (seductive/evil), use of shadows, cynical tone
humanity's relationship with technology, antagonist is an "it", the technology can help but can also lead to civilization's downfall
insanity and loss of control, setting is where the protagonist is isolated from help, the protagonist is the first to realize the threat
protagonist is a good natured outlaw, wilderness/freedom vs. civilization
tells story through song and dance
Three Basic Types of Animation
Hand-Drawn, Stop-Motion, and Digital
employs different mechanisms to create the multitude of still images that motion picture require, animation is just a different form of movie making.
YOU MIGHT ALSO LIKE...
Academic English (SAT GMAT TOEIC TOEFL IELTS)
Introduction to Film: Final Study Guide
looking at movies 4th Edi
OTHER SETS BY THIS CREATOR
BA 405 Exam 2
AIS Final Exam Terms
ACCTG 331 Ch 1,2,3 Terms
Music 151 (ALL 14 exam Qs)