TFM 160 exam 1
Terms in this set (80)
composed not of words but of myriad integrated techniques and concepts, connects us to the story while deliberately concealing the means of doing so; The accepted systems, methods, or conventions by which the movies communicate with the viewer
invisible cinematic language
we often take the conventions and structures of cinematic language for granted, allowing our brains to passively experience them without much, or any, conscious interpretation
An association, connection, or inference that a viewer makes on the basis of the given (explicit) meaning conveyed by the story and form of a film. Closest to our everyday sense of the word meaning.
Everything that a movie presents on its surface.
Film analysis that examines how a scene or sequence uses formal elements—narrative, mise-en-scène, cinematography, editing, sound, and so on—to convey story, mood, and meaning
unbroken span of action captured by interrupted run of a motion-picture camera- that allow visual elements to rearrange themselves and the viewer's perspective itself to shift w/o any composition; cannot exceed the length of the film stock in the camera
A direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins
joining together of discrete shots gives movies the power to choose what the viewer sees and how that viewer sees it at any given moment; editor combines and coordinates individual shots into a cinematic whole
A shot that often shows a part of the body filling the frame—traditionally a face, but possibly a hand, eye, or mouth.
fade in/ fade out
Transitional devices in which a shot fades in from a black field on black-and-white film or from a color field on color film, or fades out to a black field (or a color field).
low angle shot
A shot that is made with the camera below the action and that typically places 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 point in the matching action
The primary character whose pursuit of the goal provides the structural foundation of a movie's story
The means by which a subject is expressed. The form for poetry is words; for drama, it is speech and action; for movies, it is pictures and sound; and so on.
A recurring visual, sound, or narrative element that imparts meaning or significance
A shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type
Slow movement of the camera toward a subject, making the subject appear larger and more significant. Such gradual intensification is commonly used at moments of a character's realization and/or decision, or as a point-of-view shot to indicate the reason for the character's realization.
the time that the entire narrative arc—whether explicitly presented on-screen or not—is implied to have taken
the time that the events explicitly shown on-screen are implied to have taken
the actual time that has elapsed to present the movie's plot, i.e., the movie's running time
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 of cinematic point of view are omniscient and restricted.
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 the opposite of realism. However, realism and antirealism (like realism and fantasy) are not strict polarities.
convincing appearance of the truth; when you are convinced characters and story are real
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 flash on and off alternately and we seem to see a single light shifting back and forth. This cognitive phenomenon is part of the reason we see movies as a continuous moving images, rather than a successive series of still 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 fuse together to give the illusion of continuous light
the switching of shots of one scene with another at a different location
The overall look and feel of a movie—the sum of everything the audience sees, hears, and experiences while viewing it; also known as staging
A cinematic structure in which content is selected and arranged in a cause-and-effect sequence of events occurring over time.
A series of edited shots characterized by inherent unity of theme and purpose.
A complete unit of plot action incorporating one or more shots; the setting of that action
The subject of an artwork
The movie projector's tricking us into perceiving separate images as one continuous image rather than a series of jerky movements.
An agent, structure, or other formal element, whether human or technological, that transfers something, such as information in the case of movies, from one place to another.
A 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
movies depend on light, movies provide an illusion of movement, movies manipulate space and time in unique ways
3 fundamental principles of film form
The categorization of narrative films by form, content, or both; musical, comedy, etc
A documentary film that, usually, presents people, places, or processes in a straightforward way meant to entertain and instruct 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 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 approach to documentary filmmaking 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
employs different mechanisms to create the multitude of still images that motion picture require, animation is just a different form of movie making.
hand drawn, stop-motion animation, computer animation
3 types of animation
gangster, film noir, science fiction, horror, western, musical
6 american movie genres
story formulas, character types, setting, theme, presentation, stars
6 conventions of genre
narrative movies, documentary movies, experimental movies
three categories of movies
prreproduction, production, postproduction
3 phases of making a movie
planning, preparation of production process, screenwriting
The second stage of the production process, the actual shooting
editing, preparing final print, bringing film to public stage of production process
Film is an _________ medium in which the camera creates an image by recording through a camera lens the original light given off by the the subject and stores this image on a roll of negative film stock.
The second stage of creating motion pictures in which a laboratory technician washes exposed film (which contains a negative image) with processing chemicals
The third stage of creating motion pictures, in which edited film is run through a projector, which shoots through the film a beam of light intense enough to project a large image on the movie-theater screen.
The dimensions of a film stock and its perforations, and the size and shape of the image frame as seen on the screen. Formats extend from Super 8mm through 70mm (and beyond into such specialized formats as IMAX), but they are generally limited to three standard gauges: Super 8mm, 16mm, and 35mm; also called gauge
film stock length
The number of feet (or meters) of film stock or the number of reels being used in a particular film
film stock speed
The rate at which film must move through the camera to correctly capture an image; very fast film requires little light to capture and fix the image; very slow film requires a lot of light.
Exposing the recording media (film or digital media) in a camera to light to produce a latent image on it, the quality of which is determined primarily by the source and amount of light. The cinematographer can further control that image by the choice of lens and film stock, use of filters, and the aperture that regulates the amount of light passing through the lens. Normally, it is desirable to have images that are clear and well-defined, but sometimes the story requires images that are over-exposed (very light) or under-exposed (dark or dense
The concluding narrative events that follow the climax and celebrate or otherwise reflect upon story outcomes
Short for "picture elements," these are the small dots that make up the image on a video screen. The dots (denoted by the binary numbers 0 and 1) are meaningless in themselves; but when they are arranged in order, like the pieces in a jigsaw puzzle, they form a picture.
An electronic process that creates its images through a numbered system of pixels (which we can think of as the binary numbers 0 and 1) that are stored on a flash card or a computer hard drive
A fast, portable, shock-resistant memory card, housed in a small plastic or metal case, that is used as a storage medium in such battery-powered devices as digital cameras, mobile phones, and portable digital assistants
The person who guides the entire process of making the movie from its initial planning to its release and is chiefly responsible for the organizational and financial aspects of the production, from arranging the financing to deciding how the money is spent
The person who (a) determines and realizes on the screen an artistic vision of the screenplay; (b) casts the actors and directs their performances; (c) works closely with the production design in creating the look of the film, including the choice of locations; (d) oversees the work of the cinematographer and other key production personnel; and, (e) in most cases, supervises all postproduction activity, especially the editing.
Person responsible for supervising one or more producers, who in turn are responsible for individual movies.
The person, usually involved from preproduction through postproduction, who is responsible for the day-to-day management of the production operation
cultural mores and prejudices lurking under the surface of a movie
the process of breaking a "complex synthesis" into parts in order to understand it better
focuses on and breaks down the assumptions, mores, and prejudices that a movie conveys about gender, class, race, ethnicity, nationality, age, and many other social and cultural categories
T or F? genre conventions, like any of the conventions in film, are not set in stone but are instead fluid and evolving. As new filmmakers blur and sometimes defy previously well-defined boundaries, genres themselves can mutate and adapt.
Movies create movement by creating a quick succession of ___________ individual still photographs per second.
the more they match our expectations the more likely we are to enjoy and analyze the movie.
it is a story, it is a type of movie, it is a way of structuring fictional or fictionalized stories, it is a broader concept that both includes and goes beyond any of these applications
4 ways of looking at a narrative
factual, instructional, persuasive, propaganda
4 approaches to documentary films
seamlessly moving from one space to another (from a room to a landscape to outer space), make space move (when the camera turns around or away from its subject, change the physical, psychological, or emotional relationship between the viewer and the subject), or fragment time in many different ways.
Passing with slow motion or extreme compression of vast swaths of time. The cinema also condensed time within scenes. Crosscutting is crucial to show events occurring at the same time. Time may also be frozen temporarily, known as the freeze-frame.
being taken unaware, can be shocking, and our emotional response to it is generally short lived
more drawn-out experience; is the anxiety brought on by a partial uncertainty
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