Film and Media Exam #3 (Review Questions)
Terms in this set (11)
What are the film editors principal creative and technical responsibilities? (Chapter 8)
The spatial relationships between shots
The temporal relationships between shots
The overall rhythm of the film
What is continuity editing? What does it contribute to a movie? (Chapter 8)
Continuity editing seeks to create a logical, smooth, and sequential flow to a movie. It wants to tell the story as coherently and clearly as possible. It contributes the way the story is played out. It makes the movie flow and make sense. Gives it a solid story with a beginning, middle, and end.
What is the purpose of the 180-degree system? How does it work? (Chapter 8)
The 180 degree rule puts a horizontal line between characters on the screen, also called the axis of action. The camera is supposed to stay on one side of this line so as to not confuse the watcher. It creates solid orientation, good spatial relationships, and also consistent screen direction.
What is discontinuity editing? Given the dominance of continuity editing in mainstream filmmaking, what role does discontinuity editing usually play? (Chapter 8)
This breaks the rules of continuity editing and seeks to create shots that are not coherent, smooth or continuous. It mis-matches all elements of the film. It is a technique of film that calls attention to itself, which is the main purpose
Given the magnitude of the editor's overall responsibility during the postproduction stage of filmmaking, why is it considered desirable, if not essential, that the editor also collaborate during the preproduction phase? (Chapter 8)
The editor makes suggestions about lighting, blocking, and other aspects of the movie. Making suggestions for these things ends up helping the editing process in itself. Their suggestions can make or break a movie in terms of artistry and overall quality
What is sound design? What are the responsibilities of the sound designer? (Chapter 9)
This is the art of creating sound for film. Their responsibility is to advocate for sound and oversee the entire recording,re- recording, editing, mixing, and sound effects.
What is the difference between diegetic and nondiegetic sources of sound? (Chapter 9)
Diegetic: originates from a source within a film's world; gives an awareness of the spatial and temporal dimensions of the shot
Nondiegetic: comes from a source outside a film's world; offscreen and recorded during post production
What are the differences between sounds that are internal and external? On-screen and offscreen? (Chapter 9)
Internal sound occurs whenever we hear what we assume are the thoughts of a character within a scene
External sound comes from a place within the diegesis (the world of the story) and we assume that it is heard by the characters in that world
On-screen: comes from a source that we can see
Off-screen: derives from a source we do not see
How do ambient sounds differ from sound effects? How are Foley sounds different from sound effects? (Chapter 9)
Ambient sound comes from the background of the setting the film is being filmed at. It is either recording during or after production. Sound effects are all the sounds specifically created for the movie that are important in telling the story. They are recorded after the production and added in. Foley sounds are recording in sync with the scene using a room full of equipment and foley artists. Each sound is unique. Sound effects can be taken from a library of sounds.
Can the music in a movie be both diegetic and nondiegetic? Explain? How does sound call our attention to both the spatial and temporal dimensions of a scene? (Chapter 9)
Yes, music can be both diegetic and non-diegetic. If the scene has a band in it or a CD player or something like that, the music is heard by both the people in the audience and the actors in the film. Non-diegetic is a soundtrack over top of the scene that the people in the film can't hear. Both of these are used in filmmaking. If the music is diegetic it gives us a spatial and temporal understanding of the scene because it shows where the music is coming from. Non-diegetic sound is not relevant when determining spatial or temporal aspects of the scene.
What is a sound bridge? What are its functions? (Chapter 9)
is a type of sound editing that occurs when sound carries over a visual transition in a film, this type of editing provides a common transition in the continuity editing style because of the way in which it connects the mood, as suggested by the music, throughout multiple scenes