MRTS 1320 Fall Midterm
Terms in this set (346)
Singin' in the Rain (1952)
- Example of Musical
- Audience Expectations
Hiroshima mon amour (1959)
- Space and Time in Film Form
Chico and Rita (2010)
Meshes of the Afternoon (1943)
- Example of Experimental
- Maya Deren
Double Indemnity (1944)
-Example of Film noir
Snow White and the Seven Dwarfs (1937)
Example of Hand-Drawn Animation
- First feature-length animated film
- Lars von Trier and Dogme 95
- Elements of Narrative
The Cabinet of Dr. Caligari (1920)
- Analysis of Set Design
- German Expressionism
The Graduate (1967)
- box office champ of the decade
- questioned materialism and capitalistic greed
-about creating an anti hero
(distancing effect) A psychological distance between audience and stage for which, according to German playwright Bertolt Brecht, every aspect of a theatrical production should strive by limiting the audience's identification with characters and events//remind audience of artificiality //little influence on mainstream filmmaking
An actor who holds a small speaking part
A soundproofed enclosure somewhat larger than a camera, in which the camera may be mounted to prevent its sounds from reaching the microphone//restricted movement
stick that a microphone is suspended on//keeps it outside camera's range
process of choosing and hiring actors for both leading and supporting roles//open call
A small but significant role often played by a famous actor
An actor's part that represents a distinctive character type (sometimes a stereotype): society leader, judge, doctor, diplomat, and so on.
emphasizes the interaction of actors, not the individual actor//a group of actors work together continuously in a single shot. Typically experienced in the theater, ensemble acting is used less in the movies because it requires the provision of rehearsal time that is usually denied to screen actors.
An actor who, usually, appears in a nonspeaking or crowd role and receives no screen credit
1. Actors' extemporization—that is, delivering lines based only loosely on the written script or without the preparation that comes with studying a script before rehearsing it. 2. "Playing through" a moment—that is, making up lines to keep scenes going when actors forget their written lines, stumble on lines, or have some other mishap.
(main, featured, leading), role that is a principal agent in helping move the plot forward, may appear in many scenes, sometimes receive screen credit preceding the title
Also known as simply the Method. A naturalistic acting style, loosely adapted from the ideas of Russian director Konstantin Stanislavsky by American directors Elia Kazan and Lee Strasberg, that encourages actors to speak, move, and gesture not in a traditional stage manner, but in the same way they would in their own lives. face & voice as tools. rely on conventions to indicate emotion. GOAL: have real emotional experience & thoughts in front of camera.
(supporting role), helps move the plot forward (and thus may be as important as a major role), but does not appear in as many scenes as the featured players do
A phenomenon, generally associated with Hollywood, comprising the actor and the characters played by that actor, an image created by the studio to coincide with the kind of roles associated with the actor, and a reflection of the social and cultural history of the period in which that image was created.
actors 7 yr contract. Reviewed every six months: if the actor had made progress in being assigned roles and demonstrating box-office appeal, the studio picked up the option to employ that actor for the next six months and gave the actor a raise; if not, the studio dropped the option and the actor was out of a job//did not allow the actor to move to another studio, stop work, renegotiate salary
filmed audition to see how an unknown actor looked under studio lighting and how they sounded in recording
An actor who looks reasonably like a particular movie star (or at least an actor playing a major role) in height, weight, coloring, and so on, and who substitutes for that actor during the tedious process of preparing setups or taking light readings
A system of acting, developed by Russian theater director Konstantin Stanislavsky in the late nineteenth century, that encourages students to strive for realism, both social and psychological, and to bring their past experiences and emotions to their roles. This system influenced the development of Method acting in the United States//had to be the character before playing the character. influenced the development of method acting
The casting of actors because of their looks or "type" rather than for their acting talent or experience.
A role even smaller than a cameo, reserved for a highly recognizable actor or personality
double for actors in scenes requiring special skills, hazardous actions
aspect of film over which directors have the least control
transition in late 20s
silent to sound film
4 criteria for acting
appropriateness, inherent thoughtfulness / emotionality, expressive coherence, wholeness / unity
does actor look/act the part?
ability of an actor to play different types of roles/express a broad array or emotions. range is often linked to physicality (Phillip S Hoffman, great range. leads to transparency)
in a __________ world, __________ performance feels coherent.
in a __________ world, __________ performance feels inappropriate.
INHERENT THOUGHTFULNESS / EMOTIONALITY
does the actor have a credible inner life? does the actor effectively convey unspoken thoughts / emotions?
achieved through combo of "appropriateness" and "inherent thoughtfulness or emotionality". appropriateness w/o effective conveyance of an inner life is "mimicry"/"impersonation", not acting. expressive coherence w/o appropriateness- inner life not connected to character, CONFUSING AND UNDEFINED.
character vs persona actor
persona: you expect an actor to play a certain type of character. (tom cruise, always arrogant, similar characters every time).
character actor: an actor who plays characters who are very different from the actor's off-screen real-life personality
actor repeatedly assigned to the same type of role, as a result of the appropriateness of their appearance or previous success in such roles. (sam elliot-cowboy. robin williams is NOT because he plays a variety of roles)
WHOLENESS / UNITY
is performance consistent throughout movie? a particular problem with screen acting NOT usually in theater (production challenges)
consistency and uniformity
consistency does not mean uniformity. emotion should change.
The process of capturing moving images on film.
One uninterrupted run of the camera.
An indication of the number of times a particular shot is taken.
One camera position and everything with it.
Technicians that make up two separate groups-one concerned with the camera and the other concerned with electricity/lighting.
The member of the camera crew who does the actual shooting.
Member of the camera crew who assists the camera operator.
The board or other device that is used to identify each scene during shooting.
The chief electrician on a movie production set.
First assistant electrician to the gaffer.
All-around handy person on a movie production set
Celluloid used to record movies.
The use of digital technology to paint colors on movies.
Additive color systems
In-early film-making, techniques used to add color to black and white images.
Subtractive color system
Adopted in the 1930s, involved three separate black and white negatives.
Widescreen aspect ratio
Wider than 1.33:1, the standard ratio until the 1950s
A lamp that produces hard, mirror like light that can directed to precise locations.
A lamp that produces soft light.
A piece of lighting but not really a lighting instrument because it doesn't rely on bulbs to produce light.
key light, fill light and backlight.
Also known as main light or source light, the brightest light falling on an object.
Lighting positioned at the opposite side of the camera from the key light.
The relationship and balance between illumination and shadow
Lighting that creates strong contrast; sharp, dark shadows
Lighting that produces an image with very little contrast between darks and lights.
Lighting usually positioned behind and in line with the subject and the camera, used to create highlights on the subject.
The amount of human and physical resources devoted to the image.
The camera opening that defines the area of each frame of film exposed.
A circular cutout made with a mask that creates a frame within a frame.
The distance from the optical lens to the focal point.
Short-focal length lens
Also known as wide-angle lens. It is a lens that creates the illusion of depth within a frame with some distortion at the edges.
Long-focal length lens
Also known as telephoto lens. The lens flattens the space and depth of an image and thus distorts perspectival relations.
Middle-focal length lens
Also known as normal lens. A lens that does not distort perspectival relations.
Also known as variable-focal-length lens. A lens that is moved toward and away from the subject being photographed.
A lens that has a fixed focal length.
Depth of field
The distance in front of the camera and its lens in which objects are in sharp focus.
Any three theoretical areas- foreground, middle ground, and background- within the frame.
Also known as select focus, shift focus, or pull focus.
The relationship between the frame's two dimensions.
Extreme long shot
A shot that is typically photographed far enough away from the subject that the subject is too small.
A shot whose purpose is to briefly establish the viewer's sense of the setting of a scene.
Also known as full body shot.
Medium long shot
Also known as american shot.
A shot showing the human body, usually from the waist up.
A shot that shows a character from the middle of the chest to the top of the head.
Rule of thirds
Single character's POV
staging or putting on an action or scene
Two major visual components of mise-en-scene
Design and composition
decor, prop selection, lighting setup, costuming, makup, and hairstyle
organization, distribution, balance, and general relationship of actors and objects within the space of the shot
How does the visual aspect of miss-en-scene help you?
What you see in a scene: from a well dressed actor, or striking bit of lighting, helps you to understand the narrative, characters, and action of the movie
What gives the shot its overall meaning
each thing placed into a shot
Mise-en-scene in Rear Window
everything is tightly controlled,
everything is photographed from the stationary point of view of Jefferies, first few minutes we are introduced to different worlds of the different tenants living across from jefferies
Mise-en-scene in individual shots
everything is controlled: objects, lighting, camera angles, sounds
movies based on dreamlike or mystical visions
expressing a movies vision: create convincing sense of times, spaces, and mood; character state of mind; and developing themes
Film noir design
creepy expressionistic effects
works with director and director of photography in visualizing the movie that will appear on the screen. Responsible for the overall design concept. (hairstyling, makeup, costume design, carpentry, location, etc)
pre-visualizing: imaging, thinking, discussing, sketching, planning
Production designer responsibilities
helps visual continuity, balance, and dramatic, emphasis
Production designer and Animation
has much more control over miss-en-scene
Directors communication with production designer
some create detailed drawings
Elements of design
1. setting , decor, and properties
3. costume, makeup, and hairstyle
Spatial and temporal setting of a film
the environment (realistic or imagined) in which the narrative takes place
in charge of details that go into furnishing and decorating a set
Settings can be
on location, or on a set
create authenticity and natural depth but are expensive
evolution of larger studios made larger 3-D interiors.
Decor (interior shooting)
the color and textures of the interior decoration, furniture, draperies and curtains, etc
paintings, vases, flowers, silver tea sets, guns, fishing rods, etc
First movie sets
no different from theatre sets: flat backdrops, observed by the camera as an audience would. Skylights and artificial lights provided indoor lighting
windowless, soundproofed, professional shooting environment that is usually several stories high and can cover an acre or more of floor space
Production designers and lighting
they include an idea of lighting in their sketches
Importance of lighting
shaping the way the final product looks, guiding our eye through the moving image, and helping to tell the story
light calls attention to shapes and textures
mask or conceal things
Lighting on set and on location
light is controlled and manipulated to achieve expressive effects, no such thing as wholly "natural" lighting
the use of deep gradations and subtle variations of lights and darks within an image
Two most personal aspects of box-office appeal
makeup and hair
Early studios and the look of actors
"improved" stars: dying hair, fixing teeth, plastic surgery. had actors under contract to undergo plastic surgery or dental procedures
clothing worn by actors in a movie
to setting, and suggests specific character traits, state of mind, overall situation, helps to tell a movies story
Costumes and past
costume designers undertake extensive research to get it right
relate back to the audience memories and experiences we have had
Film involving future
costumes must reflect the social structure and values of an imaginary society
reflect both the years they hope to represent and the years in which they were created
Make up is used to enhance or alter (positively or negatively)
an actors appearance, two categories: traditional materials and digital methods
cover the full dance of facial and body cosmetics familiar to consumers, often specially blended to comply with camera and lighting (prosthetics, wigs foam or plastic to alter weight)
responsible for all makeup
kept a detailed log of each days shooting,
Video assist vamera
mounted in the viewing system of film camera and provides instant visual feedback
Film design two fundamental styles
realistic and fantastic
give objective expression to subjective human feelings and emotions by using objective design elements (structure, color, texture) Heightening reality by relying on non objective elements (symbols, stereotyped characters, stylization)
Expressionist films characterization
extreme stylization on sets, decor, acting, lighting, and camera angles. They were distorted and abstract sets.
stories set amongst the poor and working class, filmed on location, and used non-professional actors
Composition is part of
the process of visualizing and planning the design of a movie
What is composition?
organization, distribution, balance, and general relationship of stationary objects and figures, as well as light, shad, line and color
any significant things that move on the screen
Two aspects of composition
framing and kinesis
what we see on the screen
what moves on the screen
Why is composition important?
it helps ensure the beauty and flow of the movie and guides our looking, how we read the image and how we interpret the characters physical, emotional, and mental relationships to one another
Composition, two images
flat image: figures and objects are arranged and photographed in the foreground of the screen
Or an image that has the illusion of depth
change in camera angle without a cut and can change the focus of the screen
Frame around a motion-picture
image can move and thus change its point of view (results from moving frame)
Point of View (POV)
single character point of view
view that comes from no one in particular
the window you look through when taking a picture
The frame of cameras viewfinder
indicates the boundaries of the cameras point of view
entire visual composition of a shot
both onscreen and off screen spaces
Six segments of offscreen space
the four infinite spaces that lie beyond the four borders of the frame
the spaces beyond the movie settings (call our attention to the entrances into and exits from the world of frame)
the space behind the camera (helps viewer define the cameras point of view)
open and closed films
two ways of designing and representing the visible world through framing int
designed to depict a world where characters move freely with an open, recognizable environment (realistic films)
designed to imply that other forces (fate, social, educational) have robbed characters of their ability to move and act freely (nonrealistic films)
In realistic (verisimilar) films
frame is a window on the world, has many views
In anti realistic films
frame is similar to frame of painting or photograph, enclosing or limiting the world by closing it down and providing only one view
When do directors choose the closed frame
when their stories concern characters who are controlled by outside forces and do not have the freedom to come and go as they wish
When do directors choose the open frame
to enable their characters to act freely, come and go within the films world
We perceive movement when we see
1. movement of objects and characters
2. apparent movement of the frame itself
director and teams process of planning the positions and movements of the actors and cameras for each scene and in rehearsals familiarize the cast and camera operators with the plan
the act of telling the story of the film. The primary source of a movie's narration is the camera, which narrates the story by showing us the events of the narrative on-screen. When the word "narration" is used to refer more narrowly to spoken narration, the reference is to commentary spoken by either an offscreen or on-screen voice. When that commentary is not spoken by one of the characters in the movie, it is omniscient. When spoken by a character within the movie, the commentary is first-person narration. (page 122)
who or what tells the story of a film. The primary narrator in cinema is the camera, which narrates the film by showing us events in the movie's narrative. When referring to the more specific action of voice-narration, the narrator may be either a character in the movie (a first-person narrator) or a person who is not a character (an omniscient narrator). (page 122)
narration by an actual character in the movie. Compare voice-over narration. (page 123)
narration heard concurrently and over a scene but not synchronized to any character who may be talking on the screen. It can come from many sources, including a third person (who is not a character) bringing us up-to-date, a first-person narrator commenting on the action, or, in a nonfiction film, a commentator. Compare first-person narration and third-person narration. (page 123)
a form of narration in which an on-screen character looks and speaks directly to the audience. (page 123)
narration delivered from outside of the diegesis by a narrator who is not a character in the movie. (page 125)
providing a third-person view of all aspects of a movie's action or characters. Compare restricted. (page 125)
roviding a view from the perspective of a single character. For example, restricted narration reveals information to the audience only as a specific character learns of it. Compare omniscient. (page 126)
also known as fiction film. A movie that tells a story—with characters, places, and events—that is conceived in the mind of the film's creator. Stories in narrative films may be wholly imaginary or based on true occurrences, and they may be realistic, unrealistic, or both. Compare nonfiction film. (page 127)
an essential element of film narrative; any of the beings who play functional roles within the plot, either acting or being acted on. Characters can be flat or round; major, minor, or marginal; protagonists or antagonists. (page 127)
a narratively significant objective pursued by the protagonist. (page 127)
a complex character possessing numerous, subtle, repressed, or contradictory traits. Round characters often develop over the course of a story. (page 127)
a relatively uncomplicated character exhibiting few distinct traits. Flat characters do not change significantly as the story progresses. (page 128)
An outwardly unsympathetic protagonist pursuing a morally objectionable or otherwise undesirable goal. (page 129)
events, circumstances, and actions that impede a protagonist's pursuit of the goal. Obstacles often originate from an antagonist and are central to a narrative conflict. (page 129)
in a narrative screenplay, the state of the character and setting before the inciting incident. (page 131)
the event or situation during the exposition stage of the narrative that sets the rest of the narrative in motion. Also known as the inciting incident. (page 132)
the character, creature, or force that obstructs or resists the protagonist's pursuit of their goal. (page 133)
in a conventional narrative, that which is at risk as a consequence of the protagonist's pursuit of the goal. (page 134)
the development of the action of the narrative toward a climax. Compare falling action. (page 135)
a critical turning point in a story in which the protagonist must engage a seemingly insurmountable obstacle. (page 135)
the highest point of conflict in a conventional narrative; the protagonist's ultimate attempt to attain the goal. (page 135)
the concluding narrative events that follow the climax and celebrate or otherwise reflect upon story outcomes. (page 136)
in a movie, all the events we see or hear on the screen, and all the events that are implicit or that we infer to have happened but that are not explicitly presented. Compare diegesis, narrative, and plot. (page 140)
diegesis (adj. diegetic)
the total world of a story—the events, characters, objects, settings, and sounds that form the world in which the story occurs. (page 140)
an element—event, character, object, setting, sound—that helps form the world in which the story occurs. Compare nondiegetic element. (page 140)
the specific actions and events that the filmmakers select and the order in which they arrange those events and actions to effectively convey on-screen the movie's narrative to a viewer. Compare narrative and story. (page 140)
something that we see and hear on the screen that comes from outside the world of the story (including background music, titles and credits, and voice-over narration). Compare diegetic element. (page 141)
a fictional history behind the cinematic narrative that is presented onscreen. Elements of the backstory can be hinted at in a movie, presented through narration, or not revealed at all. (page 143)
the amount of time that the entire narrative arc of a movie's story—whether explicitly presented on-screen or not—is implied to have taken to occur. Compare plot duration and screen duration. (page 149)
the elapsed time of the events within a story that a film chooses to tell. Compare screen duration and story duration. (page 149)
the amount of time that it has taken to present the movie's plot on-screen, i.e., the movie's running time. Compare plot duration and story duration. (page 149)
a time relationship in which screen duration is shorter than plot duration. Compare real time and stretch relationship. (page 150)
the actual time during which something takes place. In real time, screen duration and plot duration are exactly the same. Many directors use real time within films to create uninterrupted "reality" on the screen, but they rarely use it for entire films. Compare cinematic time, stretch relationship, and summary relationship. (page 150)
a time relationship in which screen duration is longer than plot duration. Compare real time and summary relationship. (page 150)
the passage of time within a movie, as conveyed and manipulated by editing. (page 151)
a taking unawares that is potentially shocking. Compare suspense. (page 153)
the anxiety brought on by partial uncertainty: the end is certain, but the means are not. Compare surprise. (page 153)
the number of times that a story element recurs in a plot. Repetition signals that a particular event has noteworthy meaning or significance. (page 154)
any image that a director periodically repeats in a movie (with or without variations) to help stabilize the narrative. (page 154)
the time and space in which a story takes place. (page 155)
Overall look and feel of movie. Sum of everything the audience sees, hears and experiences
Transmitted vibrations received by the ear and thus heard by the recipient
A cinematic structure in which content is selected and arranged in a cause and effect sequence of events occurring over time
The means by which a subject is expressed
The subject of an artwork
A pointless object in a movie that has no meaning
The use of deep gradations and subtle variations of light and darks within an image
Parallel editing aka cross cutting aka intercutting
Intercutting of two or more lines of action that occurs simultaneously
Freeze frame aka stop/hold frame
Still image within a movie created by repetitive printing in the Laboratory of some frame
A complete unit of plot action incorporating one or more shots
Detaching time and space from camera (Matrix)
View or represent things as they actually are
the appearance of being true or real
Movie project tricking us into perceiving separate images instead of jerky images
The illusion of movement created by events that succeed each other rapidly
persistence of vision
Process by which the human brain retains an image for a fraction longer than the eye records it
critical flicker fusion
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
What is the relationship between form and content?
Form is the style, techniques and media used. Content is the works essence; what is being depicted. Works of art need both.
How are patterns used in movies and for what effect?
Some patterns keep viewers watching and add drama. It also allows filmmakers to establish something.
Parallel editing vs consecutive shots
Creates and exploits patterns/reinforces a feeling of slow motion
6 Major formal aspects of film
Narrative, mise-en-scéne, cinematography, acting, editing and sound.
3 fundamental principles of form?
Movies depend on light, movies provide an illusion of movement, manipulate space and time in unique ways
What were early films called?
In what way are viewer expectations important to the viewing of a film? What influences viewer expectations? Must our expectations be fulfilled for us to enjoy a film?
Expectations are influenced by trailers, previews, and word of mouth. They're important because they determine whether viewers enjoy the movie or not.
Movies seem to move and rely on illusion to create "movement." Explain the 4 techniques used to create an illusion of movement.
PersistEnce of vision, phi phenomenon, critical flicker fusion, and apparent motion.
Explain what film theorist Erwin Panofsky means by claiming that films provide the "dynamization of space" and the "specialization of time."
Movies give time to space and space to time. Time and space are relative to one another. Can't separate or perceive one without the other.
What determines our perceptions of the cinematic space? Why?
The motion picture camera, the lens. Difference between human eye and camera eye.
What are 3 basic approaches to realism?
Modest, unembellished sets & settings, storylines that portray ordinary lives of ordinary people and naturalistic performances and dialogue
How does anti-realism draw from realism? What role does verisimilitude play?
It draws from realism by using perception of reality as a strong point. Both can achieve a convincing appearance of truth=verisimilitude.
What does it mean if I refer to a movie as a text or ask you to read a shot, scene or movie?
It means to apply your understanding of cinematic language
What are the effects of lighting on a movie's meaning?
Creates mood, reveals character and conveys meaning
What is cinematic language?
The accepted systems, methods or conventions by which the movie communicates with the viewers.
Directed toward fiction, based on plays.
Recording reality, educating viewers, political/social analyses/ non-fiction
Presents people, places, or procedures in straight forward ways
Seek to educate viewers about common interests
Persuade audience to oppose the practice of something
Systematically disseminate deceptive or distorted information
Eschew interviewers/ limit the use of narrators. Small portable cameras
stream of consciousness
Captures the unedited flow of experience through the mind
Those that represent their own conditions of production
Blurs borders among experimental, documentary and narrative
The categorization of narrative films by the stories they tell/the way we tell them
The way a movie's story is structured. It's plot.
Specific types of characters
Where a movie's action is located and how that environment is portrayed
The process by which a particular genre is adapted to meet the expectations of a changing society
Four main meanings of a narrative
Story, movie, way of structuring fictional or fictionalized stories presented in film, broader concept that both includes and goes beyond the first 3
Six traits of experimental films
Invite individual, interpretation, not commercial, personal, non-traditional nor conforming, exploit possibilities of cinema, critique culture and media
Hybrid films blur 3 types
Experimental, documentary, and narrative
6 major American movie genres
Western, Horror, SciFi, Musical, gangster, Film Noir
6 sets of conventions that define a genre
Setting, theme, story formula, stars, character types and presentation
The accepted systems, methods, or conventions by which movies communicate with the viewer.
Narrative Film aka Fiction Film
Tells a story with characters, places, events that come straight from the mind of the films creator
one uninterrupted run of the camera. A shot can be as short or as long as the director wants but can't exceed the length of Film stock in the camera.
One camera position and everything associated with it. The basic component of the films production.
The process by which the editor combines and coordinates individual shots into a cinematic whole. The basic creative force of the camera.
A direct change from one shot to another. The precise point at which shot A ends and Shot B begins.
Shot that shows a body filling a frame-traditionally a face but can be a hand eye or mouth.
Transitional devices in which a shot fades in from a black field or from a colored field.
low-angle shot aka Low Shot
Below the action. Places observer in inferior position
Cutting on action aka Match-on-action cut
Continuity editing technique that smoothed the transitions between shots portraying a single action from different camera angles
Unfamiliar, unorthodox, or obscure subject matter/independent
Everything a movie presents on the surface/everything that lies below the surface
Primary character whose pursuit of the goal provides the structural foundation of a Movie's story
Examines how a scene or sequence uses formal elements to convey story, mood, and meaning.
Focuses on the assumptions, mores and prejudices that a movie conveys about gender, class, race, age, etc.
The central idea or message of a work, the insight it offers into life
Recurring visual, sound or narrative element that imports meaning or significance
Slow moving of camera toward a subject making subject appear larger
Away from subject-revealing elements of a scene.
Taken by camera fixed to wheel support and runs on tracks
Quantity of time
point of view
the method of narration; the lens through which the reader sees the action
depth of field
The distance in front of the camera and its lens in which the objects are in apparent sharp focus.
Indication of the number of times a particular shot is taken
eyeline match cut
When a shot conveys or captures a characters point of view
Difference between Passively watching vs Actively Looking at Movies
Passive means watching mindlessly/active means paying attention to how everything works together
Speaking cinematic language allows us to "understand movies that pervade our world" on what three levels?
Fade-in fade-out, low shot angle, cutting on action
How many images per second are there in a typical movie?
21 images per second
Seven primary collaborators in the production of a movie
screenwriters, actors, director of photography, production designer, editor, sound designer, director
What is the director's primary responsibility?
Performance and camera - the coordination of the two
Audience makes an assumption about the narrative
Relationship between invisibility and cinematic language
They convey meaning intuitively / you have to know what you're looking for
Who created cinematic language and from where did they draw the language?
The industry / it was adapted through time
Who is Sergei Einstein how did his ideas on editing influence experimental film?
Pioneering soviet filmmaker & theorist. He believed every edit should be noticeable.
What are the characteristics of experimental film?
Self-reflexive styles that confront and confound conventional notions of continuity.
What is cultural invisibility? How does it differ from invisibility?
Reinforcing viewers shared belief systems. They go unnoticed.
Types of film analysis
Formal Analysis, linguistic analysis, feminist analysis, comparative analysis
Movie meaning, cinematography, sound and composition
Historical, cultural or imaginary origins.
Depiction of women
Compares societal/political issues with movies meanings
Time the events explicitly shown on screen are implied to have taken
Time the narrative arc is implied to have taken
Actual time elapsed while presenting the movie's plot - the movie's run time
point of view
The position from which the film presents the actions of a story; not only the relation of the narrators story but also the cameras act of seeing and hearing
2 fundamental cinematic points of view
Omniscient and Restricted
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