TMA 102 Final

Term
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Forms of Documentary
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Terms in this set (71)
Forms of Documentary
1. Propaganda
2. Omniscient
3. Observational
4. Cinema Verite
Propaganda Documentary
Designed to elicit a specific action from the viewer
Omniscient Documentary
Burns documentary, like video essay or book
Observational Documentary
Maintain the fidelity of the reel by hiding the filmmaker
Cinema Verite
- D Exposes the presence of the filmmaker
Interview Types
- D Personal interview, expert commentary
Exposition
- D Voice of God narrator, everything they say is taken as fact
Voiceover
- D People give their own perspective (not omniscient)
B-roll
- D Cutaways recorded by filmmakers to complement/contradict the subject
Archival Footage
- D Film footage taken from another, previously recorded, source like news, surveillance cameras, videos by bystanders
Four Characteristics of Documentaries1. Voice to voiceless 2. Exalt the everyday 3. Process and duration (what do filmmakers spend time on and why?) 4. Illumination through understanding (What did we learn from the documentary?)Linear NarrativeSet-up, action, and pay offPlot- LN Where the film beginsStory- LN The entire world of the film, story is longer than plot so it's more inclusiveDiegetic- LN Native to the world the characters inhabit: props, costumes, sounds, locations, characters. Exist within the storyNon-diegetic- LN The characters are not aware of these things, but audience is: credits, titles, narration, soundtrackCompare and contrast- LN Show how a character has changed since the beginning of the storyDisruption of cause and effect- NLN A disconnect between a character doing something and then a lack of an effectSpatial and temporal ambiguity- NLN Space and time are manipulatedCharacter experience- NLN Character experience is often de-emphasized, what effect does this haveSignifiers- NLN Catering to a sensory experience (shapes, sounds, colors) rather than a narrative experienceBlocking-A The placement of actors and actresses within a scene with regard to settingPower through placement- A Who has the power and how is it conveyed through how actors are placedFigure Placement- A The arrangement of actors on screen as a compositional elementFigure Movement- A The movement of a character, animal, or object used as an element of mise-en-scène.Representational Performance- A Performance is staged as if no one is watchingPresentational Performance- A Characters overexaggerate, draws attention to own artificeMise-en-scene- PD All of the elements placed in front of the camera to be filmed: the settings and props, lighting, costumes and makeup, and figure behavior.Space- PD deep or flat, deep being long in the background, flat relatively shortProps and Costumes- PD are there objects or clothing of power, why are the characters interacting with it?Color- PD What moods are the colors of the film conveying (warm or cold), absence of colorLine- PD Horizontal means stable, vertical means power, diagonal lines mean tension, circles are welcoming, triangles are not welcoming because of the diagonalsTexture- PD How does the objects on screen feel are they rough or smoothHigh key lighting- C Cinematography where lighting is evenly lit, used for sitcoms so that they don't need to readjust the light for each shotLow key lighting- C Darkness and shadows. Often create suspense/ suspicion. Removes the rim and fill light so it's just the key lightHigh Contrast- C Something really light and really dark in the same shotLow Contrast- C a composition with a wide range of greys and NO distinct white or black, same level of darkness or brightnessHard Light- C Creates sharp, distinct, and very dark shadowsSoft light- C light which has a soft edge and produces subtle shadows and tonesRule of thirds- C A composition rule that divides the screen into thirds horizontally and verticallyFraming Objects- C Doorway, window, wall or other characters that block off part of the imageLong shot- C entire bodyMedium Long Shot- C knees upMedium Shot- C waist upMedium Close Up- C chest upClose Up- C faceExtreme Close Up- C eyes, hands, mouthShot Height- C Eye level, floor level, table levelLow Angle Shot- C from below looking up, often portrays a character as powerful, strong, imposing, heroicHigh angle- C from above looking down, often portrays a character as weak, inferior, frightenedProgression- E Establishing shot, extreme long shot, long shot, medium shotMatch on Action- E Graphic match, combining one or two shots with the action, pulling back fist to punch and the next frame jones swinging fistOverlapping edit- E where information is repeated a couple of framesEyeline match- E Cutting to see where characters are looking180 degree rule- E Character A will always be on the left side, character B on the rightCrosscutting or Parallel editing- E Two scenes that are occurring at the same time to ramp up tensionSoviet Montage- E putting two different unrelated clips together to juxtapose one with anotherKuleshov effect- E Shot A+ Shot B = Idea CCollision- E collision of angles, lines, shapes, scaleTemporal EditTime manipulated through editingSpatial EditEditing cut from one location to anotherRhythmic EditingPace of edit contributing to the sceneAssociational EditWhat ideas emerge through the association (or diassociation) of different shotsPsychological EditHow does character psychology or motivation influence the editing: memories, flashbacks, cutawaysSpatial Orientation of sound- S How does sound shape the space or off screen space using diegetic soundPsychological Orientation of sound- S How does sound externalize a character's physical, mental, emotional, or spiritual stateInstrumentation- S What instruments are associated with different characters?Tempo/ Volume- S Does the volume of the music overpower the dialogue does the music reside in the background of the soundtrackShepard's scale-S constantly sounding like acceleratingEstablish historical context- S Music in 1930 sounds different than today and helps to transport the viewerLeitmotif- S a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation.

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