FILM & CULTURE Ch. 1
Terms in this set (17)
the accepted systems, methods, or conventions by which the movies communicate with the viewer. Because most movies seek to engage viewer's emotions and transport them inside the world presented on screen, the visual vocabulary of film is designed to play upon those same instincts that we use to navigate and interpret the visual and aural information of our "real life." _________ composed of not words but of myriad integrated techniques and concepts, connects us to the story while deliberately concealing that means by which it does so.
the process by which the editor unbinds and coordinates individual shots into a cinematic whole; the basic creative force of cinema. Movies are constructed of multiple individual shots joined to one another in an extended sequence. With each transition from one shot to another, a movie is able to move the viewer through time and space. The joining together of discreet shots gives movies the power to choose what the viewer sees and how that viewer sees it at any given moment.
a direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins, one result of ______.
a shot that often show a part of the body filling the frame - traditionally, a face, but possible a hand, eye, or mouth.
an unbroken span of action captured by an uninterrupted run of a motion picture camera - that allow visual elements to rearrange themselves and the viewer's perspective itself to shift within any composition. It can be a short or as long as the director wants, but it cannot exceed the length of the film stock in the camera.
fade in/fade out
when such a transition is meant to convey a passage of time between scenes, the last shot of a scene grows gradually darker, ___________, until the screen is rendered black for a moment. The first shot of the subsequent scene then _________ out of the darkness. The viewer doesn't have to think about what this means, our daily experience of time's passage marked by the setting and rising of the sun lets us understand intuitively that significant story time has elapsed over that very brief moment of darkness.
low angle shot
communicated in a similarly hidden fashion. Viewer's shared experience of literally looking up at powerful figures - people on stages, at podiums, memorialized in statues, or simply bigger than them - sparks an automatic interpretation of movie subjects seen from this angle as, depending on context, either strong, noble, or threatening. When it views a subject from a love camera angle, cinematic language taps our instinctive association of figures who we must literally "look up to" with figurative or literal power
cutting on action
an editing technique designed to hide the instantaneous and potentially jarring shift from one camera viewpoint to another. When connecting one shot to the next, a film editor will often end the first shot in the middle of a continuing action and start the connecting shot at some on in the same action. As a result, the action flow so continuously over the cut between difference moving images that most viewers failed to register the switch.
the primary character whose pursuit of the goal, provides the structural foundation of a movie's story.
lies below the surface of a movie's story and presentation, is closest to our everyday sense of wording meaning. It is an association, connection, or interference that a viewer makes on the basis of the explicit meanings available on the surface of the movie
everything that a movie presents on its surface
analytical approach primarily concerned with film form, or the means by which a subject is expressed. Dissects the complex synthesis of cinematography, sound, composition, design, movement, performance, and editing orchestrated by creative artists who implement their vision.
a shared, public idea, such as a metaphor, an adage, myth, or 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
a quantity of time. In any movie, we can identify 3 specific types:
1) story: the time that the entire narrative arc
2) plot: the time that the events explicitly shown on-screen are implied to have taken
3) screen: actual time that has elapsed to present the movie's plot
point of view
the position from which a film represents the actions of the story; not only the relation of the narrator(s) to the story but also the cameras act of seeing and hearing. The two fundamental types of cinematic point of view are omniscient and restricted
the removal of a portion of a film, resulting in an instantaneous advance in the action - a sudden, perhaps illogical, often disorienting ellipsis between two shots. A sudden "jump forward" in the action that intentionally defies our expectations of continuity.
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