Film Appreciation Mid Term ( Chapters 1-4).
Terms in this set (94)
The accepted systems, methods, or conventions by which the movies communicate with the viewer. (page 3)
One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of the film stock in the camera. Compare setup. (page 5)
The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema. (page 5)
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 cutting. (page 5)
Close up (CU)
A shot that often shows a part of the body filling the frame—traditionally a face, but possibly a hand, eye, or mouth. (page 5)
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). Compare dissolve. (page 7)
Also known as low shot. A shot that is made with the camera below the action and that typically places the observer in a position of inferiority. Compare high-angle shot. (page 7)
cutting on action
One of the most common editing techniques designed to hide the instantaneous and potentially jarring shift from one camera viewpoint to another. ( page 8)
The primary character whose pursuit of the goal provides the structural foundation of a movie's story. Compare antagonist. (page 11)
lies below the surface of a movie's story and presentation, is closest to our everyday sense of the word meaning.
available on the surface of the movie
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. (page 14)
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. Compare content. (page 14)
A shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type. (page 15)
A recurring visual, sound, or narrative element that imparts meaning or significance. (page 15)
the camera moves slowly toward the subject
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. See also zoom-in. Compare dolly out. (page 16)
A quantity of time. In any movie, we can identify three specific kinds of duration: story duration (the time that the entire narrative arc—whether explicitly presented on-screen or not—is implied to have taken), plot duration (the time that the events explicitly shown on-screen are implied to have taken), and screen duration (the actual time that has elapsed to present the movie's plot, i.e., the movie's running time). (page 16)
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. (page 16)
Also known as staging. The overall look and feel of a movie—the sum of everything the audience sees, hears, and experiences while viewing it. (page 36)
is structured into arts that establish, develop, and resolve character conflict.
A cinematic structure in which content is selected and arranged in a cause-and-effect sequence of events occurring over time. (page 36)
A series of edited shots characterized by inherent unity of theme and purpose. (page 36
A complete unit of plot action incorporating one or more shots; the setting of that action. (page 36)
The subject of an artwork
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. (page 49)
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. (page 49)
critical flicker fusion
occurs when a single light flickers on and off which such speed that the individual pulses of the light fuse together to give the illusion of continuous light
The movie projector's tricking us into perceiving separate images as one continuous image rather than a series of jerky movements. Apparent motion is the result of such factors as the phi phenomenon and critical flicker fusion. (page 49)
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. (page 51)
a still image is shown onscreen for a period of time
An interest in or concern for the actual or real; a tendency to view or represent things as they really are
an interest or concern for the abstract, speculative, or fantastic( against or opposed to realism- fantasy)
A movie is verisimilar if..
it has the appearance of truth
Viewers identify with...... as filmmakers use....... to make meaning.
the lens; camera
the means of expression
the subject of a movie
usually present people, places, or processes in straightforward ways meant to entertain and instruct without unduly influencing audiences.
seek to educate viewers about common interests, rather than persuading them to accept particular ideas.
were originally called documentary films until the term evolved to refer to all nonfiction films.
systemically disseminate 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. (page 73)
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. (page 80)
The categorization of narrative films by form, content, or both. Examples of genres are musical, comedy, biography, Western, and so on. (page 84)
Direct cinema...... and.......
limits the use of narrators; allows the audience to observe events as they occur
3 major types of movies
narrative, experimental, and documentary
In film Noir the protagonist is usually an antihero who....
rarely pursues or achieves leadership status.
Film Noir has a distinct visual style that includes....., ........, and .........
deep shadows, nighttime exterior scenes, elements composed diagonally in the frame
Gangster films are characterized by ............, and.............
exploring he American dream; an antihero
Horror films are often characterized by:
a protagonist who saves a community that rejects her.
3 basic types of animation
hand-drawn, stop-motion, and digital
Hybrid films illustrate
the flexibility of film form by blurring boundaries of film categorization.
The act of telling the story of the film
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
1st person narration
narrated by someone in the movie
3rd person narration
Narration delivered from outside of the diegesis by a narrator who is not a character in the movie. (page 125)
Camera technique used to show a moment of realization
zoom/dolly in on the face
fade out/fade in
Lumiere Brothers...,George Meiles
What is a formal analysis?
analyzing the form
analyze how the communication takes place
Who created Serial Photography?
Where was The Arrival of a Train created?
Who directed The Birth of a Nation?
Smallest part of a movie?
Children of Men
1st film of the Western Genre
The Great Train Robbery
must leave civilization he rescues
Stage after revisionist..
Laws restricting movies in U.S. between 1928-1968
Hays Production Code
Carrier of the action
Opposer of the action
The primary character in any film...
Classical Paradigm was created by...
the anxiety brought by a partial uncertainty
The transformation a character undergoes as result of the action.
---------- are complex three dimensional, possessing several traits, sometimes even contradictory ones.
Master and Commander
camera angles sets up hierarchy
distortion of time, stretching time
It Happened One Night
Screwball Comedy, broke Hays Production Code
Western Movies (evolution of the genre)
Classic: Red River
Introspective/Revisionist: High Noon
Parody: Blazing Saddles
Return to Classic: Open Range
Unlike_________ order, which flows chronologically,_________ order can be manipulated so that the events are presented nonchronilogically.
The total world of a film's______ is called its______.
Screen Duration is the amount of time a shot is onscreen.
Which of the following is NOT an example of a nondiegtic element.
-voice over narration
Type of access offered by omniscient narration
Evolution of a Genre
often the genre fades
back to classic
also called formalism
*Artistic expression is the goal
lots of camera movement
obvious, quick edits
content/subject is most important
invisibility is key
creates an illusion of reality
Inciting Incident-rising action, climax, falling action, resolution
the length of time
the amount of time that the implied story takes to occur
the elapsed time of those events within the story that the film explicitly presents (the elapsed time of the plot)
the movie's running time on screen
the act of telling the story
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