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ITF > 7-9 > Flashcards

7-9 Flashcards

1
Q

Ancillary Revenues

A

money made on a film plus the box office- incl licensing , merch , network, cable, dvd sales

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2
Q

Principle Photography

A

phrase of film production in which the scenes are shot

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3
Q

Print

A

developed film sent by distributor to exhibitor and meant to be screened on motion picture projector.

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4
Q

Positioning

A

Marketing term for work of generating and managing the discourse surrounding a film

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5
Q

Tagline

A

line used in marketing that communicates the message of the film for audiences

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6
Q

Test Screenings

A

prerelease film screening to gather reactions from sample audiences

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7
Q

Marketability

A

film’s potential as a commercial property independent of its quality

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8
Q

Playability

A

film’s creative quality independent of its commercial potential

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9
Q

Four-Walling

A

strategy of renting a theater for a day or so before moving the print to a new town

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10
Q

Cross-Promotion

A

use of partnerships with toy/fastfood/media companies to build visibilty of an event film

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11
Q

Aspect Ratio

A

ratio of frame width to height

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12
Q

Actualities

A

slice-of-life documentaries produced by the Lumiere brothers at end of 19th century

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13
Q

Propaganda Film

A

film that promotes political agenda

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14
Q

Direct Cinema

A

docu movement in US where camera acts as an objective/ disinterested observer, capturing events as they unfold

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15
Q

Anthropomorphize

A

to give human qualities to nonhuman creature or object

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16
Q

Cel

A

painting or drawing made on celluloid for use in animated film

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17
Q

Stop Motion

A

method of animation where 3d onjects are moved & photographed for each frame

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18
Q

Non-Narritive

A

structured by a focus on something other than story

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19
Q

Impressionism

A

avant-grade style that celebrated the poetry of moving images while resisting narrative forms and formulas

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20
Q

MPPC

A

first film industry cartel to monopolize the production and distribution of American movies

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21
Q

Production Code

A

regime of censorship introduced in 1930. strictly regulated on-screen images and narratives from 1930 -1968

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22
Q

Auteur

A

french film critics in 1950s argued that while films are the product of a collaborative process they nonetheless have a single author of auteur: director.

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23
Q

Race Films

A

films made by and for certain underserved ethnic groups 1920s and 30s

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24
Q

Poverty Row

A

handful of sm film companies specializing in B films headquarters in Gower Gulch, neighborhood in Hollywood

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25
Q

Exploitation Films

A

low-budget, ind films that appealed to filmgoers’ fascination w/ sinful behavior or interest in popculture fads.

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26
Q

Boutique Independents

A

so-called ind films made by subsidiaries of major studios. companies incl. miramax focus features and fox searchlight

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27
Q

Bollywood

A

films produced by the Hindi film industry that feature elaborate production numbers that are worked into a wide variety of genres.

28
Q

Date of Early Cinema

A

1895 and ends 1914

29
Q

Date of Silent Era

A

1914-1928

30
Q

Date of Classical Hollywood

A

1928-1947

31
Q

Date of Hollywood in Transition

A

1948-1968

32
Q

Date of Auteur Period

A

1968-1980

33
Q

Date of New Hollywood

A

1980-present

34
Q

What is a “tent pole” film

A

a tent pole film is when film franchises sequelized film properties celebrating action super-heroes/reinterpreting class tv show. they can ‘hang’ onto these for the rest of their films

35
Q

What are 2 main ways the I industry insiders use to measure successful relationship between financial inv and entertain values

A

“bang for the buck” and “the money is up there on the screen”

36
Q

What were 6 corporations dominating the entertainment landscape at end of 2011

A

Time Warner, Disney, News Corporation, Sony, Viacom, Comcast

37
Q

based on lewis’ description of Sugars production, what are some of the diff between how ind and maj studio films are made?

A

independent films didn’t have professional actors or the budget for music, sets but it also made the film more authentic and real. which allows for them to have more autonomy and creativity.

38
Q

how did “fordism” impact the production of film during the studio era?

A

it’s a contract system that secured movie industry workers to fixed-term exclusive contracts. this came from the assemnbly line of auto entrepreneur henry ford

39
Q

what’s the very first thing that the audience sees when a film is unspooled?

A

the corporate logo of the distributor

40
Q

whats the diff between a teaser and a story trailer

A

six months before film release to reveal little about the content and focus on genre and stars. the story is later on for a free sample designed for potential filmgoers to pay for the movie, and certain edited clips of the film to express the message.

41
Q

how does a saturation release strategy differ from a roadshow release

A

putting a film into as many theaters and onto as many screens as possible from very start of its nationwide films. roadshow is just one theater then later that week open just one more somewhere else, builfinh on essential glamour of hollywood and strivy number of screening venues for demand

42
Q

what do movie palaces, multiplexes, and art house theaters each offer to audience in regard to viewing exp

A

they each offer ways to watch the film in different ways some more intimate than others

43
Q

what are 2 things that film scholars focus on to distinguish documentary from narrative film

A

actualities, ethnography,propoganda, direct cinema. narritive tells a story that can be told with varrying degrees of authorial intervention and varying amounts of narration and commentary

44
Q

what did ethnographic and travelogue film offer to audiences during silent era

A

they offered filmgoers who vould scarcely dream of travel a look at places and cultures from far reaches of the globe.

45
Q

how did production of leni riefentahi’s triumpth of the will differ from american propaganda films?

A

they differed in content. She had more funding, and cameras to work with to where she could enhance the message she was trying to portray in the propoganda films.

46
Q

what techniques did direct cinema filmmakers utilize and what were they hoping to achieve?

A

the camera was used as an objective, disinterested observer, capturing events as they unfold

47
Q

what characterizes the new journalism style of documentary filmmaking

A

built on fundamental subjectivity the authors appear in films, and freely comment what they find and often stage the scenes esp confrontations and put people on the spot

47
Q

what is the unspoken implication at the end of frederick wiseman’s high school

A

that its horrifying in the way that “bodies doing a job” is what the school endeavors to make of their students

47
Q

according to lewis, what are two primary characteristics of documentary filmmaking

A

direct cinema, and subjective/first person

47
Q

what was the film that made mickey mouse a start and disney a household name

A

steamboat willie

47
Q

what was the key to success of warner bros animation

A

animators stayed true to gag-based, annimated, short-subject formula focusing on character-based slapstick comedies.

47
Q

how does surrealist film differ from most mainstream film

A

it called attention to act of seeing and movie artifice in a way mainstream filmmakers of the period consciously avoided.

47
Q

who was the most famous filmmaker to emerge out of the new american cinema group and what characterized his films

A

Cassvetts, he used his money and connections to finance experimental films instead of trying to get starstudded films. and focused on everyday life and realism

47
Q

how does chantal ackermans jeanne dielman/23/quai du commerece/1080 bruzi , embody structural cinema

A

because of its static framing, long takes, and merging feminist politics and anti-illusionist film making techniques.

48
Q

according to lewis who were the three most significant filmmakers to emerge in early cinema

A

Edwin S. Porter, D.W. Griffith, and Mack Sennett

49
Q

what was vertical and horizontal integration and why did it matter

A

is profit stakes in the development, production, postproduction, and exhibition of motion pictures.

50
Q

how was orson welles career diff than other directors of the classical era

A
51
Q

what yr was the movie ratings system introduced

A

1968

52
Q

according to lewis, who were the 3 most important auteurs of the 70s

A

francis ford coppola, robert altman, martin scorsese

53
Q

which genre becomes the “genre of choice” during the 80s

A

action-adventure

54
Q

what do many critics argue makes german expressionism so interesting from cultural and historical pov

A

the way it embody a sense of foreboding i. germany between the wars. that if viewed closely we can see figuratively hitler coming and observe collective desire among germans for someone or something to save nation from peril.

55
Q

for filmmakers during soviet formalism movement, what was the key to creating a revolutionary film language

A

editing

56
Q

what was the first important italian neorealism film

A

roberto rossellini’s rome, open city

57
Q

what film do many historians cite as the one that made the french new wave possible

A
58
Q

who was the director most responsible for establishing an internation reputation for postwar japanese film

A

la nouvelle vague

59
Q

how are american action sequences shot diff from hong kong style

A

more fragmentary, product of alt full-figure shots and close-ups

ITF (2 decks)

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