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FMS 100 > Chapter 1 > Flashcards

Chapter 1 Flashcards

1
Q

cinematic language

A

the accepted systems, methods, or conventions by which the movies communicate with the viewer

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2
Q

movie

A

motion pictures that are made to entertain masses at the multiplex. short for motion picture

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3
Q

film

A

motion picture that is considered by critics and scholars to be more serious or challenging than movies. derives from celluloid strip that are cut and projected

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4
Q

cinema

A

kenesis movement, named after the hall that auguste and luis lumiere showed off their invention

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5
Q

shot

A

on uninterrupted run of the camera. can be as short of long as the director wants, cannot exceed film stock of camera

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6
Q

editing

A

the process by which the editor combines and coordinates individual shots into a cinematic whole. basic creative force of cinem

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7
Q

cut

A

a direct change from one shot to another

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8
Q

close up

A

a shot that often shows a part of the body filling the frame

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9
Q

fade in/fade out

A

transitional devices in which a shot fades in from a black field on black and while firm or from a color field on a color film or fades out to a black field. used to show the passage of time btwn scenes

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10
Q

low angle shot

A

creates and interpretation of movie subjects seen from this angle as, depending on context, either strong, noble, or threatening

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11
Q

cutting on action

A

either technique designed to hide the instantaneous and potentially jarring shift from camera viewpoint to another. helps action flow continuously

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12
Q

cultural invisibility

A

trigger emotional responses in viewers, most occurs at unconscious emotional level, he viewer may be blind to the implied political or cultural messages

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13
Q

implicit meaning

A

lies below the surface of a movies story and presentation. is an inference or connection a viewer makes based on the explicit meaning

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14
Q

explicit meaning

A

found on the surface of the movie. ex: explaining the plot of a movie

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15
Q

viewer expectations

A

effected by previews, anticipation in press, we expect a basic plot line, conflict, protagonist

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16
Q

formal analysis

A

an analytical approach primarily concerned with film form, or the means by which a subject is expressed

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17
Q

theme (motif)

A

a shard, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or interest type

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18
Q

dollies in

A

the act of a camera moving slowly towards the subject, creating visual significance

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19
Q

duration

A

the quantity of time in a movie

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20
Q

point of view

A

the position from which a film presents the actions of the story

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21
Q

alternative forms of analysis

A

forms that search beneath the films meaning to express hidden cultural meanings and reference (comparative cultural analysis)

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22
Q

film form

A

sound, narrative, editing, shots, sequence, scences

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23
Q

form

A

the means by which that subject is expressed and experienced. supplies the methods and techniques necessary to present to the audience

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24
Q

content

A

the subject of an artwork. provides something to express

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25
Q

form and expectations

A

appeals made by the way the techniques used to create the movie and the arrangement of the movie

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26
Q

protagonist

A

main character

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27
Q

eyeliner match cut

A

based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at.

a transition between shots in which the first shot shows a person or animal looking at something offscreen and the following shot presumably shows what was being looked at from the approximate angle suggested by the previous shot

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28
Q

sequence

A

a series of shots unified by theme or purpose

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29
Q

scenes

A

complete units of plot action

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30
Q

content

A

the subject of an artwork

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31
Q

form

A

the means by which the subject is expressed and experienced

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32
Q

cinematic language

A

the tools and techniques that filmmakers use to convey meaning and mood to the viewer including lighting, mies-en-scene, cinematography, performance, editing, and sound

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33
Q

MacGuffin

A

an object, document, or secret within a story that is vitally important to the characters, and thus motives of their actions and the conflict, but that turns out to be less significant to the overall narrative than we might at first expect

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34
Q

Mise-en-Scene

A

All the elements placed in front of the camera to be photographed: the setting and props, lighting, costumes and make-up, and figure behavior

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35
Q

patterns

A

found in art forms, help us enjoy, analyze a film more. parallel editing a technique that makes different lines of action appear to be occurring simultaneously

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36
Q

Classical Hollywood cinema dates

A

1924-1947

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37
Q

German Expressionism

A

1919-1933

  • First to use mine-en-scene to effect the theme
  • Objectifies human subjective feelings
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38
Q

Additive color system

A
  • Hand coloring
  • Stenciling
  • Toning
  • Tinting
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39
Q

Types of Lighting

A
  • Natural
  • Three point
  • Silhouette
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40
Q

Three parts of three point lighting

A
  • Key
  • Back light
  • Fill light
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41
Q

High key

A

Soft lighting; lighting ratio is low

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42
Q

Low key

A

High contrast/hard lighting; lighting ratio is high

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43
Q

Editor’s responsibility

A
  1. Overall rhythm of film
  2. Temporal relationship between shots
  3. Spatial relationship between shots
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44
Q

Montage

A

the creation of a sense or meaning not proper to the images themselves but derived exclusively from their juxtaposition

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45
Q

Continuity

A

Smooth perception; spatial and temporal logic

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46
Q

Discontinuity

A

Abrupt transitions between shots; shots, angles etc. don’t matter following montage

47
Q

3 major phases

A

Pre-production
Production
Post-production

48
Q

Movies transition to sound in…

First film=

A

1927

Jazz singer

49
Q

Sound =

A

(Vocal, environmental, music) + silences

50
Q

Ambience

A

Natural sound; background

51
Q

Sound effects

A

usually recorded; wild; separate from picture, added later

52
Q

Environmental sound

A

Ambience; sound effects; foley

53
Q

Vocal

A

Dialogue; narration; singing; laughing; talking

54
Q

Music

A

Add music or if character is playing music

55
Q

Foley

A

type of sound effect; recorded simultaneous with picture

56
Q

Sound production steps

A
  • Design
  • Recording
  • Editing
  • Mixing
57
Q

Diegetic

A

Sound that comes from a source within a film; both audience and characters can hear this

58
Q

Non-diegetic

A

Sound that comes from a source outside of the film; only the audience can hear this

59
Q

On-screen sound

A

we can see the source of the sound

60
Q

Off screen sound

A

we can’t see source of sound (can be diegetic or non diegetic)

61
Q

Internal sound

A

inside character’s mind

62
Q

External sound

A

we see the objects making the sound

63
Q

Sound bridge

A

connects two different shots; gives sense of continuity

64
Q

Narration

A

the act of telling a story/the way in which we deliver a narrative

65
Q

Narrator

A

who/what tells the story/delivers the narrative

66
Q

4 types of narration

A
  • First person
  • Third person
  • Omniscent
  • Restricted
67
Q

First-person narration

A

the character in the film’s world gives us the info

  • voice over
  • Direct address
  • Subjective camera
  • Subjective sound
68
Q

Third person Narration

A

an outside source (outside of the film’s world) gives us info
-camera as third person pov

69
Q

Omniscent narration

A

narrator has unrestricted access to every aspect of narrative

70
Q

Restricted narration

A

restricted to one character’s knowledge

71
Q

Round character

A

complex; complicated; change during course of film; various/contradictory traits

72
Q

Flat character

A

Does not change; simple/obvious/uncomplicated;

73
Q

Protagonist

A
  • the main character that pursues the goal(s)

- can have more than 1

74
Q

Antagonist

A

-person/force/creature that creates obstacles for main character

75
Q

Antihero

A

main character but goals are much different; don’t exactly have pure intentions

76
Q

Conventional narrative structure

A
  1. Set-up (Act 1)
    * Catalyst/Inciting Incident*
  2. Development of story/Main conflict (Act 2)
    * Climax*
  3. Resolution (Act 3)
77
Q

Plot

A
  • Explicit events presented on the screen

- Includes non diegetic elements (credits; music) from the moment the film begins to the moment it ends

78
Q

Story

A
  • Explicit events presented on screen

- Includes Implied events (back story)

79
Q

Movie time/plot duration

A

how long the stuff is going on in the world of the characters (ex. 1 week; 1 year; 16 years)

80
Q

Running time/screening duration

A

how long the actual film is (ex. 90 mins; 2.5 hours)

81
Q

Genre

A

categorization of narrative films based on their stories and the way the stories are told (content and form)

82
Q

Difference between genre and film movement

A
  • Conscious decision/intention behind film movement
  • Genre happens organically
  • Film movement is restricted to time
  • Genre is in response to social historical needs
83
Q

6 main genres

A

gangster, science fiction, horror, western, musical, film noir

84
Q

Film noir

A
  • Black/Dark film
  • 1944-1954
  • Similar to German Expressionism
  • Flashback/voiceover
  • Low-key; high contrast cinematography
  • Detective stories/crime based
  • Urban setting/night scene
  • Diagonal composition: disorganization and unstable situations
  • Tight setting: claustrophobic
  • Antihero: lone wolf
  • Femme fatale
85
Q

Femme Fatale

A

a woman who’s presence brings death

  • dangerous woman
  • puts the man in danger
86
Q

Western

A
  • Setting: wild west/western front (1880s/civil war)
  • Cowboy: white, civilized, heroic: saves civilization from Indians; Loner and independent in a good way
  • Conflicts: civilization vs wilderness; East vs West; Good vs Evil
  • Gund: an icon of our hero’s character
  • A sense of good, reliable masculinity
  • Lots of homecomings and departures
  • leave to save town and come home victorious
  • The big skies and wide-open spaces symbolize both limitless possibility and an untamable environment
87
Q

Fusion of genre

A

Borrow from multiple genres

88
Q

Deep focus

A

All of image is in focus

89
Q

Rack focus

A

foreground or background is in focus and we change from one to the other without cutting

90
Q

Zoom

A

camera does not move, the lens focuses in

91
Q

Tracking shot

A

Camera moves; character moves; camera follows character

92
Q

Dolly

A

Camera moves; character is still/static

93
Q

Chiaroscuro

A

a bold lighting style with a strong use of contrasts between light and dark, deep gradations and subtle variations

94
Q

Which of the following statements about realistic film is true? Check all that apply
A. It takes our known world as its starting point and challenges, expands, or subverts it
B. It offers naturalistic performances and believable characters, setting, and plots
C. It does not apply to superhero, sci-fi, or horror films
D. It confirms to our real-world experiences and expectations

A

b and d

95
Q

open frame

A

characters move around and through an open environment, recognizable to the audience

96
Q

Long take

A

a shot with a duration longer than average

97
Q

graphic match

A

joining of two images linked by similar shapes occupying the frame

98
Q

overlapping sound/sound bridge

A

two shots in which the sound of the first carries over into the second

99
Q

Usually how many images per second?

A

24

100
Q

Cutting on action

A

a way to make sure that the action flows continuously over the cut between different moving images

101
Q

shot

A

the product of the uninterrupted run of the camera

102
Q

sequences

A

a series of shots unified by theme or purpose

103
Q

scenes

A

complete units of plot action

104
Q

Fundamental principles of film form

A

movies depend on light; movies provide an illusion of movement; movies manipulate space and time in unique ways

105
Q

who coined realism

A

Lumieres; is an interest or concern for the actual or real, a tendency to represent things as they really are

106
Q

who coined antirealism

A

Melies; an interest interest in or concern for the abstract, speculative, or fantastic

107
Q

Verisimilitude

A

a convincing appearance of truth; can be realistic or antirealistic and still achieve verisimilitude; must convince you that the things on the screen (people, places, what have you no matter how fantastic or antirealistic) are really there

108
Q

Gangster

A
  • Deeply rooted in the concept of the American dream: anyone can succeed
  • Organized crime
  • Crime doesn’t pay
  • Rags-to-riches-to-distruction
109
Q

Science Fiction

A
  • Focus on humanity’s relationship with science and the technology it generates
  • Ex. Frankenstein
  • Setting: the future which is profoundly shaped by advances in technology
110
Q

Horror

A
  • Born out of the cultural need to confront and vicariously conquer something frightening that we do not fully comprehend
  • Starts with a normal world that will be threatened by the arrival of the other
  • Protagonist mis the only person who initially recognizes the threat
  • Often end with an open ending for one last scare / ensure the possibility of a sequel
  • Protagonist is often a loner; must save the community that rejects him/her
  • Setting: either normal world (usually a small town threatened by the invasion of the other. Protagonist is protecting his/her beloved home turf) OR remote, rural area that offers potential victims little hope for assistance
  • Depend on chiaroscuro lighting
111
Q

Musical

A

*Characters express themselves with song and/or dance

112
Q

Generic Transformation

A

a particular genre is adapted to meet the expectations of a changing society

113
Q

In every movie _____ is the primary narrator

A

the camera

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