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FTA 1001 > Chapter 1: Film as Art: Creativity, Technology, and Business and Chapter 2: The Significance of Film Form > Flashcards

Chapter 1: Film as Art: Creativity, Technology, and Business and Chapter 2: The Significance of Film Form Flashcards

1
Q

films

A

designed to affect viewers

a collaborative medium, created by corporations, filmmakers, and complex technology all working together

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2
Q

appreciation of films

A

increases with awareness and understanding of the filmmaking process

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3
Q

art vs. entertainment

A

art is serious and worthy, and entertainment is superficial

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4
Q

art vs. business

A

some consider film as art, and some consider film as business

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5
Q

form

A

consists of the overall, unified shape of the parts of the film

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6
Q

style

A

is the way a film uses techniques of filmmaking

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7
Q

two processes in cinematic motion

A

critical flicker fusion and apparent motion

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8
Q

critical flicker fusion

A

each frame is projected on the screen twice

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9
Q

apparent motion

A

our eyes are fooled into seeing movement

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10
Q

film strip

A

is called a negative

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11
Q

photographic film

A

strip has perforations, used to pull the film through a camera or projector at a steady rate

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12
Q

making the movie: film production

A
  1. scriptwriting and funding: the script is developed and funding is acquired
  2. preparation for filming: planning the production
  3. shooting: the actual film is made
  4. assembly: images and sounds are combined; music, dialogue, special effects, and titles are added
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13
Q

large-scale production

A

prior to 1960s, large studios centrally managed film production

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14
Q

exploitation, independent, DIY Production

A

usually lower-budget films where directors often have more control over production

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15
Q

small-scale production

A

where one person or a small group creates the entire film

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16
Q

distribution

A

releases the films to the theaters, dictates rental terms, and collects rental fees

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17
Q

theatrical

A

involves the public paying admission

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18
Q

nontheatrical

A

includes video, cable, satellite, streaming, and other screenings such as film festivals

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19
Q

ancillary markets

A

airline release, pay-per-view, cable, network broadcasts, DVD release, and online streaming

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20
Q

ACE

A

“After the name of the editor; abbreviation for the American Cinema Editors, a professional association.”

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21
Q

ASC

A

“After the name of the director of photography; abbreviation for the American Society of Cinematog-raphers, a professional association. The British equiv-alent is the BSC.”

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22
Q

additional photography

A

crew shooting footage apart from the principal photography, typically supervised by the director of photography

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23
Q

best boy

A

term from the classic studio years, originally applies to the gaffer’s assistant. today film credits may list both a best boy electric and a best boy grip, the assistant to the key grip

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24
Q

casting director

A

member who searched for an auditions performers for the film and suggests actors for leading roles (principal characters) and character parts (fairly standardized or stereotyped roles). she or he may also cast extras (background or nonspeaking roles)

25
Q

clapper boy

A

crew member who operates the clap-board that identifies each take

26
Q

concept artist

A

designer who creates illustrations of the settings and costumes that the director has in mind for the film

27
Q

dialogue editor

A

sound editor specializing in making sure recorded speech is audible

28
Q

digital colorist

A

in postproduction, the colorist works on a digital copy of the film, manipulating the color, light levels, and other pictorial aspects. the colorist creates a consistent look for all the shots in a scene, corrects mistakes made in shooting, and make shots more visually appealing

29
Q

digital imaging technician

A

a specialist who advises on the choice of camera and other digital equipment, calibrates monitors during shooting, downloads and checks image files, and ensures that the postproduction workflow proceeds smoothly

30
Q

dolly grip

A

crew member who pushed the dolly that carries the camera, either from one setup to another or during a take for moving camera shots

31
Q

foley artist

A

sound-effects specialist who creates sounds of movement by walking or by shifting materials across large trays of different substances (sand, earth, glass, for example). Named for Jack Foley, a pioneer in postproduction sound

32
Q

greenery man

A

crew member who chooses and maintains trees, shrubs, and grass in settings

33
Q

lead man

A

member of set crew responsible for tracking down various props and items of decor

34
Q

loader

A

on a production using film, this person inserts and unloads the camera magazines, keeps a log of shots taken, labels the cans of film, and sends them to the laboratory. a digital loader works alongside the digital imaging technician, putting the memory cards or drives in the camera, inventorying the contents of the recording media, and backing up the image files

35
Q

matte artist

A

member of special-effects unit who paints backdrops that are then photographically or digitally incorporated into a shot to indicate a setting

36
Q

model maker

A

(1) member of production design unit who prepares architectural models for sets to be built (2) member of the special-effects unit who fabricates scale models of locales, vehicles, or characters to be filmed or scanned a substitutes, for full-size ones

37
Q

property master

A

member of set crew who supervises the use of all props, or movable objects in the film

38
Q

publicist, unit publicist

A

member of producer’s crew who creates promotional material regarding the production. the publicist may arrange for press and television interviews with the director and cast and for coverage of the production in the mass media

39
Q

scenic artist

A

member of set crew responsible for painting surfaces of the set

40
Q

still photographer

A

member of crew who take photographs of scenes and behind-the-scenes shots of cast members and others. these photographs may be used to check lighting or set design or color, and some will be used in publicizing the film

41
Q

video assist

A

a device that records a camera take to allow immediate playback. this allows the director and cinematographer to check lighting, framing, or performances

42
Q

Chapter 2: The Significance of Film Form

A

Chapter 2: The Significance of Film Form

43
Q

form

A

can be created from patterns, which construct an overall set of relationships among a film’s parts

44
Q

form vs. content

A

form can be content

how a viewer relates to the patterns established by the filmmakers contributes to the content of the film

45
Q

formal expectations

A

by building expectation, form can deliver many reactions

shock, surprise, satisfaction, and suspense all build upon the viewers assumptions

46
Q

conventions

A

based on the viewer’s prior experience

47
Q

artwork

A

can create new expectations and conventions

48
Q

form and feeling

A

emotions within the artwork and emotional responses from the viewer can interact
this relationship can be complicated and affected by personal experience

49
Q

referential

A

meanings within a film that rely on familiarity with significant places or things

50
Q

explicit

A

meanings that are openly asserted

51
Q

implicit

A

an implied or interpreted meaning

52
Q

symptomatic

A

an abstract, general meaning that depends on social ideology

53
Q

criteria

A

realism, morality, coherence, intensity, complexity, and originality

54
Q

principles of film form

A

a unified set of related, interdependent elements that create relationships between the parts

55
Q

function

A

every element within a film can have one or more function, fulfilling role(s) within the whole system

56
Q

similarity and repetition

A

a significant element that is repeated in a film is a motif
patterns of motifs create expectation
strong similarities and repetition can create parallelism

57
Q

difference and variation

A

changes and variations of elements can create variety, contrast, and change

58
Q

development

A

a progression moving from beginning to middle to end

a segmentation can point out similarities, differences, and progression

59
Q

unity and disunity

A

how relationships among elements come together or do not

creates broad patterns and thematic meanings

FTA 1001 (1 decks)

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