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Film 1001 > Chapter 1: Film as Art: Creativity, Technology, and Business > Flashcards

Chapter 1: Film as Art: Creativity, Technology, and Business Flashcards

Chapter 2: The Significance of Film Form Chapter 3: Narrative Form Chapter 4: The Shot: Mise-en-Scene Chapter 5: The Shot: Cinematography Chapter 6: The Relation of Shot to Shot: Editing

1
Q

CHAPTER 1: FILM AS ART: CREATIVITY, TECHNOLOGY, AND BUSINESS

A

CHAPTER 1: FILM AS ART: CREATIVITY, TECHNOLOGY, AND BUSINESS

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2
Q

art

A

serious and worthy

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3
Q

entertainment

A

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

the overall, unified shape of the parts of the film

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6
Q

style

A

the way a film uses the techniques of filmmaking

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7
Q

manipulation of style and form

A

create viewer engagement

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8
Q

two processes in cinematic motion

A

critical flicker fusion and apparent motion

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9
Q

critical flicker fusion

A

each frame is projected on the screen twice

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10
Q

apparent motion

A

out eyes are fooled into seeing movement

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11
Q

film strip

A

called a negative

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12
Q

making the movie

A
  1. scriptwriting and funding
  2. preparation
  3. shooting
  4. assembly
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13
Q
  1. scriptwriting and funding
A

the script is developed and funding is acquired

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14
Q
  1. preparation for filming
A

planning the production

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15
Q
  1. shooting
A

the actual film is made

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16
Q
  1. assembly
A

images and sounds are combined; music, dialogue, special effects, and titles are added

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17
Q

large-scale production

A

prior to 1960s, large studios centrally managed film production

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18
Q

exploitation, independent, DIY Production

A

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

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19
Q

small-scale production

A

where one person or a small group creates the entire film

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20
Q

distribution

A

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

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21
Q

nontheatrical

A

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

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22
Q

theatrical

A

involves the public paying admission

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23
Q

ancillary markets

A

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

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24
Q

CHAPTER 2: THE SIGNIFICANCE OF FILM FORM

A

CHAPTER 2: THE SIGNIFICANCE OF FILM FORM

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25
Q

form created

A

from patterns, which construct an overall set of relationships among a films’ parts

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26
Q

form vs. content

A

form can be content

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27
Q

builds viewers assumptions

A

shock, surprise, satisfaction, and suspense

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28
Q

conventions

A

based on the viewer’s prior experience

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29
Q

artwork

A

can create new expectations and conventions

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30
Q

form and feeling

A

emotions within the artwork and emotional responses from the viewer can interact

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31
Q

referential

A

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

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32
Q

explicit

A

meanings that are openly asserted

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33
Q

implicit

A

an implied or interpreted meaning

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34
Q

symtomatic

A

an abstract, general meaning that depends on social ideology

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35
Q

evaluation

A

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

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36
Q

principles of film form

A

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

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37
Q

function

A

fulfilling role(s) within the whole system

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38
Q

motif

A

a significant element that is repeated in a film

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39
Q

patterns of motif

A

create expectation

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40
Q

parallelism

A

strong similarities and repetition create these

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41
Q

difference and variation

A

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

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42
Q

development

A

a progression moving from beginning to middle to end

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43
Q

unity and disunity

A

how relationships among elements come together or do not

creates broad patterns and thematic meanings

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44
Q

CHAPTER 3: NARRATIVE FORM

A

CHAPTER 3: NARRATIVE FORM

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45
Q

narrative form

A

tells a story

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46
Q

narrative construction

A

relies on the viewer to pick up cues, anticipate action, and recall information

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47
Q

narrative

A

a chain of events in cause-effect relationship, occurring in time and space

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48
Q

story

A

the chronological events in a narrative both explicitly presented and inferred

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49
Q

diegesis

A

elements that are assumed to exist in a film’s world

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50
Q

plot

A

includes everything visibly and audibly presented, including nondiegetic elements, but not what is presumed or inferred

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51
Q

cause and effect

A

usually triggered by characters, but could be events or circumstances

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52
Q

casual motivation

A

can create mystery, suspense, or other reactions

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53
Q

time

A

shapes our understanding of narrative

54
Q

temporal orders

A

refer to the order of story events

55
Q

story time

A

constructed on the basis of what the plot presents, events though that might not be in chronological order

56
Q

temporal duration

A

the period of time referred to in the film

57
Q

plot duration

A

includes the stretches of time depicted in the film

58
Q

screen duration

A

the length of the film

59
Q

temporal frequency

A

the number of times an element is presented

60
Q

story space

A

where the story takes place

61
Q

space

A

also include inferred or imagined space

62
Q

screen space

A

the visible space within the frame

63
Q

exposition

A

the part of the plot that lays out important story events and character traits; usually presented in the opening

64
Q

patterns of development

A

can be motivated by time and space or by the characters, such as in a change in knowledge

65
Q

climaxes

A

resolve casual issues by bringing the development to a high point, often involving tension or suspense

66
Q

anticlimatic

A

the endings remain relatively open

67
Q

narration

A

the way in which a film’s plot distributes story information, often to achieve certain effects

68
Q

two important elements in narration

A

range and depth of presented information

69
Q

range

A

refers to how much information the viewer is given

70
Q

restricted

A

viewer’s knowledge is restricted to that of a main character

71
Q

unrestricted

A

when viewer’s know more and hear more than any of the characters know

72
Q

depth

A

refers to how deeply the plot plunges the viewer into the character’s psychological states

73
Q

perceptual subjectivity in north by northwest

A

roger thornhill looks in van damm’s window
an optical POC shot follows
this is followed by another shot of Roger looking

74
Q

character

A

who supposed to be telling the viewer the story

75
Q

a character can be

A

objective or subjective, internal or external to the story

76
Q

moments of unrestricted narration

A

build suspense and create surprise

77
Q

The Road Warrior

A

max is the center of the plot’s causal chain and the viewer is largely restricted to Max’s range of knowledge
this is emphasized by use of point-of-view shots and mental subjectivity

78
Q

Citizen Kane

A

uses conventions of the newspaper, detective, and biography genres
the film focuses on psychological states and relationships
it both adheres to and departs from Classical Hollywood Cinema norms and rules

79
Q

segmentation

A

allows for analyses of the major divisions of the plot as well as causality and story time

80
Q

CHAPTER 4: THE SHOT: MISE-EN-SCENE

A

CHAPTER 4: THE SHOT: MISE-EN-SCENE

81
Q

mise-en-scene

A

elements that appear in the frame that the director has control over, whether they are planned or not

82
Q

the power of mise-en-scene

A

notions of realism vary across cultures, over time, and among individuals

83
Q

evaluation should involve

A

function, motivation, and the element’s relation to the rest of the film

84
Q

George Melies

A

built one of the first film studios: this allowed him total control over every element in the frame

85
Q

design

A

can shape how we understand story action

86
Q

choices

A

can involve color, existing or constructed locales, use of props, and overall size

87
Q

components of mise-en-scene: costume and makeup

A

can have specific functions in the causality of a film’s events
can be realistic or stylized
interacts with setting
digital technology also plays a role

88
Q

components of mise-en-scene: lighting

A

creates a composition and guides attention
creates shape and texture through highlights and shadows
features include its quality, direction, source, and color
computers aid filmmakers in creating lighting schemes in films with simulated figures and settings

89
Q

movement and performance

A

involves the placement and movement of figures, as well as the actors’ performance
an actor’s performance is individualistic; it can be realistic, or highly stylized
motion and performance capture allow for realistic CGI characters

90
Q

screen space

A

screen space refers to the overall composition of the shot. this can guide the viewer’s attention and create meaning

91
Q

scene space

A

refers to the depth and volume of the depicted space. it is especially affected by movement

92
Q

time

A

involves the speed and direction of movement within a shot
our eyes are drawn to movement, and so it guides our attention
frontality can also guide attention

93
Q

narrative functions in Our Hospitality

A

settings divide the film into scenes and create contrast between them
settings have important narrative functions
costumes highlight plot points and differences between characters
lighting has both general and specific functions

94
Q

CHAPTER 5: THE SHOT: CINEMATOGRAPHY

A

CHAPTER 5: THE SHOT: CINEMATOGRAPHY

95
Q

cinematography

A

the director controls what is filmed and how it is filmed

96
Q

cinematography qualities

A

photographic aspects of the shot, the framing of the shot, and the duration of the shot

97
Q

tonalities

A

determined by how light registers on the film itself

98
Q

contrast

A

is affected by film stock, lighting, filters, and developing procedures

99
Q

exposure

A

can manipulate color and contrast, as well as achieve special effects

100
Q

slow motion

A

may mean a dream or fantasy, convey power, or express a lyrical quality

101
Q

fast motion

A

an attention-grabber

102
Q

digital postproduction

A

allows for smooth and easy motion change

103
Q

perspective

A

lenses change scale and depth depending on focal length

they can distort images, flatten space, and exaggerate depth

104
Q

zoom lenses

A

manipulate focal length and transform perspective in one shoot

105
Q

focal length

A

affects depth of field

106
Q

depth of field

A

effects are common in digital video

107
Q

selective focus + racking focus

A

can direct the audience’s attention

108
Q

special effects

A

combining two planes of action in one shot can be achieved through superimposition, process shots, and matte work

109
Q

frame dimensions and shape

A

defines the image and creates a vantage point, directing the viewer’s attention

110
Q

widescreen formats

A

have been achieved through masking and anamorphic process

111
Q

onscreen and offscreen space

A

there are six zones of offscreen space, the four edges of the frame, the space behind and in front of the screen

112
Q

by using unseen spaces

A

the director can achieve, surprise, suspense, and other effects

113
Q

the mobile frame

A

panning, tilting, tracking, and craning increase information about the space and objects shown

114
Q

functions of frame mobility

A

mobile frame and space and mobile frame and time and patterns of movements can become motifs

115
Q

mobile frame and space

A

can be used to direct the viewer’s attention and create different conceptions of space

116
Q

mobile frame and time

A

a moving camera uses more time, and this creates expectation

117
Q

duration of the image: the long take

A

does not condense time
can create parallels and contrasts between scenes and can have its own development of beginning, middle, and end
can present a complex pattern of events moving toward a goal

118
Q

CHAPTER 6: THE RELATION OF SHOT TO SHOT: EDITING

A

CHAPTER 6: THE RELATION OF SHOT TO SHOT: EDITING

119
Q

editing

A

the coordination of one shot with the next.

the duration of the shot and the way it joins to the next shot can affect the viewer’s reaction

120
Q

graphic relations between shot A and shot B

A

has to do with the pictorial and cinematographic qualities of the shots
can involve matching and contrasting these qualities

121
Q

rhythmic relations between shot A and shot B

A

varying lengths of shots can create a rhythm and set a pace

122
Q

spatial relations between shot A and shot B

A

involves establishing or constructing space

123
Q

Kuleshov effect

A

a series of shots without an establishing shot, but prompts the viewer to infer a spatial whole

124
Q

temporal relations between shot A and shot B

A

editing can cue the viewer to construct story time

editing can condense time through elliptical editing or expand time through overlapping editing

125
Q

continuity editing

A

a system of editing that allows space, time, and action to flow smoothly over a series of shots
the rhythm is dependent on camera distance of the shot

126
Q

spatial continuity: the 180-degree system

A

a scene is constructed over an axis of action, or 180-degree line
the filmmaker plans all the shots so that the camera doesn’t cross the line
this ensures consistency in positions of objects in the frame, eyelines, and screen direction

127
Q

crossing the axis of action

A

occasionally filmmakers will cross the axis of action in a symmetrical setting, or on the line itself and use it as a transition

128
Q

crosscutting

A

editing can create omniscience for the viewer
alternates shots from one line of action with shots of other events in other places
draws the viewer in, builds suspense, and can create parallels

129
Q

temporal continuity: order, frequency, and duration

A

classical editing typically shoes events only once and unfolds the narrative chronologically
time is seldom expanded, but it is frequently elded

130
Q

alternatives to continuity editing

A

abstract and associational form often joins shots together based on the graphic and rhythmic qualities instead of narrative function
occasionally narrative films will also do this

131
Q

spatial and temporal discontinuity

A

using space ambiguously, inserting jump cuts and violating or ignoring the 180-degree system can jar and disorient the viewer
nondigetic inserts can add symbolism or create a metaphor
these techniques can interfere with narrative clarity
shuffling the order of story events or using time ambiguously can block viewer expectations
can force the viewer to focus on piecing together the film’s narrative

Film 1001 (3 decks)

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