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
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CHAPTER 1: FILM AS ART: CREATIVITY, TECHNOLOGY, AND BUSINESS
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CHAPTER 1: FILM AS ART: CREATIVITY, TECHNOLOGY, AND BUSINESS
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Q
art
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serious and worthy
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entertainment
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superficial
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art vs. business
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some consider film as art, and some consider film as business
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form
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the overall, unified shape of the parts of the film
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style
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the way a film uses the techniques of filmmaking
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manipulation of style and form
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create viewer engagement
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two processes in cinematic motion
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critical flicker fusion and apparent motion
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critical flicker fusion
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each frame is projected on the screen twice
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apparent motion
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out eyes are fooled into seeing movement
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film strip
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called a negative
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making the movie
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- scriptwriting and funding
- preparation
- shooting
- assembly
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- scriptwriting and funding
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the script is developed and funding is acquired
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- preparation for filming
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planning the production
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- shooting
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the actual film is made
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- assembly
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images and sounds are combined; music, dialogue, special effects, and titles are added
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large-scale production
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prior to 1960s, large studios centrally managed film production
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exploitation, independent, DIY Production
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usually lower-budget films where directors often have more control over production
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small-scale production
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where one person or a small group creates the entire film
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distribution
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releases the films to the theaters, dictates rental terms, and collects rental fees
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nontheatrical
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includes videos, cable, satellite, streaming, and other screenings such as film festivals
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theatrical
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involves the public paying admission
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ancillary markets
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airline release, pay-per-view, cable, network broadcasts, DVD release, and online streaming
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Q
CHAPTER 2: THE SIGNIFICANCE OF FILM FORM
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CHAPTER 2: THE SIGNIFICANCE OF FILM FORM
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form created
from patterns, which construct an overall set of relationships among a films' parts
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form vs. content
form can be content
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builds viewers assumptions
shock, surprise, satisfaction, and suspense
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conventions
based on the viewer's prior experience
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artwork
can create new expectations and conventions
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form and feeling
emotions within the artwork and emotional responses from the viewer can interact
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referential
meanings within a film that rely on familiarity with significant places or things
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explicit
meanings that are openly asserted
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implicit
an implied or interpreted meaning
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symtomatic
an abstract, general meaning that depends on social ideology
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evaluation
realism, morality, coherence, intensity, complexity, and originality
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principles of film form
a unified set of related, interdependent elements that create relationships between the parts
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function
fulfilling role(s) within the whole system
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motif
a significant element that is repeated in a film
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patterns of motif
create expectation
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parallelism
strong similarities and repetition create these
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difference and variation
changes and variations of elements can create variety, contrast, and change
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development
a progression moving from beginning to middle to end
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unity and disunity
how relationships among elements come together or do not
| creates broad patterns and thematic meanings
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CHAPTER 3: NARRATIVE FORM
CHAPTER 3: NARRATIVE FORM
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narrative form
tells a story
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narrative construction
relies on the viewer to pick up cues, anticipate action, and recall information
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narrative
a chain of events in cause-effect relationship, occurring in time and space
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story
the chronological events in a narrative both explicitly presented and inferred
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diegesis
elements that are assumed to exist in a film's world
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plot
includes everything visibly and audibly presented, including nondiegetic elements, but not what is presumed or inferred
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cause and effect
usually triggered by characters, but could be events or circumstances
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casual motivation
can create mystery, suspense, or other reactions
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time
shapes our understanding of narrative
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temporal orders
refer to the order of story events
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story time
constructed on the basis of what the plot presents, events though that might not be in chronological order
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temporal duration
the period of time referred to in the film
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plot duration
includes the stretches of time depicted in the film
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screen duration
the length of the film
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temporal frequency
the number of times an element is presented
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story space
where the story takes place
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space
also include inferred or imagined space
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screen space
the visible space within the frame
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exposition
the part of the plot that lays out important story events and character traits; usually presented in the opening
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patterns of development
can be motivated by time and space or by the characters, such as in a change in knowledge
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climaxes
resolve casual issues by bringing the development to a high point, often involving tension or suspense
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anticlimatic
the endings remain relatively open
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narration
the way in which a film's plot distributes story information, often to achieve certain effects
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two important elements in narration
range and depth of presented information
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range
refers to how much information the viewer is given
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restricted
viewer's knowledge is restricted to that of a main character
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unrestricted
when viewer's know more and hear more than any of the characters know
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depth
refers to how deeply the plot plunges the viewer into the character's psychological states
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perceptual subjectivity in north by northwest
roger thornhill looks in van damm's window
an optical POC shot follows
this is followed by another shot of Roger looking
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character
who supposed to be telling the viewer the story
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a character can be
objective or subjective, internal or external to the story
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moments of unrestricted narration
build suspense and create surprise
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The Road Warrior
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
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Citizen Kane
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
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segmentation
allows for analyses of the major divisions of the plot as well as causality and story time
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CHAPTER 4: THE SHOT: MISE-EN-SCENE
CHAPTER 4: THE SHOT: MISE-EN-SCENE
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mise-en-scene
elements that appear in the frame that the director has control over, whether they are planned or not
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the power of mise-en-scene
notions of realism vary across cultures, over time, and among individuals
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evaluation should involve
function, motivation, and the element's relation to the rest of the film
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George Melies
built one of the first film studios: this allowed him total control over every element in the frame
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design
can shape how we understand story action
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choices
can involve color, existing or constructed locales, use of props, and overall size
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components of mise-en-scene: costume and makeup
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
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components of mise-en-scene: lighting
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
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movement and performance
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
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screen space
screen space refers to the overall composition of the shot. this can guide the viewer's attention and create meaning
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scene space
refers to the depth and volume of the depicted space. it is especially affected by movement
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time
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
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narrative functions in Our Hospitality
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
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CHAPTER 5: THE SHOT: CINEMATOGRAPHY
CHAPTER 5: THE SHOT: CINEMATOGRAPHY
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cinematography
the director controls what is filmed and how it is filmed
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cinematography qualities
photographic aspects of the shot, the framing of the shot, and the duration of the shot
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tonalities
determined by how light registers on the film itself
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contrast
is affected by film stock, lighting, filters, and developing procedures
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exposure
can manipulate color and contrast, as well as achieve special effects
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slow motion
may mean a dream or fantasy, convey power, or express a lyrical quality
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fast motion
an attention-grabber
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digital postproduction
allows for smooth and easy motion change
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perspective
lenses change scale and depth depending on focal length
| they can distort images, flatten space, and exaggerate depth
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zoom lenses
manipulate focal length and transform perspective in one shoot
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focal length
affects depth of field
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depth of field
effects are common in digital video
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selective focus + racking focus
can direct the audience's attention
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special effects
combining two planes of action in one shot can be achieved through superimposition, process shots, and matte work
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frame dimensions and shape
defines the image and creates a vantage point, directing the viewer's attention
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widescreen formats
have been achieved through masking and anamorphic process
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onscreen and offscreen space
there are six zones of offscreen space, the four edges of the frame, the space behind and in front of the screen
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by using unseen spaces
the director can achieve, surprise, suspense, and other effects
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the mobile frame
panning, tilting, tracking, and craning increase information about the space and objects shown
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functions of frame mobility
mobile frame and space and mobile frame and time and patterns of movements can become motifs
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mobile frame and space
can be used to direct the viewer's attention and create different conceptions of space
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mobile frame and time
a moving camera uses more time, and this creates expectation
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duration of the image: the long take
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
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CHAPTER 6: THE RELATION OF SHOT TO SHOT: EDITING
CHAPTER 6: THE RELATION OF SHOT TO SHOT: EDITING
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editing
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
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graphic relations between shot A and shot B
has to do with the pictorial and cinematographic qualities of the shots
can involve matching and contrasting these qualities
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rhythmic relations between shot A and shot B
varying lengths of shots can create a rhythm and set a pace
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spatial relations between shot A and shot B
involves establishing or constructing space
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Kuleshov effect
a series of shots without an establishing shot, but prompts the viewer to infer a spatial whole
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temporal relations between shot A and shot B
editing can cue the viewer to construct story time
| editing can condense time through elliptical editing or expand time through overlapping editing
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continuity editing
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
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spatial continuity: the 180-degree system
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
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crossing the axis of action
occasionally filmmakers will cross the axis of action in a symmetrical setting, or on the line itself and use it as a transition
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crosscutting
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
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temporal continuity: order, frequency, and duration
classical editing typically shoes events only once and unfolds the narrative chronologically
time is seldom expanded, but it is frequently elded
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alternatives to continuity editing
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
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spatial and temporal discontinuity
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
