Cin101 exam terms

Question 1

What is a long take?

Answer 1

i) Extended shot that lasts for an unusually prolonged duration without any visible cuts or edits.
ii) These shots are often technically challenging and require precise choreography, as they capture a continuous sequence of events without interruption.
iii) Directors commonly employ long-takes to create a sense of realism, immersion, and to emphasize the temporal unfolding of a scene.

Question 2

Define

Long shot

Answer 2

shows characters as small objects.

Question 3

define

Establishing shot

Answer 3

• often a long shot but the first in a scene. Usually sets up and/or begins the scene.
• Provides an overview of the scene

Question 4

define

context

Answer 4

There are two kinds of contexts:

a) Period: a particular span of time.

b) Historical context: observing a work and considering major events, cultural norms, expectations of that time when the piece was made which differs from the current culture.

Question 5

define

Genre

Answer 5

i) Genre in the context of media refers to categorizing works based on shared thematic elements, narrative structures, or stylistic conventions.

ii) It serves as a classification system that helps audiences and creators alike to understand and identify the content they are engaging with. Film genres, for instance, include categories like drama, comedy, horror, science fiction, and more, each characterized by distinct storytelling approaches and themes.

iii) films that share the same thematic and stylistic features which later become known as conventions. These conventions establish constraints, opportunities that the individual film explores.

Question 6

define

Medium Long shot

Answer 6

• To isolate one or more figures.
• Usually from ankles or knees up

Question 7

define

medium shot

Answer 7

i) A medium-shot in cinematography frames a subject from the waist up, providing a view that falls between a close-up and a long-shot.

ii) This shot is commonly used in filmmaking to capture characters’ expressions, interactions, and body language while still offering a sufficient view of their surroundings.

iii) The medium shot is versatile and allows filmmakers to convey a sense of intimacy while providing contextual information.

Question 8

define

Medium close shot

Answer 8

Shows characters from mid-waist up.

Question 9

define

close up shot

Answer 9

when the screen is filled with the object of importance.

Question 10

define

Continuity editing

Answer 10

i) Continuity editing is a film editing technique aimed at creating a seamless and coherent flow of narrative.

ii) It involves the use of editing cuts and transitions to maintain a consistent visual and narrative logic across different shots.

iii) By adhering to continuity editing principles, filmmakers ensure that the viewer can follow the story without being distracted by jarring or confusing edits.

Question 11

define

Diegetic Sounds

Answer 11

i) Any sound that originates within the world of the story. These sounds are part of the narrative and are heard by both the characters and the audience.

ii) Examples include dialogue, footsteps, or the sounds of objects within the scene.

iii) Diegetic sound contrasts with non-diegetic sound, which is added in post-production and is not perceived by the characters.

b) Extra diegetic sound: narration, film score

Question 12

define

Subjective sound

Answer 12

Sounds as a character would hear it, not the audience

Question 13

define

Contrapuntal music

Answer 13

2+ independent melodic lines.

Question 14

define

Sound/Image Counterpoint

Answer 14

When sound and image stay independent of each other. The sound may compliment the image, but doesn’t duplicate it.

Question 15

define

Logocentrism

Answer 15

i) All forms of thought are based on external reference points.

ii) Words and language are regarded as expressions of external reality.

iii) This term can be used to describe everything around us.

Question 16

define

Aesthetic seriousness

Answer 16

i) Aesthetic seriousness pertains to the level of depth, thoughtfulness, and artistic intentionality embedded in a creative work.

ii) It suggests a commitment to exploring and conveying meaningful themes, emotions, or ideas rather than merely superficial or decorative elements.

iii) Works with aesthetic seriousness often demonstrate a deliberate and thoughtful engagement with their chosen medium, striving for impact beyond mere visual or sensory stimulation.

Question 17

define

Aesthetic Autonomy:

Answer 17

denotes an approach to art that insists on the art’s independence from social and political concerns.

Question 18

define

Ideology

Answer 18

i) Ideology refers to a system of beliefs, values, or ideas that shape and influence an individual’s or a group’s perspective on the world.

ii) In the context of media, including film, ideologies can be embedded in narratives, characters, and themes, reflecting societal norms, cultural attitudes, or political viewpoints.

iii) Filmmakers may consciously or unconsciously infuse their work with ideologies, contributing to the broader cultural discourse.

b) internalized image of one’s place with in all the social dynamics

c) There are also two kinds of ideology

i) Dominant Ideology: only one view of the world will prevail at a time.
ii) Alternative Ideology: these ideologies resist, challenge or subvert the dominant ideology.

Question 19

Name the two types of ideology and define them

Answer 19

i) Dominant Ideology: only one view of the world will prevail at a time.

ii) Alternative Ideology: these ideologies resist, challenge or subvert the dominant ideology.

Question 20

define

Outer Form:

Answer 20

The iconic objects and/or relations that identify a film’s belonging within a genre.

Question 21

define

Inner form

Answer 21

refers to the unique way in which those iconic objects are assembled so as to indicate variation (the single film) with sameness.

Question 22

define

The political

Answer 22

a representational order that imagines what goes missing in the social. The political is the ground of the social.

Question 23

define

The social

Answer 23

lived ways of being, doing, and saying in a culture as they currently exist

Question 24

define

Homogeneous time

Answer 24

Homogeneous time (a concept often associated with philosopher Walter Benjamin) refers to the linear and homogeneous experience of time characteristic of modernity.

ii) In this context, time is perceived as continuous, measurable, and uniform, with events unfolding in a standardized manner.

iii) The notion contrasts with more fluid, heterogeneous experiences of time found in pre-modern or non-Western cultural contexts.

b) Also means one timeline, revolving around one point as a “timeframe” of reference

Question 25

define

Heterogeneous time

Answer 25

i) Heterogeneous time stands in contrast to homogeneous time and suggests a more diverse, non-linear, or varied experience of temporality.

ii) It encompasses the idea that time can be shaped by different cultural, historical, or individual perspectives, leading to a multiplicity of temporal experiences.

iii) Heterogeneous time recognizes the complexity and diversity of temporalities beyond the standardized and linear model.

b) Example: thinking of future event in the present

c) Also means multiple timelines, non-restrictive, and can travel space.

Question 26

define

Contingency

Answer 26

i) Contingency refers to the** quality of being dependent on certain conditions or events**.

ii) In various contexts, including philosophy and film theory, it underscores the idea that outcomes are not predetermined but contingent on specific circumstances.

iii) Understanding contingency in filmmaking acknowledges the unpredictable nature of creative processes, narratives, and the impact of external factors on the final product.

b) When something may occur but is not guaranteed to occur

Question 27

define

medium specificity

Answer 27

i) Medium specificity refers to the unique attributes and characteristics inherent to a particular artistic medium, such as film.

ii) It recognizes that the qualities of a medium, including its visual and auditory elements, contribute to shaping the artistic expression and impact of a work.

iii) Filmmakers often manipulate the specific features of the film medium to convey their artistic vision.

b) Describes what’s unique about a certain artistic medium.

c) What separates one artistic medium from another.

Question 28

define

Intermediallity

Answer 28

i) Intermediality involves the interaction and convergence of different media forms within a single work or across multiple works.

ii) In film, it could refer to the incorporation of elements from other media, such as literature, painting, or music, creating a complex and multi-layered narrative experience.

iii) It highlights the interconnectedness of various artistic forms.

b) This term refers to linking 2 mediums together.

Question 29

define

Intertextuallity

Answer 29

A relationship between two works (like an allusion) that changes the way we think about that other work

Question 30

define

Match Editing

Answer 30

i) Match editing is a film editing technique where the composition, movement, or subject matter of two consecutive shots are visually connected, creating a smooth and coherent transition.

ii) It aims to maintain continuity and visual cohesion between shots, enhancing the flow of the narrative. Types of match editing include match cuts and match dissolves.

b) Used typically for action sequences.

Question 31

define

Mise-en-scene

Answer 31

i) Mise-en-scene encompasses all the visual elements within a frame in filmmaking. It includes the arrangement of actors, lighting, set design, costume, and props to create a visually compelling and thematically relevant composition.

ii) Mise-en-scene contributes to the overall aesthetic and storytelling of a film, influencing the viewer’s perception and emotional engagement.

b) Typically created by an author

c) Simplified definition: the arraignment of what appears in front of the camera

Question 32

define

Metteur-en-scene

Answer 32

Coined by Francios Truffant and Andre Bazin. It defines a director setting their scene with technical competence instead of adding their own style. They will later add their style and visions to the film.

a) Means scene setter.

Question 33

define

Auteur Theory
List the three parts to this theory

Answer 33

Created by Andrew Sarris, who was a critique and philosopher for cinema. There are three parts to this theory:

a) If one is an auteur, “there is a technical competence of the director as a criterion of value”.

b) “Indistinguishable personality of the director as a criterion of value”. The director must exhibit style, which serves as their signature.

c) “Interior meaning” is extrapolated from tension between the director personality and their material.

Question 34

define

Juxtaposition

Answer 34

i) Juxtaposition is the intentional arrangement of two or more elements (characters, scenes, ideas) side by side to emphasize their disparate features or achieve a particular effect.

ii) It is a narrative and visual device used to highlight thematic contrasts, highlight differences, or arouse specific feelings in the viewer.

iii) A single shot, a series of shots, or even two different scenes can all feature juxtaposition.

iv) This method is frequently employed by filmmakers to improve narrative, provide visual intrigue, and generate emotional or thought-provoking reactions from viewers.

Question 35

define

Signifiers

Answer 35

What is materially & physically presented to the audience

Question 36

define

Signified

Answer 36

The meaning the viewer gives to the signifier

Question 37

define

Sign

Answer 37

The relation between the signifier and the signified

Question 38

define

Style

Answer 38

The particular way a filmmaker organized cinematic signifiers

Question 39

define

The Gulliver Effect

Answer 39

A rapid shift from shot to shot, displaying different camera depth shots

Question 40

define

Screen Direction

Answer 40

Where the characters are looking

Question 41

define

Master shots

Answer 41

camera is positioned at a sufficient distance from the actor to cover all movements.

Question 42

define

Over the shoulder shots

Answer 42

the filming of 2 principle characters in relation to each other, as seen from over one’s shoulder.

Question 43

define

Shot-Reverse-Shot

Answer 43

When an over the shoulder shot crosses the 180° line/ breaks the 180° rule and the camera is now placed on the opposite of the line (typically the opposite shoulder).

Question 44

define

Tracking / Dolly Shots

Answer 44

when the camera is on a wheeled platform that rolls to a new location.

a) Some types of dolly short are tracking shots but not all tracking shots are dolly shots [apparently]

Question 45

define

Zoom shots

Answer 45

the shots travel space by changing focal length. However, unlike a tracking shot, the perspective changes. It does not conform as closely to human perception as a tracking shot. They can be more impressionistic.

a) Example: zoom in from bottom of lec hall to back row, compared to tracking where the camera would need to move up the stairs

Question 46

define

Steadicam

Answer 46

a harness used during tracking shots that absorb the jerkiness of human movement.
a) Example: Goodfellas: Henry taking wife through Copacabana (through kitchen)

Question 47

define

Relational

In terms of colour

Answer 47

Perception of colour depends on our previously established relation to it.

Question 48

define

Colour Stenciling

Answer 48

When artists colour over black and white film before technicolor became a thing. This technique was often messy and didn’t stay within outlines as characters were always moving.

Question 49

define

Allusion

Answer 49

indirect reference to another’s work
Ex) Eat, Drink, Man, Woman makes an allusion to the Steadicam shot in Goodfellas. It’s different b/c it shows power in a different tone/ in a different way.

Question 50

define

Fiction

Answer 50

something made up in literature or media

Question 51

define

Non-fiction

Answer 51

stories based off of real-life events

Question 52

define

Indexical Image

Answer 52

The visual and apparent copy of reality. The visual image resembles what it needs to represent.

Question 53

define

Style

Answer 53

The way a film is made and the techiques it uses.
(It’s said that early films had no style, and most early films were documentaries. Despite that, there was always some element of style in early films.)

Question 54

define

Hegemony

Answer 54

The process by which a given social system wins the voluntary consent of its members to accept their place within a hierarchical structure.

a) any equivalent relation in which members of a social are united by.

Question 55

define

Counter Cinema

Answer 55

film making practices that are concerned to resist the conventions of mainstream cinema as they are understood to do the work of producing an emotion thereby ideation of the status quo