CIN101 Quiz 2 Flashcards
Daniel Morgan
- the lure of the image
- Objective lessons
The Diving Bella and the butterfly (Le scaphander et le Papillion)
Julian Schnabel 2007
Lumieres film Arrival of a Train at La Ciotat
Auguste Louis Lumiere 1896 france
All About My Mother
Pedro Almodovar, Spain, 1999
What Time is it There?
Tsai Ming-liang, Taiwan, 2001
La Ciénaga
d. Lucrecia Martel, Argentina, 2001
Imagine an eye unruled by man-made laws of
perspective, an eye unprejudiced by compositional
logic, an eye which does not respond to the name of
everything but which knows each object encountered
in life through and adventure in perception. How many
colours are there in a field of grass to the crawling baby
unaware of “Green?” How many rainbows can light
create for the untutored eye?
Stan Brakhage, from Metaphors on Vision
Colour is Relational
- perception of colour depends on relation established between two or more colours
- no colour appears the same way in every situation
Natalie Kalmus, “Color Consciousness”
Kalmus was the Color
Supervisor for Technicolor
from 1934-1939
Colour as Mood: Warm and Cool Colours
(Natalie Kalmus)
- colours fall into two groups
- “warm” (red, orange, yellow)
- advancing colours
- excitement, activity, heat
- “cool” (green, blue, violet)
- retreating colours
- rest, ease, coolness - white
- youth, gaiety, informality - gray
- subtlety, refinement, charm - black
- strength, seriousness, dignity
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which knows each object encountered in life through and adventure in perception. How many colors are there in a field of grass to the crawling baby unaware of “Green?” How many rainbows can light create for the untutored eye?
Stan Brakhage, from Metaphors on Vision
Figure/Ground Relations
Relating to or denoting the perception of objects
as they appear to be separated from the background.
Colour Stenciling
An early colour process in which colour was stenciled onto black and white films.
Necessity
When something cannot but occur.
e.g. Gravity
Contingency
Something may occur, but it is not
guaranteed to occur
“Does it make sense to point to a colour in the iris of a Rembrandt eye and ask for the walls
of my room to be painted the same colour?”
Ludwig Wittgenstein, Remarks on Colour
“The cinema belongs to the shared genealogy of mechanical clock,
wireless telegraph, and railroad, that is, to the tendency toward the
technical denaturalization, homogenization, and the standardization of time.”
Bliss Cua Lim, “Two Modes of Temporal Critique”
Period
- particular span of time (ten weeks, one hour, one decade)
Historical context
- major events
- cultural norms and expectations that define a certain period
“The Roundness of clocks is convenient, but it naturally
misleads us about something clocks tell, because its hands
repossess their old positions every day and every night.
The reels on a projector, like the bulbs of an hourglass,
repeat something else: that as the past fills up, the future
thins; and that the end, already there against the axle,
when the time comes for its running, seems to pick up
speed.”
tanley Cavell, The World Viewed
Citation
- direct quotation
- insert
- reference to another work
Allusion
- indirect reference to another work, we
understand bc of visual similarity
Intertextuality
- relationship established between two works of art
- begins as citation or allusion
- what happens in one film affects the way we think about the other
Diegetic Sound
sound that appears to originate in the story world (traffic noise, dialogue)
Extradiegetic Sound
comments on the story world and belongs to the narration (voice-over narration, film score)
Subjective Sound
Sound rendered as a character hears it rather than as an objective auditor would hear it (point-of-audition v. point-of-view)
conceptual music
two or more independent melodic lines
sound image counterpoint
- sound and image remain independent of one another
- sound may compliment the image
- doe
sound image counterpoint
- sound and image remain independent of one another
- sound may compliment the image
- doe
