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Film Appreciation > DRA 202 > Flashcards

DRA 202 Flashcards

1
Q

Ways to analyze movies

A

Interracial couple
Anti-Asian prejudice
The power of presentation

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2
Q

Understanding movies by understanding

A

The complex ways they relate to society

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3
Q

Critical lenses

A 
Narrative structure
Authorship
Genre
Series, prequels, sequels
Realism
Gender, race and class
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4
Q

Narrative

A

Way in which the story of events are organized

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5
Q

Feature films =

A

Narrative 1st

Everything else 2nd

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6
Q

Classical Hollywood style

A

Moving from one important event to another

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7
Q

Classical Hollywood narrative style

A

Plot should have clear forward direction, contributing to the resolution of goals

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8
Q

Private goals

A

Heterosexual romance

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9
Q

Public goals

A

Accomplishment of an important deed

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10
Q

Plots and subplots

A

Main - dramatic
Plot - comic
Subplots - romantic

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11
Q

Story

A

Events must be narrated in chronological order

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12
Q

Plot

A

The arrangement of those events as they’re told

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13
Q

Flashback (structure)

A

Creates plot w/ added suspense

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14
Q

Free motif

A

Aren’t essential to retelling or explaining the narrative

Can be removed from the film w/o changing the narrative structure

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15
Q

Name a free motif

A

Images of slaughtered animals

Typically give aesthetic complexity and thematic meaning to a film

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16
Q

Bound motifs

A

Cannot be removed from the narrative w/o changing the chronological essence of the story. It’s what’s necessary for telling the story

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17
Q

Delays

A

Sustain spectator interest, answering questions at different rates

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18
Q

Snares

A

Being mislead

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19
Q

Answers

A

Are answers

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20
Q

Flashbacks

A

Reveal the “truth”

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21
Q

Formal properties

A

Refer to the elements of the medium that shape what we see and hear when we watch a film

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22
Q

2 elements of a film

A

Visual

Aural

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23
Q

Visual images

A

How the story is told is inseparable from and as important as the story itself

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24
Q

Stylistic features

A

B/W
SLO-mo
Image and sound
Simultaneous split-screen

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25
Q

Visual style and narrative effect

A

The story and manner in which its told is inseparable

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26
Q

Common stylistic techniques

A
  • Invisible style
  • Shot/reverse-shot editing
  • Cutting on action/reaction
  • establishing shots
  • the 180-degree rule
  • comic use of space
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27
Q

Shot/reverse-shot editing

A

A pattern whereby 1st a shot shows one character and then there is a cut to a reverse shot that shows us a nearly opposite view.

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28
Q

Cutting on action/reaction

A
  • Action replaces dialogue

- Reaction replaces the responsive line dialogue

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29
Q

Establishing shots

A

AKA master shots

Extreme long shots that shows (or establishes) the entire space in which the ensuing scene will take place

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30
Q

The 180-degree rule

A

A filmmaking guideline for spatial relations between 2 characters on screen.

Sets an imaginary axis between 2 characters or between a character and an object.

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31
Q

How filmmakers compose

Shots
Color
Shape
Light

=

A

Important part of our experience of their works

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32
Q

Offscreen space

6 potential areas

A

Spaces at left, right, top and bottom of the image

Behind camera

Beyond the horizon

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33
Q

Frame line

A

The sides of an image

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34
Q

Color and sound

A

Can be structured to create formal complexity

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35
Q

Free motifs

A

Become part of character and/or thematic development

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36
Q

Invisible style of editing

A

If a film is so well made that you don’t realize you’re watching a film

37
Q

Private goals

A

You resolve something

38
Q

2 departures of stylistic norm

A

B/W
Split screen
Long takes
Moving camera etc

39
Q

A pattern whereby 1st a shot shows one character and then there’s a cut to a reverse shot is a

A

Shot reverse shot

40
Q

Characters and motifs are represented within a system of formal elements into…

A

Plot composed of free and bound visual and aural motifs

41
Q

Characters and motifs are represented within a system of formal elements…

A

Camera position/movement

Cutting patterns

Spatial relationships
-on/off screen space

42
Q

Ahistorical author

A

Concepts of an author as a genius who possesses profound, universal insight outdated, dangerous

43
Q

Establishing shots

A

set-up where the scene is going to take place

44
Q

The director ultimately

A

Maintains the creative control.

They assemble everything

45
Q

Public personas

A

Directors create a public persona thru public appearances

46
Q

Genres like directors go thru developmental periods…

A

When films become more reflective, introspective or referential

47
Q

What is an author?

A

Usually refers to someone responsible for creating a work of art

48
Q

Directors style

A

Early
Middle
Late

49
Q

Early

A

Introduces preoccupations in a simple manner

50
Q

Middle

A

Develops them in a complex manner

51
Q

Late

A

either extends them to an elaborate extreme or reduces them to a sparse simplicity that refers back to the previous work

52
Q

Structural

A

all films are considered to be part of a group wherein any film can be fully understood only in relation to the entire structure or oeuvre

53
Q

Linear and structural analysis is the…

A

study of the films themselves not the person who made them

54
Q

Linear

A

study of the films themselves not the person who made them

55
Q

Films that conform to a specific set of expectations are called…

A

Genre films

56
Q

Genre means

A

Type

57
Q

Series

A

Series - a number of movies that usually employ the same basic characters, situations, and style as the original movie. Each episode is self-contained; no knowledge of the events of an earlier film is necessary to an understanding of any other one.

58
Q

Sequel

A

Starts where the prior film left off

59
Q

Prequel

A

Prequel - a film whose story begins before that of the well-known film. The principle is similar.

60
Q

Why remake a film

A

technical, make right a failure, translation, relaxation of censorship

61
Q

Allusionism

A

New generation of filmmakers who learned their craft not within the industry but in film school

62
Q

Why are stars important

A

-Most visible people involved in the movie

●Audiences pay to see them

●Major component of advertising

●Personal lives enhance a film’s popularity

63
Q

Stage actors vs movie actors

A
  • Stage actor creates full performance in one space and time before a live audience. Responsible for the timing, continuity, modulation, and the shaping of the whole performance. Can very performance from night to night.
  • Movie actor seldom performs for more than a few minutes at a time. Acts in front of a camera in short bits over a roughly three-month period. Entire work is shot and pieced together by other people.
64
Q

Actors vs stars

A

?

65
Q

Language in cinema

A

Small part of what contributes the creation of that world

66
Q

Dialogue

A

Primary means of maintaining a fictional world in theater

67
Q

Screen plays

A

Read for enjoyment or taught separately for films

68
Q

Reception study

A

Reception Study explores the variety of ways in which historically specific audiences have responded to films and other works of art as well as the reasons for those responses.

69
Q

Plays

A

Written in spoken words

70
Q

Films

A

Are performed words. Things that carry images and sound

71
Q

Theater is a

A

Writers medium

72
Q

Film is a …

A

Directors medium

73
Q

Reception includes…

A

Reception includes what kind of theater the film is screened in, how the film is advertised, and how it relates to current events

74
Q

Unanticipated responses

A

Reactions of professional film critics

75
Q

Language in cinema

A

Language in cinema is a (small) part of a fictional world created by image and sound

76
Q

Screenplays

A

Screenplays are seldom read for enjoyment or taught separately from the films that were made using them.

77
Q

Aesthetic identity of a play is contained in the…

A

Dialogue

78
Q

Literature language..

A

With literature, language plays not only the dominant role but also the only role.

79
Q

Literature is not _____, it is ______

A

Performed

Read

80
Q

Novels are

A

Pages with words

81
Q

Difference b/t novels and films

A

differences in parallel narratives not variations on the same one.

82
Q

Narratives are constructed around

A

Narratives are constructed around a set of questions that get resolved.

83
Q

Feature films place strong emphasis on

A

resolving narrative questions

84
Q

Differences in reception contexts

A

Movies - focused attention
■Image AND sound
○TV - assumed to be distracted
■Listening as opposed to listening AND watching; less likely to receive important info exclusively in visual terms

85
Q

Narrative patterns in movies..

A

filmmakers assume that once you are in the theater they have your undivided attention. Plot builds towards a climax and resolution.

86
Q

Tv vs film narratives

A

TV narratives are more segmented than film narratives and contain mini-climaxes that occur before a commercial

87
Q

Film…

greatest creative control lies with the…

A

Director

88
Q

Film…

Executive producers …

A

Executive producers invest money in productions

89
Q

Film…

Producers oversee the …

A

Logistics of a production

Film Appreciation (6 decks)

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