Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Basics of Film and TV > Exam II Terms > Flashcards

Exam II Terms Flashcards

1
Q

cutting from one shot to another while the subject is still in motion

A

cutting on action

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

cutting to an insert shot of something and then back

A

cutaway

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

two shots of the same subject where one is altered in angle or composition, noticeable change; an elliptical cut that appears to interrupt a single shot and thus creates temporal discontinuity

A

jump cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

cuts from one shot to a similar shot by either matching the action or the composition

A

match cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

dissolving either to or from black

A

fade in / fade out

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

blending one shot into another

A

dissolve

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

abrupt transitions, like waking from a dream

A

smash cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

circle fade in / fade out

A

ins

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

when the scene wipes and another scene takes the screen, come in all shapes

A

wipe

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

give the impression of a single take, but transition is hidden in blackness

A

invisible cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

audio-based, audio from current shot carries over to the next shot

A

L-cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

audio from the next scene starts before you get to it

A

J-cut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

graphic values are kept relatively similar shot to shot

A

graphic continuity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

two successive shots are joined so as to create a very strong similarity of compositional elements

A

graphic match

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

dramatic difference in graphic quality between successive shots

A

graphic conflict

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

cutting together portions of a space in a way that prompts the spectator to assume an offscreen, spatial whole; also called constructive editing

A

the Kuleshov effect

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

delineating overall space, “setting the scene,” does not follow 180 degree system

A

establishing shot / master shot

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

once the 180 degree is established, cutting btwn. either side

A

shot/reverse shot

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

shot A looks at something offscreen, shot B shows what it is

A

eyeline match

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

an approach to film editing that focuses on creating meaningful things w combination of shots; purpose is to politically influence an audience through editing, NOT to entertain

A

Soviet montage editing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

How true is what you hear to what you see?

A

fidelity of sound design

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

ADR stands for

A

automated dialogue replacement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Why are ADR and foley used?

A

we have become conditioned to take in a heightened sense of immersivity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

compresses a passage of time

A

montage sequence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

plot alternates shots of story events in one place with shots of another event elsewhere; spatial discontinuity w/ unrestricted knowledge

A

crosscutting

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

What are David Bordwell’s four main aspects of intensified continuity?

A

more rapid editing, bipolar extremes of lens lengths, more close framings in dialogue scenes + a free-ranging camera

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

rapid editing in an action-oriented film that largely obeys the 180 degree rule

A

intensified continuity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

closer shot of the characters established in the establishing / master shot

A

cut-in

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

What does “Mise-en-scene” literally translate to?

A

“putting into the scene” / placing on the stage

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

What are some aspects of mine-en-scene?

A

setting, costume, lighting, makeup, performance of actors, etc.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

What are some aspects of setting to look for in a mise-en-scene analysis?

A

color, props, space available, digital SFX

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

What are some aspects of costume and makeup to look for in a mise-en-scene analysis?

A

purely graphic quality (how the character stands out from / blends into the background), makeup accentuating expression, complementary + primary vs. contrasting color schemes, CGI body sculpting

33
Q

What are the four main aspects of lighting to consider in a mise-en-scene lighting analysis?

A

quality (intensity of the light), direction (path of light to the object), source (what produces the light), color (color of the light itself)

34
Q

the arrangement of figures and objects within the frame

A

staging / blocking

35
Q

staging in depth

A

when the foreground, mid ground and background are all showing

36
Q

a light that directly illuminates the subject talking / shown on screen

A

key light

37
Q

a light that eliminates shadows cast by the direct source of light

A

fill light

38
Q

creates a silhouette when other two lights are not as bright, provides lighting from behind the subject

A

backlight

39
Q

stark relationship between the key and fill lights, creates softer lines

A

low-key lighting

40
Q

crisp, harsh lines created by the lighting

A

hard lighting

41
Q

minimal key and fill lights to make a silhouette

A

backlighting

42
Q

onscreen space and 6 areas of offscreen space

A

the frame

43
Q

Do you shoot more or less frames per second to create a fast motion effect?

A

less

44
Q

Do you shoot more or less frames per second to create a slow motion effect?

A

more

45
Q

What is the standard shooting and projection rate?

A

24 frames/second

46
Q

lens that allows the picture to be shot out in the far distance / taken from far away / zoomed out

A

telephoto lens

47
Q

lens that allows the picture to move from a wide angle shot to telephoto shot, has both in one lens

A

zoom lens

48
Q

lens that allows for a wide view, makes distance seem huge

A

wide angle lens

49
Q

foreground, mid ground and background all in focus

A

large depth of field

50
Q

one plane in focus, not really w / the other planes

A

shallow depth of field

51
Q

shifting the area of sharp focus from plane to plane

A

racking focus

52
Q

What are the six areas of offscreen space?

A

all 4 sides of the camera (right, left, up, down), behind the film set and behind the camera

53
Q

the camera is above characters, providing an angle from up above

A

high angle

54
Q

camera is at the same angle as the characters, head-on

A

straight-on angle

55
Q

camera is below characters, perspective from the ground-ish

A

low angle

56
Q

the angle of the camera is tilted

A

canted angle

57
Q

Which two shot types mean the same thing?

A

“plan américain” and medium long shot

58
Q

camera can move in a curved arrow horizontally

A

pan

59
Q

camera can move in a curved arrow vertically

A

tilt

60
Q

camera can move on a physical track to follow the action

A

tracking

61
Q

camera can move forward and back at a fixed angle

A

dolly

62
Q

camera can be lifted into the air and its angle can be changed, typically to provide landscape or bird’s eye view

A

crane

63
Q

looping or rerecording of dialogue to match it up with the visual recording

A

ADR

64
Q

people who recreate sounds with props, rerecord sounds in sync with the visual, find equivalents for what things sound like

A

foley artists

65
Q

full orchestra playing through a movie soundtrack

A

film scoring

66
Q

What kind of effect can low tones typically have on a viewer?

A

they fundamentally freak people out

67
Q

when the sound and the image are taking place at the same time

A

simultaneous sound

68
Q

when the sound and the image are not happening at the same time

A

non-simultaneous sound

69
Q

when a sound can be heard in the context of the film by the characters / the sound comes from the story

A

diegetic sound

70
Q

when the sound lives outside of the story world entirely

A

nondiegetic sound

71
Q

everyone in the movie’s story is able to hear the sound

A

diegetic objective / external

72
Q

only a few / one character(s) can hear the sound in the story

A

diegetic subjective / internal

73
Q

the fundamental assumption that a single person, typically the director, is responsible for important film features

A

authorship criticism

74
Q

What are some primary benefits of authorship criticism?

A
  • help foster thinking of film as an art, worthy of study
  • classic Hollywood films now reevaluated and appreciated
  • visual style emphasized (which is the director’s greatest power)
  • filmmakers inspired
75
Q

What are some primary drawbacks of authorship criticism?

A
  • director lauded at the expense of collaborators
  • consistency does not equal quality
  • over-valuation of directorial talent
76
Q

According to “The Director’s Style,” what categories should we look at to determine an author’s style?

A

values (intellectual v. emotional, realistic v. fantasy, etc.), subject matter, cinematography, editing, setting + set design, sound + score, casting + acting performances, narrative structure

77
Q

when audio is carried over the visual transition to tie together two scenes

A

sound bridge

78
Q

when relations between shots function to control film pace

A

rhythmic editing

79
Q

horizontal line that determines the spatial divide of the plane, relative to the 180 degree rule

A

axis of action

Basics of Film and TV (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions