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Film > Film 100 > Flashcards

Film 100 Flashcards

1
Q

Sergei Eisenstein

A

Montage editing, director of Battleship Potemkin [glorifying power of the masses]

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2
Q

Andre Bazin

A

Realism in mise en scene

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3
Q

Aristotle

A

Narratology; good story = sequence of events from beginning middle to end

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4
Q

Jean Luc Godard

A

“Nah man” Aristotle. But stories don’t have to be in sequence (beginning middle end), then my can be in any order

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5
Q

Georges Melies

A

Evolution of anti realist stories

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6
Q

Vsevold Pudovkin

A

Montage editing [courage and resilience of individuals]

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7
Q

Elements of design

A

Setting, decor, properties, costumes, makeup, hairstyles

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8
Q

Vertigo soundtrack

A

Horns, flutes, triangle, sounds like old cartoon; old superhero vibes, some harp, Spanish clams, bok bok bok bok

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9
Q

Psycho soundtrack

A

Strings only, rush/intense/fast, high-pitched, iconic murder song

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10
Q

Smoke signals soundtrack

A

Native singing/calling, guitar, nickel back, 2000s

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11
Q

Bicycle theives

A

Ah, een unnn awnnn unnn ahhh ahhh, repeats same melody, clarinet, strings in background, somber tone, old Tom and Jerry sound

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12
Q

Gravity soundtrack

A

Subtle, hopeful, maraca pattern, slow symbols, female choir, orchestra in empty room, bang bang type woman belting background. Hope, power! Determinate, sounds modern, impeding danger, can I hear Sandra bullock’s screams, epic

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13
Q

Shining soundtrack

A

Ominous, sounds like a horror movie, high-pitched noise combined with low rumble, haunting noise of spirits, string plucky, crescendo of insidious, gong.

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14
Q

City of god

A

Makes you dance salsa, Brazilian/Spanish guitar and trumpets, maracas, tabla style drum, Latin America’s, transport you into the setting, snazzy, immerse you in the culture/moment/atmosphere of film

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15
Q

Battleship Potemkin

A

Sounds very old school, dramatist, old Disney vibes, orchestra, snowy white running, Remembrance Day horns

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16
Q

Internal sound

A

Assume sound comes from internal thought

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17
Q

External thought

A

World of film, people/characters can hear it

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18
Q

Diegetic

A

Sound that originated from within the films world. Characters can hear it

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19
Q

Non diegetic

A

Commentary, non-literal sound, sound that doesn’t specifically exist within world of the film. Characters can’t hear

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20
Q

Describing sound

A
  • Perceptual characters - pitch, loudness, quality, fidelity (faithful? See dog barking, hear dog barking)
  • its source
  • sound type
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21
Q

Neorealism

A

Struggles from impact of ww11, making ends meet, actions driven by economic difficulties, objective poverty themes.

Aesthetics = squalor, depression, implications of war, slum, ghetto lifestyle

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22
Q

Realism

A

Conveys faithful what camera sees to audience.

Synthetic, minimal editing, allow audience to look where they wanna

Main features:
detailed accounts at everyday occurrences,
characters complex behaviour/motive
Plausible plot
Realistic setting
Depiction of everyday life
Focus on character ethical decisions

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23
Q

Mise-en-scene definition

A

Staging an action, directors control over what appears in a film frame; setting, lighting, costume, character actions

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24
Q

4 types of sound: VOCAL

A

Dialogue, voiceover, monologue

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25
Q

4 types of sound: ENVIRONMENTAL

A
  • setting and action.
    1. Ambient sound - taken from ambiance or background
    2. Sound effects - artificially created sound for soundtrack, definite function in telling story
    3. Foley sounds - sounds created in sync with visual narration
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26
Q

4 types of sound: MUSIC

A
  • Used to accentuate events and actions on screen
  • represent what’s going on in the film and enhance substance of action
27
Q

4 types of sound: SILENCE

A
  • frustrates our normal perception
  • scene look powerfully profound
  • look prophetic (like prophecy, it can predict?)
28
Q

Sound production: 4 stages

A
  1. Sound design / creating sound for film, getting the right sound in the right place at right time
  2. Recording - important when filming. Microphone operator, sound team
  3. Editing - putting sound in
  4. Mixing - process of combining individual edited tracks into one soundtrack to play in sync with it
29
Q

Road to perdition soundtrack

A

Violin, use of drums bass, tornado siren, flutes, sounds very professional, patterns, like I’m at a media tavern, drips in alleyway

30
Q

Dr. Caligari soundtrack

A

Weird drums, symbols, saxophone, no rhythm, lots of bare instruments (no layering), computer-like electric noise, create unease, disorder, anxiety, confusion (piano crash noise, cazoo) sounds messy

31
Q

German Expressionism

A

Creator: Rudolph Arnheim

Emphasized extreme distortion, lyricism, and artistic self expression

decor abstract in form/structure

Lighting deliberately artificial, deep shadows (painted on)

Outside scenes usually shot in-doors/studio

Performance stylized/extreme

Actors merged with set (tree behaviour)

32
Q

Road to Perdition characters

A

Mike Sullivan, Michael Sullivan, Peter and Annie, John Rooney, Connor Rooney, Maguire, Mr. Nitty

33
Q

Dr. Caligari characters

A

Jane, Francis, Alan, Cesare, dr. Caligari

34
Q

Bicycle thieves characters

A

Antonio Ricci, Bruno, Maria

35
Q

Spatialize continuity (editing)

A

Ensures geography of scene is consistent

36
Q

Temporal continuity (editing)

A

Ensures film seems to flow continuously in TIME

37
Q

Match cuts

A

Edits in film, employ elements of one scene in transition to the next scene, creates continuity between 2 related shots in same scenes

38
Q

Discontinuous editing

A

Creatively disconnecting relational possibility between shots

39
Q

Continuity editing

A

Smooth flow between shots. What we see on screen makes narrative sense

40
Q

5 major functions of editing

A
  1. Fragmentation - breaking up story/scenes
  2. Juxtaposition - making meaning through juxtaposition is called montage editing
  3. Creates spatial relationship between shots - manipulates audience sense of space
  4. Understanding of how time is manipulated
  5. Sustains continuity
41
Q

Non-linear editing (not what you think)

A

Edit whichever clip you want whenever, as many versions as you want

42
Q

Linear editing

A

Copy selected portion from source tape to another video tape (physically cut)

43
Q

Closed/Lang frame

A

Formalist film, relies on pictorial and architectural traditions. Also designed to imply that other forces (such as fate, social, education, Econ background) have robbed characters of their ability to move or act freely. Claustrophobic (feel set up)

44
Q

Open/renoir frame

A

Realistic film, A frame which only has context and understanding based around proceeding or subsequent shots. Designed to depict world where characters move freely

45
Q

Director of Photography/ cinematographer responsibilities

A
  1. Cinematographic properties of shot - film, stock, lighting, lenses
  2. Framing shot (proximity, depth, camera angle, scale, camera)
  3. Speed, length
  4. Special effects
46
Q

Two shot

A

When two subjects appear side-by-side or facing one another

47
Q

Process of framing: decisions about

A

Implied proximity
Depth of composition
Camera angle, height, space
POV
Types of camera movement

48
Q

Jump cut

A

Feels like film is being fast forwarded

49
Q

Parallel editing

A

Edited to look like it is happening at the same time

50
Q

Master Scene Technique

A

A continuous/principle shot that encompasses all main characters and all main action, so that you can come back to it when other shots aren’t continuous

51
Q

Process of scriptwriting

A

Summary, outline, film script/screenplay, shooting script (camera movement and angles)

52
Q

Narrative cannot exist if that character if that character doesn’t have a goal

A
53
Q

Round characters

A

Many traits, inner conflict, motivations complex

54
Q

Flat character

A

Exhibits few definitive traits, little internal conflict, simple motivations

55
Q

Narrative structure

A

Forms the story

56
Q

Narratology

A

The theory of narrative or creating a narrative.

Explains the process through which a story should be told. Every narrative must have events to build on for it to be told meaningfully/logically.

Aristotle says good story=beg mid end

57
Q

Back light

A

To add separation between background and subject,

58
Q

Key light

A

Placed in front of subject, brightest light

59
Q

Fill light

A

Opposite side of key light, dimmer light. to fill in shadows the key light causes

60
Q

3 important principles of film form

A

Framing, angle, pov

61
Q

Content, informer, inextricably, interwoven in all, works of art, because each influences the other

A
62
Q

Visual production relies heavily on combo of elemental system which are

A

Mise en scene, sound, narrative, editing

63
Q

Film definition

A

Film as a sociological work can be defined as the imaginative communication of significant experiences through visual and aural information

64
Q

Tragic hero

A

Hero who makes an error of judgement that inevitably leads to their downfall. Imperfect, a fatal flaw, (revenge)

Film (1 decks)

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