film Flashcards by Alliah Martinez

it is something like the center of a wheel, keeping all the other departments joined
together in order to make the whole production move forward.

The Assistant Director Department

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_____ are responsible for handling daily call sheets and shepherding talent to
and from set.

The 2nd AD

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it mandates simply to assist the director in achieving their vision. It is responsible for crafting the shooting schedule

THE 1ST AD

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It helps to ease the AD department’s workload when a shoot’s scale or
degree of difficulty becomes larger than a small, standard team can handle.

2nd 2nd AD

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_______ oftentimes receive a majority of their marching orders from professionals in
the AD department instead.

The set production assistant

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Film crew positions within the ___________oversee the physical creation of all visual elements in a
film or television series.

THE ART DEPARTMENT

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The__________ is the production designer’s second-in-command. They’re a field general, who organizes
and manages the rest of the art department film crew to get the job done.

THE ART DIRECTOR

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The ___________ is the head of the art department. They work with the director and director of
photography to craft an overall look for a film, achieving it with the help of a wide variety of movie set
jobs found deeper within their department.

THE PRODUCTION DESIGNER

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The _______ is a specialized role in charge of arranging the shooting set with furniture, decorations,
and other graphic elements.

THE SET DRESSER

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The _________________is in charge of sourcing and organizing all non-weapon props used in a project.

PROP MASTER

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The _________ is an all-around assistant dedicated to the art department

ART PRODUCTION ASSISTANT

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________________is the literal focal point of image capture on any set.

THE CAMERA DEPARTMENT

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At her or his core, the __________________is responsible for recording the images of a film in
accordance with a director’s vision. That means that they’re in charge of creating light, bending light, and
capturing light in a way that achieves an agreed upon look.

THE DIRECTOR OF PHOTOGRAPHY

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___________________controls the camera during takes. They are skilled at creating smooth and precise
movements, using operating gear that may range from simple tripods to hand wheels or electronic
control systems.

THE CAMERA OPERATOR

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_______is in charge of the set-up and on-set maintenance of the camera and
related accessories.

THE 1ST CAMERAPERSON

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___________is in charge of organizing the camera crew’s gear, keeping records, and
assisting in any general camera team tasks.

The 2nd Assistant Cameraperson

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______________is one of the newest standard film crew positions on the scene. Born
from the unique complications of shooting digitally, the DIT manages and troubleshoots all aspects of
the digital workflow as it exists on set.

The Digital Imaging Technician (DIT)

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_____ creates light, collaborating with the grip department to execute the director of
photography’s lighting plan.

The Electric Department

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____ is a production’s chief lighting technician and head of the electric department. They plan and coordinate the placement and powering of lights to achieve the level of illumination desired by the
director of photography.

The Gaffer

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______ is the gaffer’s chief lieutenant, the second-in-command. They’re often
responsible for delegating day-to-day managerial tasks- like hiring personnel and maintaining
equipment- and are generally less directly involved in major creative decisions within the lighting plan.

The Best Boy Electric (BBE)

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Better known simply as an “Electric,” ________ is responsible for getting
power anywhere and everywhere on set. They’re also instrumental in executing the lighting plan under
the guidance of the gaffer and best boy electric.

the Electrical Lighting Technician (ELT)

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is responsible for managing any generators that a production brings to set.

The Generator Operator

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If the electric department creates light, _______ takes it away.

the Grip Department

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is the key grip’s second-in-command. They tackle sensitive managerial operations and
oversee the construction of more complicated grip elements.

The Best Boy Grip

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______ is a grip dedicated to the set-up and operation of a dolly. They lay track, perform maintenance, and help execute the complicated camera moves required by many films, television shows, and commercials.

The Dolly Grip

________ is the head of the grip department. A natural counterpart and collaborator to the gaffer, it is similarly tasked with planning and coordinating grip elements to execute a lighting plan. Unlike the gaffer, it is also the arbiter of safety on-set.

The Key Grip

physically executes the strategy laid out by the key grip, best boy, and director of photography. On a union shoot, if literally anything needs moved on a set, you’ll almost certainly need a grip to move it for you.

The Grip

Collectively referred to as “The Vanities”, _______ prepare on-camera talent for the big screen. Their work can also be essential to executing special effects and maintaining on-screen continuity.

the Hair & Make-Up Departments

_____ is in charge of setting the talent’s look for a given scene. They work closely with not only the director but also the production designer, director of photography, and wardrobe designer to craft a cohesive look that contributes to the film’s overall aesthetic.

The Key Make-Up Artist

Similarly, ______ is in charge of setting the talent’s hairstyle for a given scene. This requires a diverse range of skills to account for multiple hair types, varying aesthetic requirements, and solving unpredictable follicular problems.

the Key Hair Stylist

The Assistants within the Hair and make-up departments provide extra hands and eyes to carry out the plans of their department head. The more principal or background talent that a production requires, the more HMU assistant film crew positions you’ll likely find in the credits.

the hair and make-up assistants

Less common but no less important, ______ specializes in achieving looks that go well-beyond the requirements of standard make-up and hair styling techniques.

the Special Effects (SPFX) Make-Up Artist

________ is responsible for choosing, coordinating, fitting, and constructing every garment you see in a given film, television show, or commercial.

The Wardrobe Department

The Wardrobe Supervisor is an essentially managerial role within the costume department. They manage existing wardrobe items and oversee the performance of all costumers and dressers working in the department

The Wardrobe Supervisor

The Costume Designer is the head of the wardrobe department. In collaboration with the director, they craft the creative drive behind all clothing that the audience sees on screen.

The Costume Designer

represents the wardrobe department on set. They’re on standby, watching the performers and making adjustments as necessary, whether that means fixing a minor tear or adjusting shirt collars to ensure proper continuity.

The Set Costumer

________as you might expect, coordinates all aspects of the costuming process.

The Costume Coordinator

_____ is responsible for the actual construction and alteration of costumes. A project that sources the majority of its wardrobe from vintage shops and costume houses might only need one or two tailors on hand, but massive, wardrobe-heavy productions (like The Favourite) will often require an entire costume shop of capable tailors and supporting film crew positions

The Tailor

They visit stores and rental houses of all kinds to find the perfect shirt, shoes, or bedazzled belt.

the shopper

The Sound Department is responsible for getting the best on-set sound possible. They use a wide range of analog techniques and technical innovations to ensure that dialogue can be heard crystal clear in even the most clamorous of conditions.

The Sound Department

______ is in charge of recording all relevant sound on the shooting day. That includes everything from principal dialogue to room tone to wild lines to limited sound effects.

The Production Sound Mixer

____- is, of course, responsible for operating the boom mic, but they also play a significant role in placing microphones around sets and on performers in order to achieve the highest overall quality in the audio department’s recordings.

The Boom Operator

Larger productions may require that a _______ or “Cable person” be hired among the sound department film crew positions. Its primarily supports the department through microphone placement and the monitoring of equipment, but they may be called upon to assist any other member of the sound department with any task requiring additional personnel.

Sound Assistant

______ make sure that the film crew is fed, hydrated, and ready to work.

The Craft Service and Catering Departments

Unless you’re Tom Cruise, __________ handles all acts of high-flying daredevilry in a feature film, television show, or commercial. These women and men are the real action heroes, risking life and limb to plan and execute some of the most exciting sequences in movie history

the Stunts Department

is an expert in creating physical illusion and mitigating physical danger.

The Stunt Coordinator

actually carries out a given stunt, as conceived by the director and stunt coordinator.

The Stunt Performer

is not technically part of the stunts department. However, if the stunts department is active on any set, the presence of it is an absolute requirement.

The Set Medic

While the majority of modern visual effects are ultimately realized in post-production, it is often necessary for film crew positions from the _________ to be present on the actual day of shooting.

VFX Department

The ______ is the chief visual effects adviser to the director. They are responsible for the final look of an effect and are, therefore, concerned with the proper execution of each of its elements, both on set and beyond.

VFX Supervisor

The ______ is an organizational role. They’re in charge of scheduling and managing actions within the creation of given visual effects in order to keep them on track with the overall post-production workflow

VFX Coordinator

Last but not least, the ________ makes up the primary structural support of an entire project, start to finish. They manage budgets, maintain records, issue payments, keep the production in good legal standing, and generally put out any fire- sometimes literally- that might arise in the making of a movie.

Production Department

Technically, the head of the production department is the producer, but the ________ is their below the line counterpart and is much more likely to have their boots on the ground.

Line Producer

Working below the UPM and line producer, the ________ makes sure that all departments are on the same page.

Production Coordinator

The _____________is the chief administrator of all film crew positions. They may be called to deal with an array of challenges, but it is primarily concerned with the management of all cost-related decisions.

Unit Production Manager (UPM)

The_________ monitors a project’s finances, ensuring that the relationship between expenses and the budget as planned remains as copasetic as possible. It requires not only general accounting skills but also a specialized familiarity with how the various departments of a production function on their own, both physically and financially.

Set Accountant

The world of media production is vast and multi-faceted, meaning that we’re only scratching the surface of potential film crew positions, even among just those working during a project’s production phase.

WRAPPING UP

"Movie" is commonly used in American English to refer to a motion picture or a film. It is the most informal term of the three.

"Movie"

can refer to the art or industry of making films, as well as the place where films are shown to an audience.

"Cinema"

can refer to the medium of motion pictures in general, as well as to a specific motion picture or movie. It is a more formal term and is often used in a more artistic or academic context.

"Film"

GIVE ME THE OBJECTIVES OF A FILM

1. FORM OF ART 2. FORM OF ENTERTAINMENT 3. FORM OF INFORMATION 4. FORM OF PROFIT

The _______ is dedicated to assisting only the film crew positions that work within a project’s production office.

Office Production Assistant

Impactful meaning powerful, influential, or effective.

Impactful

ELEMENTS OF AN IMPACTFUL MOVIE

1. SYMBOLISM 2. LINES (SCRIPT) 3. STORY (MATERIAL) 4. CHARACTER (PERSONA)

Analyzing the framing, camera angles, and placement of subjects within each shot to understand the visual storytelling and the emotional impact it creates.

1. Shot Composition

Examining the rhythm, pace, and transitions between shots to understand how they contribute to the narrative flow and the overall meaning of the film.

2. Editing

Analyzing the use of dialogue, music, sound effects, and silence to understand how they enhance the mood, atmosphere, and storytelling of the film.

3. Sound Design

Understanding the conventions and expectations of a specific film genre and analyzing how the film adheres to or subverts those conventions. These are just a few examples of film analysis techniques, and there are many more depending on the specific aspects of the film being analyzed. The goal is to critically examine the various elements of the film to gain a deeper understanding of its artistic choices and its intended message or themes.

7. Genre Conventions

Examining the visual elements within a shot, such as set design, costumes, props, and lighting, to understand how they contribute to the film's themes, characters, and overall aesthetic

4. Mise-en-scène

Analyzing the plot, character development, and storytelling techniques to understand how the film engages the audience and conveys its message or themes. ex. Linear, 3 act-rule, chronological, First person, historical nar

5. Narrative Structure

is the process in which a film is analyzed in terms of mise-en-scène, montage, cinematography, sound, and editing. One way of analyzing films is by the shot-by-shot analysis, though that is typically used only for small clips or scenes.

Film analysis

Identifying recurring symbols, motifs, or visual patterns throughout the film to uncover deeper layers of meaning and thematic connections.

6. Symbolism and Motifs

refers to personal opinions, feelings, or perspectives that can vary from person to person.

Subjective

refers to facts, observations, or information that is independent of personal bias and can be verified by evidence.

Objective

debates the essence of the cinema and provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. T

Film theory

is a qualitative research method and data collection technique in which a selected group of people discusses a given topic or issue in-depth, facilitated by a professional, external moderator.

A Focus Group Discussion (FGD)

emphasizes the formal elements of a film, such as cinematography, editing, and sound, to create meaning and evoke emotions. It focuses on the visual and technical aspects of filmmaking, often employing techniques like symbolism, visual metaphors, and innovative editing styles. Formalist films aim to engage the audience through their aesthetic qualities and the way they manipulate the medium itself.

Formalism theory

posits that the director is the primary creative force behind a film, akin to an author of a literary work. It attributes authorship and artistic vision to the director, who leaves their personal imprint on the film through their distinctive style, recurring themes, and unique approach to storytelling.

Auther theory

GIVE ME THE FILM THEORIES

GENRE THEORY FEMINIST FILM THEORY POST-COLONIALISM FILM THEORY AUTHER THEORY REALISM THEORY FORMALISM THEORY

aims to depict reality as accurately as possible. It often utilizes naturalistic acting, location shooting, and a documentary-like approach to storytelling. Realist films strive to capture the authentic experiences of characters and portray social issues or historical events with a sense of authenticity and truthfulness.

Realism theory

explores the impact of colonialism and its aftermath on cinema. It examines how films reflect and respond to the legacies of colonialism, cultural identity, power dynamics, and the representation of marginalized voices. Postcolonial films often address themes of decolonization, cultural hybridity, and the complexities of navigating a postcolonial world.

Postcolonial film theory

examines the conventions and characteristics of different film genres. It explores how genres provide a framework for storytelling, audience expectations, and the cultural and historical contexts in which genres emerge. Filmmakers may draw on genre conventions to create familiar narratives or subvert them to offer fresh perspectives and innovations.

Genre theory

analyzes the representation of women in cinema and challenges gender stereotypes. It examines how women are portrayed, the power dynamics at play, and the ways in which cinema can reinforce or challenge societal norms. Feminist films often strive for more nuanced, complex, and empowering portrayals of women, and may explore themes of gender inequality, identity, and female agency.

Feminist film theory

TECHNIQUES IN FILM ANALYSIS

SHOT COMPOSITION EDITING SOUND DESIGN GENRE CONVENTIONS SYMBOLISM AND MOTIFS NARRATIVE STRUCTURE MISE-EN-SCENE

ABOVE THE LINE CREW

THE DIRECTOR THE PRODUCER THE EXECUTIVE PRODUCER THE PRINCIPAL CAST THE CASTING DIRECTOR