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Film Art and History > Film Art > Flashcards

Film Art Flashcards

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1
Q

How does ‘‘form’’ and ‘‘pattern’’ affect the viewer’s experience?

A

It gives the viewer a structured experience and engages ones senses, feelings and minds through artwork

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2
Q

What is ‘‘suspense’’?

A

A delay in fulfilling expectations

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3
Q

What is a ‘‘surprise’’?

A

A result of an expectation that turns out to be incorrect

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4
Q

What is ‘‘curiosity’’?

A

A trigger that makes one wonder about earlier or future events

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5
Q

What is ‘‘prior experience’’?

A

Information that is assumed that the viewer already knows so it doesn’t have to be explained in the movie

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6
Q

What are ‘‘coventions’’?

A

Elements that are common to several artworks such as traditions, a dominant style, or popular form. For example, a fantasy film commonly involves magic, sci-fi often involves robots

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7
Q

What is ‘‘referential meaning’’?

A

The most basic story line of the film

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8
Q

What is ‘‘Explicit meaning’’?

A

The point of the film/what the film is trying to teach or tell the audience

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9
Q

What is ‘‘Implicit meaning’’?

A

The more abstract underlying meaning of a film/the symbolic meaning constructed by the audience

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10
Q

What is ‘‘Symptomatic meaning’’?

A

A meaning of a film that has its roots in social values or ideologies. For example capitalism, racism, environmentalism

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11
Q

What is ‘‘Motif’’?

A

A significant, repeated element that contributes to the overall form. It can be an item, sound, lines of dialogue, music etc. The rose that means love in Rome and Juliet

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12
Q

What are ‘‘parallels’’?

A

When two or more scenes are happening at the same time but in different locations. They usually meet and have some sort of connecting action at some point in the film

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13
Q

What is ‘‘Segmentation’’?

A

Segmentation in the film refers to the method of analyzing a film’s narrative by creating a detailed outline of the story. This outline divides the story into significant parts in order to understand its narrative system.

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14
Q

What is ‘‘Unity’’?

A

When all relationships we perceive are clear, it’s called that a film has unity

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15
Q

What is ‘‘Disunity’’?

A

When the relationships in a film are not clear and there isn’t a clear connection between things

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16
Q

What is ‘‘narrative’’?

A

A story that is told

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17
Q

What is the ‘‘story’’?

A

A chain of events in chronological order, from beginning to end

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18
Q

What is the ‘‘plot’’?

A

The storyline of the film. Describes the order and sequence of events

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19
Q

What is ‘‘diegesis’’?

A

The total world of the story action including characters, what is presumed has happened, etc.

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20
Q

What are ‘‘diegetic elements’’?

A

Elements that the characters of the film are aware of and experience themselves

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21
Q

What are non-diegetic elements?

A

Everything that happens outside of the diegesis such as credits and soundtracks

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22
Q

What is meant by ‘‘Cause and Effect’’?

A

The way the spectator actively seeks to connect events by means

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23
Q

What is ‘‘Temporal Order’’?

A

How events are sequenced. This can be through flashbacks, flash-forwards

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24
Q

What is ‘‘Temporal Duration’’?

A

The overall duration of the plot

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25
Q

What is ‘‘story duration’’?

A

The amount of time that passes during the story duration

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26
Q

What is ‘‘plot duration’’?

A

The actual time that passes from the beginning of the narration to the end

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27
Q

What is ‘‘screen duration’’?

A

The length of the film itself

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28
Q

What is the difference between story and plot?

A

The story is the timeline: the sequence of events in the narrative. The plot supports the story and makes it come to life

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29
Q

What is ‘’ temporal frequency’’?

A

When the same event is repeated and told by multiple narrators

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30
Q

What is a ‘‘setup’’?

A

The first quarter of the film

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31
Q

What is ‘‘Opening in media res’’?

A

When a film begins in the middle of a series of actions that have already started

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32
Q

What is ‘‘backstory’’?

A

Actions that already took place

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33
Q

What is ‘‘exposition’’?

A

The portion of the plot that lays out the backstory and the initial situation

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34
Q

What is ‘‘change of knowledge’’?

A

When a character learns more in the course of the action

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35
Q

What is a ‘‘goal-oriented plot’’?

A

When a character takes steps to achieve an object or condition. For example an investigation

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36
Q

What is a ‘‘deadline’’?

A

When a plot has a specific duration for the action. For example a bomb

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37
Q

What is a ‘‘climax’’?

A

When the plot resolves its issues by bringing the development to the highpoint

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38
Q

What is a ‘‘unrestricted narration/omnicent narration’’?

A

When we know, hear and see more than the characters

39
Q

Restricted narration?

A

We don’t know, hear or see anything that the character can

40
Q

Objective narration?

A

When the plot fully confides us information about what the characters say and do

41
Q

Perceptual subjectivity?

A

The audience is shown what the character sees and hears from the POV of the character

42
Q

Mental subjectivity?

A

When the audience is shown what is going on in the mind of the character

43
Q

Narration?

A

The process by which the plot presents story information to the spectator

44
Q

Narrator?

A

The teller of the story

45
Q

Mise-en-scene?

A

'’Putting into scene’’. Used to signify the directors control about what appears in the film frame (setting, lightning, costume and make-up, staging and performance)

46
Q

The power of mise-en-scene?

A

To achieve realism or create an imaginary world - whatever the director wants to achieve

47
Q

Shading?

A

Allowing objects to have portions of darkness

48
Q

What does lighting do?

A

Controls our sense of scene space

49
Q

What are the four major aspects of lighting?

A

Quality, direction, source and color

50
Q

Quality?

A

Refers to the relative intension of the illumination

51
Q

Hard lighting?

A

Creates clearly defined shadows, crisp textures and sharp edges

52
Q

Soft lighting?

A

Creates non-clear illumination

53
Q

Direction?

A

Refers to the path of light from its sources or sources to the lit object

54
Q

Sidelight/crosslight?

A

Sculpts the characters features

55
Q

Backlighting/edge lighting/rim lighting?

A

Comes from behind the subject and creates silhouettes, contours

56
Q

Frontal lighting?

A

Eliminates shadows

57
Q

Under lighting?

A

From below the subject and creates distort features

58
Q

Top lighting?

A

Comes from above the subject and creates a glamourous image

59
Q

What is source in regards to light?

A

Where the light comes from

60
Q

Key light?

A

The primary source, brightest illuminations and strongest shadows

61
Q

Fill light?

A

An intense illumination that ‘‘fills in’’ softening or eliminating shadows

62
Q

Three-point lighting?

A

The light that comes from different angles

63
Q

High-key lighting?

A

A lighting design that uses fill light and backlight to create a relatively low contrast between brighter and darker areas

64
Q

Low-key lighting?

A

Creates stronger contrasts and sharper, darker shadows.

65
Q

Color?

A

Refers to the color of the light

66
Q

What is typecasting?

A

When someone is cast because of specific features that have been seen before

67
Q

CGI?

A

Computer-generated imagery

68
Q

Bilateral symmetry?

A

Balancing the left and right halves of the film frame

69
Q

Monochromatic color design?

A

Emphasizing a single color

70
Q

Shallow-space composition?

A

When the mise-en-scene suggests little depth

71
Q

Deep-space composition?

A

When the mise-en-scene suggests much depth

72
Q

Focal length?

A

The distance from the center of the lens to the point where light rays converge to a point of focus of the film

73
Q

Short-focal-length (wide-angle) lens

A

The lens takes in a wide field of view and exaggerated depth

74
Q

Middle-focal-length (medium) lens

A

Seeks to avoid perspective distortion. Horizontal and vertical lines are rendered as straight

75
Q

Long-focal-length (telephoto) lens

A

Flattens the space along the camera axis. Cues for depth and volume are reduced

76
Q

Zoom lens

A

Resizes what’s shown and changes the image’s perspective

77
Q

Depth of field

A

A range of distances within which objects can be photographed in sharp focus

78
Q

Selective focus

A

Choosing to focus on only one plane and letting the other planes blur

79
Q

Deep focus

A

Yielding a greater depth of a field

80
Q

Racking focus

A

Making one plane blurred and another sharp in order to switch our attention between foreground and background

81
Q

Mobile framing

A

Allows the filmmaker to change the camera angle, level, height or distance during the shot

82
Q

Pan movement

A

The camera swivels on a vertical axis as if it is turning its head right or left

83
Q

Tilt movement

A

Camera swivels on a vertical axis as if the camera is turning its head up or down

84
Q

Tracking shot/ dolly shot

A

The camera changes position along the ground

85
Q

Crane shot

A

The camera rises or descends

86
Q

Take

A

One run of the camera that records a single shot

87
Q

Sequence shot

A

When an entire scene is rendered in only one shot

88
Q

Editing

A

Lets the filmmaker decide which shots to include and how they will be arranged

89
Q

Cut

A

Instant change from one shot to another

90
Q

Fade-out

A

Gradually darkens the end of a shot to black

91
Q

Fade-in

A

Lightens a shot from black

92
Q

Dissolve

A

Gradually mixes the end of shot A and beginning of shot B

93
Q

Wipe

A

Shot B replaces shot A by means of a boundary line moving across the screen

Film Art and History (3 decks)

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