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art and technique of filmmaking > film exam 2 > Flashcards

film exam 2 Flashcards

1
Q

Story

A
  • basic story: the narration of a series of events in their chronological order
  • allow us to empathize and live through experiences of other people without physical and emotional risk
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2
Q

Story (children)

A
  • narratives important for children
  • narratives help children organize their experiences, when to young to have theories on cause and effect
  • bedtime narratives help children make sense of daily interactions in the world with symbols, icons, and actions
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3
Q

Jerome Bruner

A
  • did a study called “ Narratives from the Crib” 1980
  • found that children had more sophisticated conversations with themselves rather than with adults
  • studied emily at 36 months
  • cinema verite
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4
Q

elements of narrative fiction

A
  • plot
  • character
  • theme
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5
Q

secondary elements of narrative fiction

A
  • point of view
  • setting
  • style
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6
Q

plot

A
  • the purposeful organization of the actions and events of a story
  • the sequential arrangement of actions and events in a story for maximum dramatic, emotional, and thematic effect
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7
Q

2 categories of plot

A
  • progressive

- episodic

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8
Q

character

A
  • main character: protagonist
  • include major and minor characters
  • antagonist is a major character
  • traditionally we expect the protag to go through a character change because of his conflict
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9
Q

theme

A
  • the idea that interests the filmmaker and unifies the film
  • reveals something about the human condition
  • based on the honest experiences of the filmmaker
  • reveals the world view of the writer and or director
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10
Q

point of view

A
  • a question of who is narrating the story and whether the narrator is reliable
  • 1st person, omniscient, third person, and objective
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11
Q

1st person point of view

A
  • narrator tells his or her own story

- could be objective or subjective, thus reliable and unreliable

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12
Q

omniscient

A
  • generally are not participants in the story, but are all knowing
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13
Q

third person

A
  • when an anonymous commentator speaks on background of character
  • many times used in documentaries
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14
Q

objective

A
  • most detached of all narration
  • like omniscient
  • does not enter the consciousness of characters
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15
Q

setting

A
  • look, mood, or atmosphere of film
  • has to do with time and place
  • can reveal underpinnings of the theme
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16
Q

style

A
  • brings into play three classic tensions of filmmaking: realism vs formalism, misenscene vs montage, and invisiblity vs self reflexivity
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17
Q

three act drama structure

A
  • thought up by aristotle
  • including a beginning, middle, and end
  • developed further by dramatist Gustav Freytag
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18
Q

Freytag’s triangle

A
  • developed by Gustav Freytag
  • triangular pyramid shape to illustrate how conflict is plotted
  • beginning: provides exposition of characters, motivations, and setting. The conflict sets a narrative movement of increased action in motion
  • middle: conflict reaches a point of climax due to crisis or reversal of fortune. There is then a falling action as a result of the climax
  • end: there is a resolution, called denouement, to the conflict where all loose ends are tied up
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19
Q

conflict

A
  • that which the protagonist must overcome in order to reach his desire
  • inherently dramatic
  • important for action and character motivation
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20
Q

four categories of conflict

A
  • person vs higher power or force
  • person vs another person or society
  • person vs nature
  • person vs self
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21
Q

example of progressive plot structure

A

bourne identity

- highly plot driven

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22
Q

example of episodic plot structure

A

whos afraid of Virginia Woolfe?

- not much plot, but setting is emphasized

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23
Q

role of the cinematographer

A
  • to visualize a director’s ideas through cinematograhy
  • manage the camera, lighting, and grip equipment
  • responsible for all the cinematography of production
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24
Q

tools of cinematography

A
  • camera : film or digital
  • capture format: in film (16, 35, 65 mm), digital sensor size (1/4, 1/2, 1/3, 2/3, or 1”)
  • aspect ratio
  • lenses
  • lighting
  • points of view
  • composition and framing
  • camera movement
  • filters
  • special effects cinematography
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25
Q

capture format (film)

A
  • lense resolves light on film stock, which combines the functions of a sensor and a memory storage system
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26
Q

capture format (digital)

A
  • lense resolves light on a single sensor or three sensors which seperates each coler into (R G B) then processes the color and luminance into digital data, which is then stored in storage device or hard drive
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27
Q

color or black and white?

A
  • color: can be important element of meaning in different ways. symbolism, mood, and narrative progression represent only a few possibilities
  • black and white: by its nature, not realistic, more primal and more abstract. gives it strong expressive power
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28
Q

film formats

A

8, 16, 35, and 65 mm are common formats for film

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29
Q

digital formats

A
  • digital formats are hd
  • defined by sensor size
  • ranging from : 1/3, 1/2, 2/3, and 1 inch sensors
  • most popular cameras are Red One, Scarlet, and Epic cameras and the Arriflex Alexa
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30
Q

Aspect Ratios and Common capture

A
  • 1.33/1 Standard aspect ration (tv screen)
  • 1.37/1 Academy aperture
  • 1.66/1 Modern standard European Ratio
  • 1.85/1 Vistavision Modern Standard American
  • 2.35/1 Cinemascope, Warnerscope, panavision, techniscope, cinemascope 55, superscope 235
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31
Q

lenses

A
  • designed to collect light from a scene and focus light upon a film plate
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32
Q

how lenses function

A
  • resolve light on a frame of film or a digital sensor

- spherical or anamorphic

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33
Q

lense focal length

A
  • shorter lenses see a wider field of view than a longer lense
  • types of lenses: wide angle (12mm-28), Normal (50mm; 35-60mm), long angle (85 mm and up)
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34
Q

wide angle lenses

A
  • pull space in from the sides
  • push objects away from the camera
  • distance expands
35
Q

long lense

A
  • compress distances

- brings objects closer to camera

36
Q

anamorphic lenses

A
  • lens system that horizontally squeezes the image exposed on the negative
  • the negative and the printed squeeze positive is unsqueezed by projecter so that the image appearing on widescreen will appear normal
  • exposes 59% more film area
37
Q

spherical lenses

A
  • generic term for flat non-anamorphic photography
38
Q

lighting (most important questions)

A
  • where do we want the audience to look?

- what moods and feelings do we want to create?

39
Q

quality of light

A
  • hard light

- soft light

40
Q

hard light

A
  • light from a single source that produces highly defined shadows
41
Q

soft light

A
  • highly diffused light that produces a soft gradation from light to shadow
42
Q

lighting styles

A
  • low key
  • high key
  • graduated tonality
43
Q
  • low key lighting style
A
  • dark and moody lighting style
  • places emphasis on the shadows in the scene
  • tends to be high in contrast in terms of scene luminance range
44
Q

high key lighting style

A
  • bright in mood and low in contrast

- however, highly contrasting colors can be present in art direction

45
Q

graduated tonality

A
  • lighting with luminance range wide enough to include many distinct gradations between black and white
46
Q

studio lighting terminology

A
  • key light
  • fill light
  • backlight
  • set lights
  • practical lights
47
Q

key lights

A
  • usually the main or brightest light on set

- defines direction and strength of light that illuminates actor

48
Q

fill light

A
  • the soft light that fills in the shadows and reduces contrast
  • usually placed next to the camera lense
49
Q

back light

A
  • light that rims the body and seperates the actor from background
50
Q

set lights

A
  • lights that illuminate specific areas of the set without affecting actors
51
Q
  • practical lights
A
  • light that emanates from real light producing fixtures including desk lamps, neon signs, and computer screens
52
Q

Hollywood 3point lighting style

A
  • has roots in antiquity
  • artists sometimes used the style for centuries for a more realistic lighting scheme for paintings
  • key light: set in 45/45 degree position
  • fill light: placed next to the camera to control the contrast produced by the key light
  • back light: (usually a 3/4 back) to seperate actors and other objects from the background. with color film, backlight is not always necessary
53
Q

camera angles and points of view

A
  • objective
  • subjective
  • indirect subjective
54
Q

objective point of view

A
  • camera angle from audience point of view, not character
55
Q

subjective

A
  • camera angle from a personal point of view
  • represents the eye of the character
  • often shaky with characters talking directly at the camera
56
Q

indirect subjective

A
  • camera is very close to the actor and in his perspective, but not quite the eye of the character
57
Q

composition

A
  • the arrangement of visual elements within the frame
58
Q

framing

A

the frame-re-frame dynamic

59
Q

filters

A
  • change the physical properties of the image as it enters the lense
60
Q

types of filters

A
  • diffusion filters- defocus the lense
  • fog filters - lower contrast
  • color filters - change overall color
61
Q

laboratory and post manipulation

A
  • special laboratory procedures

- digital manipulation

62
Q

special laboratory procedures

A
  • methods of silver retention including bleach bypass and enr
  • will increase contrast
  • cross processing (e to c in photo slang) increases contrast in unusual ways
63
Q

digital manipulation

A
  • digital intermediate process: film by scanning frame by frame into a digital file where color and contrast can be manipulated far more thoroughly than traditional lab timing.
  • file can then be laser rescanned back onto films.
64
Q

role of director

A
  • primary creative force in a film
  • job is to create moving images that will narrate the actions of a screenplay
  • must collaborate creatively with artists and utilize tools available to produce a personal vision on screen
65
Q

artistic and practical challenges

A
  • time
  • budget
  • personnel
  • tools of production
  • location realities
  • imagination
66
Q

director as collaborator

A
  • working with writers
  • studio or independent production
  • ## working with actors
67
Q

the production process

A
  • block
  • light
  • rehearse
  • shoot

are also called set ups by assistant directors
think blurs without the u

68
Q

block

A
  • rough in the lighting
  • block actor movement
  • block camera movement
  • evaluate action
69
Q

light

A
  • light the stand ins for principal actors

- rehearse camera and dolly moves in terms of lighting and grip requirements, camera, lighting, and sound departments

70
Q

rehearse

A
  • first team actors do their final rehearsals
  • assistant camera and dolly grip set marks
  • electricians and grips “tweak”
71
Q

shoot (the take)

A
  • roll sound
  • roll camera
  • slate
  • action begins
  • cut by director
  • final appraisal, “was it a good take?”
72
Q

question of authorship

A
  • depends on how much artistic power a director has
  • is he a creator or interpreter
  • in tv producers have the artistic power and directors are their to inerpret screenplay ensure consistency
73
Q

Auteur theory

A
  • developed by Andre Bazin
  • the idea that the director is the auteur or author of a film, the primary artistic force
  • based on alexander astruc’s idea that the camera is the equivalent of a pen, “camera stylo”
74
Q

Francois Truffait

A
  • took ideas of Bazin and proposed that the greatest directors are able to use personal experience to film difficult to capture moments on film
  • called the politique de auteur
  • helped to start the french nouvelle vague in the 1950s- 1960s
75
Q

notable french new wave directors

A
  • jean luc godard
  • francois truffait
  • eric rohmer
  • claude chabrol
  • jacques rivette
  • agnes varda
  • jacques demy
76
Q

Le Politique de auteur

A
  • Truffait’s strategy to promote the idea of auteur

included:

  • elevating the status of underrated hollywood studio directors
  • vilifying french and european directors for their emphasis on literary classics that had no personal feelings involved. called this a “tradition of quality” sarcastically
  • emphasized importance of stylistic consistency and “world view” of a director’s work
  • raise the status of film from trivial popular entertainment to a major form of art
77
Q

Truffait’s question of authorship

A
  • auteurs must have a consistent world view that spans all their collection of pictures
  • this collection of pictures is called “ouvres”
78
Q

style and personal vision

A

ways a director can bring a personal style to their works:

  • choice of genre or narrative interest (consistency over a series of films)
  • world view (recurrent themes regardless of genre
  • camera style (composition, framing, movement, lighting, lenses)
  • editing style (montage and or misenscene)
79
Q

two ways that directors can confront and shape the material of film

A
  • design a style to suit material: de-emphasizes personal style
  • design material to suit a personal style: has consistent style within all their films. can create their own “special worlds” because their style is so distinct
80
Q

kurosawa’s world views

A
  • constantly deal with a protag that must break away from the social and cultural patterns of Japan in order to survive
81
Q

Ozu’s world views

A
  • constantly deal with a protag that resists the cultural and social patterns of Japan and eventually accept them in order to find freedom and happiness
82
Q

Naruse’s

A
  • the constant social and cultural patterns of Japan are unacknowledged and freedom is lost as it is sought
83
Q

world view

A
  • the use of personal experience and honest self expression in order to create and portray a personal and

art and technique of filmmaking (3 decks)

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