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Intro to Film > Film Final Review > Flashcards

Film Final Review Flashcards

1
Q

Elements of Producing a Film

A
  1. Pre-production
  2. Production
  3. Post-production
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2
Q

Elements of Pre-Production

A

Shooting, actors, director, cinematographer

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3
Q

Elements of Post-Production

A

Editing

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4
Q

Independent vs. Studio

A

Independent

  • less money
  • less limits

Studio

  • more money
  • more limits
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5
Q

Diegesis

A

Story world. Includes events that are presumed to have occurred and actions and spaces not shown on screen.

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6
Q

Narrative

A

The process through which the plot conveys or withholds story information. The narration can be more or less restrictive to character knowledge and more or less deep in presenting characters’ perceptions and thoughts

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7
Q

Exposition

A

An introduction

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8
Q

Plot

A

All the events that are directly presented to use, including their causal relations, chronological order, duration, frequency, and spatial location

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9
Q

Story

A

All the events that are seen and heard, plus all those that are inferred to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations

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10
Q

Range

A

Knowledge given to viewers and characters

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11
Q

Types of Depth

A
  1. Objective

2. Subjective

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12
Q

Flashback

A

An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown

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13
Q

Types of Subjective Depth

A
  1. Perceptual
    • how a character sees something (POV)
  2. Mental
    • seeing what’s going on the mind
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14
Q

Contrast

A

Comparative difference in light and dark

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15
Q

Exposure

A

Regulates the light that passes through the camera

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16
Q

Wide-angle Lens

A

Cover wide areas and distort lines

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17
Q

Normal Lens

A

Avoids noticeable perspective distortion

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18
Q

Telephoto Lens

A

Flattens the space and decreases depth and volume

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19
Q

Zoom Lens

A

Enlarge shots

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20
Q

Focal Length

A

The distance from the center of the lens to the point at which the light rays meet in sharp focus. Determines the perspective relations of space represented on the flat screen

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21
Q

Focus

A

The degree to which light rays coming from the same part of an object through different parts of the lens reconverge at the same point on the film frame, creating sharp outlines and distinct textures

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22
Q

Depth of Field

A

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

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23
Q

Deep Focus

A

A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus

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24
Q

Deep Space

A

An arrangement of elements of mise-en-scene that add considerable distance between the plane closest to the camera and the one furthest away

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25
Rack Focus
Shifting the area of sharp focus from one plane to another during a shot
26
Canted Framing
A view in which the frame is not level; either the right or the left side is lower than the other, causing objects in the scene to appear slanted out of an upright position
27
Framing
The use of the edges of the film frame to select and to compose what will be visible onscreen Method of narration through cinematography
28
Pan
A camera movement with the camera body turning to the right or left
29
Tilt
A camera movement with the camera body swiveling upward or downward on a stationary support
30
Tracking
Changes in positon, traveling
31
Crane
Moves above ground level
32
Long take
Unusually lengthy shot
33
Direct Cut
No trace of shot A in shot B
34
Fade In/Fade Out
Go from something to nothing or vise versa
35
Dissolve
Cause simultaneity of shots
36
Wipe
Part of shot B pushes shot A out of the way
37
Elliptical Editing
Leaves out pieces of an action to cut time
38
Continuous Editing
Things are shown as they happened
39
Overlapping Shots
Expansion of time by repeating the same shot
40
Graphic Match
Continuity of graphics, symmetry
41
Graphic Discontinuity
Startling differences
42
Hollywood/Invisible/Continuity Editing
Harmony of space that mimics human thought or perception
43
Establishing Shot
A wider shot that serves as a tool of narration
44
Match on Action
A cut caused by an action. Action happens in shot A and continues or is completed in shot B.
45
POV/Eyeline Match
Reveals the perspective of the character and creates subjectivity
46
Axis of Action
Invisible line by which action occurs
47
Shot/Reverse Shot
A shot that is then reversed
48
180 Degree Rule
Shifting a shot 180* all at once without a reestablishing shot breaks continuity and should be avioided
49
Kuleshov Effect
In the absence of a reestablishing shot, people infer spatial continuity between shot A and shot B
50
Who invented the dialectical montage?
Sergio Eisenstein
51
Dialectical Montage
Editing should always take the audience out of their comfort zones through opposing shots
52
Functions of Sound
1. Directs attention 2. Conveys information 3. Motifs 4. Represenation
53
Types of Sound
1. Dialogue/speech 2. Music 3. Effects 4. Silence
54
Volume
The loudness of the sound
55
Pitch
The quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone.
56
Timbre
The character or quality of a musical sound or voice as distinct from its pitch and intensity.
57
Sound Bridge
Sound transfer from one scene to another
58
The Origins of Utopia
Greek word for happy place or no place, yet takes a political connotation today
59
Dyer's Argument
Entertainment does not present models of a utopian society, but rather presents a uptoic feelin in its'd viewers
60
Dyer's Categories of Social Tension
1. Scarcity 2. Exhaustion 3. Dreariness 4. Manipulation 5. Fragmentation
61
Dyer's Categories of Utopian Solution
1. Abundance 2. Energy 3. Intensiy 4. Transparency 5. Community
62
Jane Fuer's Myth of Entertainment
The pleasure of a backstage musical is in the unraveling the myth and recreating what has been revealed
63
The Types of Myths of Entertainment
1. Myth of spontaneity 2. Myth of integration 3. Myth of audience
64
Aspect Ratio
The relationship of the frame's width to its height
65
Backlighting
Illumination cast onto the figures in the scene from the side opposite of the camera
66
Cinematography
A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase
67
Cut
The joining of two strips of film together with a splice, or an instantaneous change from one framing to another
68
Fidelity
The degree to which a film adaptation remains faithful to either the narrative details or the spirit of its source material
69
Frame
A single image on a strip of film
70
Hard Lighting
Illumination that creates sharp-edged shadows
71
Jump Cut
An elliptical cut that appears to be an interruption of a single shot. Either figures seem to change instantly against a constant background, or the background begins to change instantly while the figures remain the same
72
Long Shot
Framing in which the object appears small
73
Superimposition
The exposure of more than one image on the same film strip or in the same shot
74
Three-Point-Lighting
A common arrangement using three directions of light on a scene: from behind the subjects (backlighting), from one bright source (key lighting), and from a less bright source balancing the key light (fill light)

Intro to Film (2 decks)

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