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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
Q

Rack Focus

A

Shifting the area of sharp focus from one plane to another during a shot

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26
Q

Canted Framing

A

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

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27
Q

Framing

A

The use of the edges of the film frame to select and to compose what will be visible onscreen

Method of narration through cinematography

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28
Q

Pan

A

A camera movement with the camera body turning to the right or left

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29
Q

Tilt

A

A camera movement with the camera body swiveling upward or downward on a stationary support

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30
Q

Tracking

A

Changes in positon, traveling

31
Q

Crane

A

Moves above ground level

32
Q

Long take

A

Unusually lengthy shot

33
Q

Direct Cut

A

No trace of shot A in shot B

34
Q

Fade In/Fade Out

A

Go from something to nothing or vise versa

35
Q

Dissolve

A

Cause simultaneity of shots

36
Q

Wipe

A

Part of shot B pushes shot A out of the way

37
Q

Elliptical Editing

A

Leaves out pieces of an action to cut time

38
Q

Continuous Editing

A

Things are shown as they happened

39
Q

Overlapping Shots

A

Expansion of time by repeating the same shot

40
Q

Graphic Match

A

Continuity of graphics, symmetry

41
Q

Graphic Discontinuity

A

Startling differences

42
Q

Hollywood/Invisible/Continuity Editing

A

Harmony of space that mimics human thought or perception

43
Q

Establishing Shot

A

A wider shot that serves as a tool of narration

44
Q

Match on Action

A

A cut caused by an action. Action happens in shot A and continues or is completed in shot B.

45
Q

POV/Eyeline Match

A

Reveals the perspective of the character and creates subjectivity

46
Q

Axis of Action

A

Invisible line by which action occurs

47
Q

Shot/Reverse Shot

A

A shot that is then reversed

48
Q

180 Degree Rule

A

Shifting a shot 180* all at once without a reestablishing shot breaks continuity and should be avioided

49
Q

Kuleshov Effect

A

In the absence of a reestablishing shot, people infer spatial continuity between shot A and shot B

50
Q

Who invented the dialectical montage?

A

Sergio Eisenstein

51
Q

Dialectical Montage

A

Editing should always take the audience out of their comfort zones through opposing shots

52
Q

Functions of Sound

A
  1. Directs attention
  2. Conveys information
  3. Motifs
  4. Represenation
53
Q

Types of Sound

A
  1. Dialogue/speech
  2. Music
  3. Effects
  4. Silence
54
Q

Volume

A

The loudness of the sound

55
Q

Pitch

A

The quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone.

56
Q

Timbre

A

The character or quality of a musical sound or voice as distinct from its pitch and intensity.

57
Q

Sound Bridge

A

Sound transfer from one scene to another

58
Q

The Origins of Utopia

A

Greek word for happy place or no place, yet takes a political connotation today

59
Q

Dyer’s Argument

A

Entertainment does not present models of a utopian society, but rather presents a uptoic feelin in its’d viewers

60
Q

Dyer’s Categories of Social Tension

A
  1. Scarcity
  2. Exhaustion
  3. Dreariness
  4. Manipulation
  5. Fragmentation
61
Q

Dyer’s Categories of Utopian Solution

A
  1. Abundance
  2. Energy
  3. Intensiy
  4. Transparency
  5. Community
62
Q

Jane Fuer’s Myth of Entertainment

A

The pleasure of a backstage musical is in the unraveling the myth and recreating what has been revealed

63
Q

The Types of Myths of Entertainment

A
  1. Myth of spontaneity
  2. Myth of integration
  3. Myth of audience
64
Q

Aspect Ratio

A

The relationship of the frame’s width to its height

65
Q

Backlighting

A

Illumination cast onto the figures in the scene from the side opposite of the camera

66
Q

Cinematography

A

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
Q

Cut

A

The joining of two strips of film together with a splice, or an instantaneous change from one framing to another

68
Q

Fidelity

A

The degree to which a film adaptation remains faithful to either the narrative details or the spirit of its source material

69
Q

Frame

A

A single image on a strip of film

70
Q

Hard Lighting

A

Illumination that creates sharp-edged shadows

71
Q

Jump Cut

A

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
Q

Long Shot

A

Framing in which the object appears small

73
Q

Superimposition

A

The exposure of more than one image on the same film strip or in the same shot

74
Q

Three-Point-Lighting

A

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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