Film Studies Flashcards

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1
Q

Mis en scene - proximity

A

Closeness or distance
Proxemic range
Insight on characters relationships

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2
Q

Extreme long shot

A

Establishes setting
Subject very small

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3
Q

Long shot

A

Head to toe
Still some distance

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4
Q

Medium long shot

A

Character from head to knees
Focus on surrounding and setting
Nothing to do with character personality

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5
Q

Medium shot

A

Wait to head
Clear expressions and movement of character

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6
Q

Medium close up

A

Head to shoulders or chest
Very visible facial expressions
Identifies characters emotions and reactions

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7
Q

Close-up

A

Character’s head, sometimes shoulders
What the character is feeling or saying at the time
Can be an object
Great attention paid to

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8
Q

Extreme close up

A

Dramatic purposes and effects
Focus on an aspect of a character
Creates suspense, drama, tension

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9
Q

Point of view shot

A

Shares the character’s POV
helps the audience to identify or empathise with the character

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10
Q

Over the shoulder POV

A

same as POV

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11
Q

Eye level angle

A

Brings the viewer on the same level as characters
Normal, part of the scene

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12
Q

High angle

A

Reduces the subject to insignificance
Inferior, vulnerable, weak

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13
Q

Birds eye view

A

Subject is tiny
Map like effect

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14
Q

Low angle

A

Powerful, superior, menacing
Subject appears larger than life

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15
Q

Worms eye

A

Exaggerates low angle effects

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16
Q

Dutch angle

A

Tiltes
Scene appears unbalanced

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17
Q

Screen direction - definition

A

Direction of our eyes moving in a frame
Left to right = comfortable bc reading
Opposite = uncomfortable

Top to bottom = comfortable bc gravity
Opposite = uncomfortable

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18
Q

Horizontal lines

A

Waves crashing on beach for example
Tranquility, peace

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19
Q

Vertical lines

A

Top to bottom reminds us of enormous things makes viewer seem tiny or vulnerable

Relations of power or authority, success or failure

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20
Q

Diagonal lines

A

Suggests movement

21
Q

Symmetry or balance

A

Conveys balance, may reflect an ordered universe
Size, colour, shapes of object repeated etc
Or conveys discord or segregation

22
Q

Asymmetry

A

Puts viewer off balance
Conveys struggle or that evil is afoot

23
Q

Diagonals

A

Movement or activity

Up-diagonal: triumphant caterpillar
Down-diagonal: the exhausted cyclist

24
Q

Depth of field

A

Character in distance appears smaller
Character in foreground is more important
Moving from foreground to background communicates the emotional problems a character is experiencing

25
Q

Rack focus

A

To change plane for focus from one object to another

26
Q

Focus

A

Shallow - foreground, dominating scene , BG blurred
Deep - No blur, idea of relationship
Sharp - draw attention, focal point
Soft - slightly blurred, romatic, dreamlike atmosphere

27
Q

Foregrounding and backgrounding

A

Closer objects seem larger and more dominant

28
Q

Closed frame

A

Character positioned within border
Ie window frame or door
Or objects restricting character
Sense of entrapment and claustrophobia
Only what is in the frame is reality, nothing exists outside the border

29
Q

Open frame

A

No objects impending frame of character
Open space
Sense of freedom and liberation

30
Q

Position

A

Objects placed in the top half of the frame will have more weight

31
Q

Rule of thirds

A

The eye naturally places itself to a point of two thirds of the frame
Informal and asymmetrical balance

32
Q

3 main lighting techniques

A

Key
Fill
Back

33
Q

High key lighting

A

Brightly lit, even light, fee shadows
Suggests happiness, brightness, cheerfulness

34
Q

Low key lighting

A

Dimly lit, atmospheric pools of light
Sadness, menace, mystery, gloom

35
Q

Notan lighting

A

Neutral key
Message of objectivity

36
Q

Fill light

A

Reduce shadow

37
Q

Rim light

A

Slight glow
Separates subject from background

38
Q

Soft lighting

A

Mysteries and thrillers

39
Q

Overexposed lighting

A

Dreamlike effect or nightmare

40
Q

Back lighting

A

Idealises subject
Creates sense of awe or wonder

41
Q

Side lighting

A

Gives solidarity depth and shape

42
Q

Top lighting

A

Spiritual effect, heavenly

43
Q

Bottom lighting

A

Evil or uncanny
Harsh
Makes subject look sinister

44
Q

Half lit shot

A

Makes character morally ambivalent

45
Q

Chiaroscuro lighting

A

Selects areas to be lit or dimmed or blacked out

Rembrandt
Cameo
Silhouette

46
Q

Rembrandt

A

Certain areas well lit in frame contrasted to dark
Both effects can be in one subject

47
Q

Cameo lighting

A

Foreground lit
Background dark
Spotlight on someone

48
Q

Silhouette lighting

A

Emotionally loaded, mysterious
Foreground is dark
Background is lit

49
Q

Shape

A

Ie disorientation: man viewed upside down