Final

Question 1

impact of film, and the art/commerce aspect of filmmaking

Answer 1

cinema has the broadest exposure. artistic medium of the 20th century.
More linked to commerce than any other art.
Artistic and commercial interests are tied up in film making. Look to see if more art or more commerce, look at each end on film continuum and then see where it sits.
Commerce: vehicle for star, entertaining but forgettable visual story. Rarely stand test of time. generational based.
Art: visionary, script, compelling acting, innovative cinematography, distinctive design.

Question 2

producer

Answer 2

They oversee the financial, legal, and material details of the film. Hire people. Worry about budgets therefore more invested.

Question 3

actor

Answer 3

Have to develop very specialized skills and talents. tend to cultivate smaller gestures and expressions.

Question 4

production designer

Answer 4

Gives a film their own unique “look”.
Focus on elements such as colors, textures, appearance, and so on.
oversees Costumes, props, sets, makeups.

Question 5

screenwriter

Answer 5

write scripts for films. they write with filmed images in their head. Changes considerably when filmed.
Good script: has meaning tied to the moving image.
Bad script calls attention to itself.

Question 6

director

Answer 6

only one. responsible for tone and style of film. Greatest input and control over the whole process from beginning to end. Director’s work precedes that of the writers.
Director has distinctive style.

Question 7

cinematographer

Answer 7

Ability to control the eye of the audience. They must draw us into the action and engage both our thoughts and our emotional reactions. Must convey meaning but be interesting.
“Artists of the moving image”

Question 8

editor

Answer 8

Most films require massive team of editors who have the postproduction job of taking all the raw footage of the film. Add effects, put in order, can spend months in postproduction.
Editors show a major influence on the pace of the film. they can change the speed.

Question 9

composer

Answer 9

early days of silent films, piano or organ players would provide music.
Write soundtracks, and use music to color a scene. Creates an artistic marriage between image and sound.

Question 10

IMR definition and meaning

Answer 10

institutional mode of representation. specific cinematic techniques that provoke specific responses in the audience.

Question 11

Establishing shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 11

a long shot that shows the audience the overall location of the film before moving in on the action. Also aerial shots.
Helps us feel oriented to a particular place and space.
lets the audience know the overall location and layout of a particular scene or sequence.

Question 12

Long shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 12

filmed from a distance and shows broad view of the scene. used to “objectify” the action. less control over the audience. help locate characters or show larger scope.

Question 13

medium shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 13

shows character from head to toe. often show us relationships between characters. how closely they are located to each other and how they interact.

Question 14

close up.

define each IMR term/technique, and to explain its effect on the viewer

Answer 14

filmed up close, showing a limited view of the scene. (only face) draws audience into action and identify with it. intensify emotional expression.

Question 15

low-angle shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 15

films subject from below. makes the subject larger than life and intensifies action. makes heroes more powerful and villains more threatening and evil.

Question 16

high-angle shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 16

taken from above the action. bird’s eye view. makes characters small and vulnerable or isolated.

Question 17

point-of-view shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 17

shows from the characters POV. helps relate to character.

Question 18

tracking shot.

define each IMR term/technique, and to explain its effect on the viewer

Answer 18

infuse a scene with energy, as they visually follow the action and actor through every twist and turn. Camera moves from one point to another.

Question 19

Straight Cut.

define each IMR term/technique, and to explain its effect on the viewer

Answer 19

straightforward, unobtrusive joining of two shots or scenes. unobtrusive, non attention seeking story telling.
ex. shot of mom telling son to clean room, then cuts directly to a shot of son looking mad at mom.

Question 20

Jump cut.

define each IMR term/technique, and to explain its effect on the viewer

Answer 20

sudden jump forward or backward in space or time for no apparent logical reason. Used to comment thematically or metaphorically on something. do it figuratively.
NOT flashbacks or forward jumps to a new scene.
ex. couple fighting, then b/w scene of bullfight.

Question 21

Cross Cut.

define each IMR term/technique, and to explain its effect on the viewer

Answer 21

increase suspense as the audience jumps back and forth between events that are happening in different locations at the same time.
ex. hostage tied to bomb, same time hero at headquarters looking

Question 22

Match Cut.

define each IMR term/technique, and to explain its effect on the viewer

Answer 22

encourage the characters to compare two different characters, ideas, or objects by comparing two adjacent shots. Matches similar physical shapes or layouts wihtin the frame. creates visual and logical link.
ex. head out front door on right excited, comes back through right front door tired.

Question 23

transitional technique: Fade.

define each IMR term/technique, and to explain its effect on the viewer

Answer 23

image either fades out (to black or white screen) or fades in (from a b or w screen).
They slow pace of film more than straight cuts.
Tend to create a slower or more lyrical feel to a scene. also suggest passage of time.

Question 24

transitional technique: Dissolve.

define each IMR term/technique, and to explain its effect on the viewer

Answer 24

slow the pace of the film, creates a smooth and lyrical transition as one scene fades in while the other dissolves out.
SUPERIMPOSITION (two images on top)
used for thoughts or memories, or gently move locations.

Question 25

transitional technique: Wipe.

define each IMR term/technique, and to explain its effect on the viewer

Answer 25

a line passes across the screen in any direction, eliminating the first image as it passes through the frame and replaces it.
they call attention to themselves, used in fantasy or farce.

Question 26

transitional technique: Iris.

define each IMR term/technique, and to explain its effect on the viewer

Answer 26

lend an artificial or fantasy touch to a moment where our focus is directed to a small section of the screen.
single point in center that expands to fill screen or opposite.

Question 27

Pan.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 27

movement of the camera from left to right around the imaginary vertical axis that runs through the camera from top to bottom.
Used in conjunction with POV shots to show where character is looking. also to scan a landscape.

Question 28

Tilt.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 28

shot with the camera tilts up or down, rotation on the horizontal axis that runs on camera.
used in POV shots.

Question 29

Zoom.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 29

lens adjust the focal length.
used to
(1) direct the audience’s focus to a detail within a long or medium shot
(2) intensify a characters reaction. ends up more comical or campy.

Question 30

rack/follow focus. and Deep focus.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 30

Rack/ Follow:
shifting focus to direct the viewer’s attention from one subject to another as it moves away from or toward the camera.
ex. character on bench, focus to see the cop staring at him

DEEP focus: all the characters and background remain in focus.
require us to pay attention to everything within the frame and often include some significant action deep in the frame.

Question 31

Slow Motion and Fast Motion.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 31

Slow Motion: shot at a faster speed to appear slowed down.
Conveys dream states, fantasy, or illusion, or maximize a dramatic moment.

Fast Motion: gives a comic or frantic effect. compresses the passage of time.

Question 32

Freeze Frame.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 32

a still shot created by repeating a single frame several times to give the illusion of a still photograph.
used to elevate the moment’s importance.

Question 33

Handheld.
special camera techniques
define each IMR term/technique, and to explain its effect on the viewer

Answer 33

Shaky footage that does not use the standard steady cam.

gives a realistic, gritty, or documentary-style feel to the film.

Question 34

Early Silent Films: D. W. Griffiths ((Birth of a Nation)

Answer 34

D.W.- pioneered many IMR. never content with the simple.
Birth of a Nation: 3 hour epic, follows families during and after Civil war. Directs emotions. (seems overly dramatic now).
Provoked riots because of its racist and demeaning depictions of blacks and glorification of the KKK.
Uses irises during assassination.

Question 35

Hollywood Studio Films: The Wizard of Oz

Answer 35

Wizard of Oz: Went from sepia to Technicolor.
Produced by MGM. needed studio backing. The massive scale of The Wizard of Oz, and the massive resources demanded, ensured that only a major studio with financial and material resources to spare could make such a film. chose Dorothy gale cause she can sing and not shirley temple.

HSF: For all its flaws, the Hollywood studio system was able to concentrate artistic talent in a pool of cast and crew who all worked at the same studio.

Question 36

Italian Neorealism: Vittorio de Sica (Bicycle Thieves)

Answer 36

By the late 1940s, most Hollywood films were in color, but the Italian Neorealists used black-and-white film for a grittier, newsreel feel.
The characters in Vittorio de Sica’s film Bicycle Thieves were played by “common” people who had never acted in films before.
In the clip you watched, Antonio, after much deliberation, tries to steal a bicycle, only to be apprehended almost instantly.

Question 37

French New Wave: Jean-Luc Goddard (Breathless)

Answer 37

Goddard often omitted establishing shots to maximize a sense of disorientation.

It is evident in many of Jean-Luc Goddard’s films that the actors have been given a basic setup of a few key lines and have been left to “create” the film as it is being filmed, no traditional script in sight.

Question 38

The Blockbuster: Steven Spielberg (Jaws), George Lucas (Star Wars)

Answer 38

Steven Spielberg claimed that he was repeatedly almost fired from Jaws, his first blockbuster film.

George Lucas: warned that the Hollywood blockbuster may be in danger of imploding

Question 39

World Cinema and Indie Film

Answer 39

Indie and foreign films have a better shot at gaining an audience today than ever before in film history.
Many film festivals now seek out or showcase independent films.
The internet has made films more readily available to a wider audience.
Digital technology, widely available, now offers more people the chance to make films.

NOT: The world is more eager to learn about other cultures through the medium of film.

Question 40

Danseur

define and identify

Answer 40

term for the man in a ballet.

ballerinas are the women.

Question 41

Pas de Deux

define and identify

Answer 41

the soliloquy in a play or the aria in an opera. The highlight of the ballet. shows off the choreographer’s skill as well as the virtuosity of the performers.
Translates to “step of two”
Typically for the lead ballerina and lead danseur.

Question 42

En Pointe

define and identify

Answer 42

the movements when a ballet dancer supports all of his or her body weight on the tips of fully extended feet within pointe shoes

Question 43

Les Ballet Russes

Answer 43

The famous performance in Paris (May 1909) of what is called “the greatest roster of dancers, some of whom became legends in their own lifetimes” was a group of dancers known as Les Ballet Russes.
Birth of a new era in ballet.

Important names to know from this performance were danseur Nijinsky and ballerina Pavlova.

Question 44

Balanchine

Answer 44

(ballet)
Finest work is Apollo
Considered the greatest choreographer of the twentieth century. He successfully defected from the Soviet Union and formed the American Ballet Theater.
Though influenced by modern dance, Balanchine was strict in using classical ballet as the foundation for his dances.

Question 45

Mademoiselle La Fontaine

Answer 45

(ballet)
Ballet was performed by men with only a few exceptions—one notable exception was the first ballerina, Mademoiselle De Lafontaine in 1681.

Question 46

Villella

Answer 46

(ballet)

coined the phrase “total control and total freedom”

Question 47

Misty Copeland

Answer 47

(ballet)
makes history as the first African American Female Principal Dancer with the prestigious American Ballet Theatre.

Copeland’s style may remind you of Baryshnikov’s because she has a similar power and athleticism. she is also elegant and graceful.

Question 48

Baryshnikov

Answer 48

(ballet)
Athleticism and precision make his performances powerful and compelling. He may be the most gifted technical danseur of all time. While still in the Soviet Union, he was called by New York Times critic Clive Barnes “the most perfect dancer I have ever seen.”
starred in Movie “White Nights”

Question 49

Isadora Duncan

Answer 49

(modern dance)
type of dance free to express emotions directly and spontaneously.
inspired by classical Greece.
suggests that before children learn to dance, they must first be taught to breathe

Question 50

Merce Cunningham

Answer 50

(modern dance)
Pioneer of modern dance. Uses her body to express psychological states by means of contractions out of the solar plexus and back.
considered all body movements running, jumping, and falling as equally important.

Question 51

Twila Tharp

Answer 51

(modern dance)
most innovative recent modern choreography. dances are another hybrid mixture of ballet discipline and modern freedom, more wide than martha graham.
Draws inspiration from pop dance forms (jazz, tap, and social dance) making it wholly improvised.

Question 52

Martha Graham

Answer 52

(modern dance)
Inspired by Greek tragedy.
storytelling dance style.
Appalachian Spring- story broadens out to become a parable about Americans conquering a new land.
Graham danced the lead role herself, and her real husband danced the husband’s role. Note how Graham incorporates traditional square/frontier dance steps into her groundbreaking choreography.
had Copland compose music.

Question 53

CATHY BLACK’S “ADVICE TO THE FIRST-TIME VIEWER OF MODERN DANCE”

Answer 53

1. Preconceptions: modern dance is eclectic, personal, and often abstract. go in as empty cup to be filled, no preconceived expectations.
2. Judgement: only judge after performance, not during or before. All levels of perception, visual, musical, dramatic, kinetic, and philosophical and not all can be found in every dance. Apply the applicable levels.
3. Post conceptions: before you make your final judgement, you will periodically immerse yourself in several modern-dance concerts. They are the hardest to get into. Dancers want to speak to audience by having them plug their own life experiences into the interpretations of dance.

Question 54

The basic formations of folk dance

Answer 54

Dances that reflect the values of the folk, the people of a certain geographical locale.

Basic formations:
Circle: 7 of 9 are in variation of circle. Symbolic of the sun or wheel of life and suggests eternity.
Square dances: symbol of man and woman as complementary opposites.
Diamond or lozenge: symbol of rebirth.
V Shape: represents bull’s horns
Triangle: sacred symbol of the Earth Mother goddess”

Question 55

define and describe the three coordinates of dance:

Answer 55

1. physical: is associated with ballet’s attempt to defy gravity. “weight vs weightlessness”
2. psychological: is about the expression which comes from the core, or solar plexus. associated with modern dance.
3. social: goes beyond dancer’s body and establishes relationships between 2 or more bodies moving in a space. tension involves dynamics of attraction and repulsion. seen in pas de deux.

Question 56

the three aspects of ballet:

Answer 56

1. alignment: strict posture. describes the strict verticality of ballet.
2. extension: the dancer’s limbs are trained to create the longest, most lyrical line possible. accentuates the vertical line of the body.
3. turnout: the rotation of the legs from the hips. ability to rotate the leg from the hip (not knee) socket. 180 degree angle of turnout.

Question 57

ballad

Answer 57

simplest and enduring forms of poetry.
It retains the folk-song patterns of its origins – four lines of iambic verse alternating tetrameter/trimeter pattern.

Many hymns follow this alternating tetrameter/trimeter pattern of the ballad.

Question 58

ode

Answer 58

A longer and more elevated form of poetry. an extended lyrical verse dealing with one central theme.

• strophe: chorus moved up one side of stage
• antistrophe: moved down the other side of stage
• epode: chanted while standing in place.

Question 59

sonnet

Answer 59

most rigorous poetic forms.
strict metrical pattern consisting of fourteen lines, arranged in a particular rhyme scheme.
traditionally 2 types:
-Italian (petrarchan) 2 rhyming groups, an octave and sestet.
-The English (shakespearean sonnet) divided into 4 sections, 3 quatrains, and a couplet.

Question 60

free verse

Answer 60

most common nontraditional form. changing the way it is portrayed on the paper. technology helps.

Question 61

Familiarize yourself with imagery: direct associations to the senses—

Answer 61

seeing, hearing, tasting, smelling, and body movement.

Question 62

describe the Four Ways of Looking at a Poem:

Answer 62

• literal: interested in the subject matter. title tips us off.
• allegorical: translates abstract notions into pictures. deeper meanings.teaching by analogy.
• moral: makes value judgements about the events. focuses on the experience in the poem.
• Anagogical or spiritual: how the poem centers around the veiled allusions to Christ.

Question 63

Early Silent Films: Sergei Eisenstein (Battleship Potemkin)

Answer 63

Sergei Eisenstein: a supporter of the new socialist regime in Russia, made Battleship Potemkin to focus on events that led to the Russian Revolution of 1917 that deposed the tsar.
In his montages of collisions, Eisenstein hoped to direct the audience’s reactions, so that when they saw a shot of an innocent and orphaned baby, followed by a shot of a marching line of ruthless soldiers, they would feel animosity toward the soldiers and pity for the victims of the city of Odessa (including the baby). Eisenstein leaves no room for viewers to decide for themselves—he directs their emotional responses.

Question 64

Auteur theory suggests that..

Answer 64

Those who advocate for auteur films esteem films that showcase the individual styles of their directors.

Question 65

three things to look for in folk dance

Answer 65

1. Rhythm: how well the dancers express with their bodies the basic rhythmic patter of the folk music
2. Styling: dancer’s appearance and subtler sense of nationality behind each dance.
3. Body Control: physical stamina and concentration

Question 66

personal essay as a personal opinion

Answer 66

• an opinion that is based on a particular political or social concern or topic of interest.
• states the problem, provides solutions, and then writes a conclusion—which must state an important point.
• frequently seeks to explain the truth or reality as he or she views it.
• must not lecture, sermonize, or moralize. present the opinion in such a way that the readers are allowed to decide for themselves.
• a conversation with your readers.
• an informed mixture of storytelling, facts, wisdom, and personality.
• examines a subject outside of yourself, but through the lens of self.
• strives to say what is evident and to come to a conclusion that the reader may agree or disagree with.
• A personal essay can wander through its subject, circle around it, get the long view and the short, always providing experience, knowledge, book learning, and personal history.

Question 67

personal essay as a personal narrative

Answer 67

• It is based on a personal experience
• includes dialogue, imagery, characterization, conflict, and plot.
• written in the first person
• It is an autobiographical story of an incident that resulted in some personal growth or development.
• A personal essay is a glimpse of the writer’s life. must have a theme.
• does not have to be objective. must express his or her feelings, thoughts, and emotions.
• uses self-disclosure and is honest.
• a real-life experience. must use facts and truth.
• must dramatize the story by using the scene-building technique.