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Intro to Cinema Studies > Final Exam > Flashcards

Final Exam Flashcards

1
Q

Four Dimensions of Film

A

mise-en-scene
cinematography
editing
sound

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2
Q

Mise-en-scene meaning

A

“putting into the scene,” from the French theatre

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3
Q

Elements of Mise-en-scene

A

setting
lighting
costumes + makeup
staging/figure movement

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4
Q

Setting

A

shot on location or on a constructed set

prop (property) –> an aspect of setting

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5
Q

Four major features of film lighting

A

quality
source
direction
color

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6
Q

Composition

A

the arrangement of visual elements within the frame

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7
Q

Elements of Composition

A

symmetry
balance
shape
color

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8
Q

Visions of Light

A

Arnold Glassman (1993)

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9
Q

Four factors in every shot

A

framing
depth of field
color
movement

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10
Q

Framing

A

the use of edges to determine what will be visible on screen

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11
Q

What does framing define?

A

mise-en-scene

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12
Q

Aspect Ratio

A

ratio or width to height

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13
Q

Camera…

A

angle
level/balance
height
distance

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14
Q

Depths of Field

A

deep (Citizen Kane 1941)
shallow (Se7en 1995)
racking

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15
Q

Camera Movements

A

pan
tilt
tracking
crane

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16
Q

Four Methods of Joining Shots

A

cut
fade
dissolve
wipe

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17
Q

Four Basic Areas of Editing

A

graphic
rhythmic
spatial
temporal

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18
Q

Graphic Editing

A

editing together the pictorial qualities of two shots

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19
Q

Rhythmic Editing

A

when a discernible pattern emerges, editing has its own visual “beat” or tempo

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20
Q

Spatial Editing

A

editors can juxtapose any two points in space and time

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21
Q

Temporal Editing

A

manipulation of our experience in story time through editing

flashback
flashforward
elliptical editing
overlapping editing

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22
Q

When did synchronized sound become the industry standard?

A

1927

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23
Q

Which film introduced synchronized sound?

A

Warner Brother’s release of “The Jazz Singer”

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24
Q

Three Types of Cinematic Sound

A

speech (dialogue)
music
sound effects (noise)

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25
Two Kinds of Sound Image Relationships
on-screen sound (visible onscreen source) off-screen sound (no visible onscreen source)
26
Diegetic Sound
has a clear source within the film's diegesis (story)
27
Nondiegetic Sound
Does not have a clear source within the films diegesis (story)
28
Two Types of Diegetic Sound
internal and external
29
Internal Diegetic Sound
Originates within a character’s subjectivity, part of the diegesis, but other characters cannot hear it (inside the character’s head)
30
Narrative
a chain of events linked by cause and effect and occurring in time and space
31
Motif
a significant element that is repeated in a film (similarity and repetition)
32
What can strong similarities and repetition create?
Parallelism
33
Four Types of Character Development
External Change Internal Change Progressive Character Development Regressive Character Development
34
External Change
indicates physical changes ex: graying hair, weight loss
35
Internal Change
measures character change from within ex: character becomes bitter
36
Progressive Character Development
an improvement or advance of some quality in a character
37
Regressive Character Development
loss of or return to some previous state or a deterioration from the present state
38
Documentary
a non-fiction film that presents real people and events
39
How is narration different in documentaries?
common use of voice-over and direct address
40
Documentaries are assumed to be factual even if
the filmmaker has an agenda
41
Documentaries are
informative, cultural, historical, biographical, rhetorical (persuasive), etc.
42
Features of Errol Morris' Filmmaking
- investigative approach to everything - always testing the limits of human knowledge and understanding - an abiding belief that the truth is out there - complex narratives
43
Highly stylized elements of Errol's filmmaking
- cinematography –> framing, slow-motion, use of shallow focus, grainy image - editing –> artful match cuts - sound –> sophisticated relationship between sound and image
44
Auteur
from French for "author"
45
The auteur is always the
director b/c at the end of the day its the director who makes the final decisions regarding casting, editing, cinematography, etc.
46
What did Francois Truffaut write?
his essay “Une Certaine Tendence du Cinema Francais” for Cahiers du Cinema in 1954
47
What did Francois Truffaut argue?
that the work of an auteur could be detected in Hollywood productions; director’s filmography illustrates the author’s “signature”
48
Who did Francois Truffaut name as auteurs?
Hitchcock, John Ford, Welles, and Howard Hawks
49
Who are two other auteur critics?
Andrew Sarris and Peter Wollen
50
What did Andrew Sarris argue?
the the whole body of work marks an auteur, regardless of different cinematographers, stars, and screenwriters
51
What does Sarris say a director must have to be considered an auteur?
- a substantial body of work by which to judge - a strong command of the medium and must make good movies
52
Arguments against auteur theory
- genesis of a film is too complicated to ascribe to a single person - cinematographers, stars, producers, and screenwriters are as least as much auteurs if not more than directors - many films bear the recognizable stamp of the studio system more than the director - privileges contributions of white male directors and marginalizes women and artists of color
53
Who is the cinematographer on most of Spike Lee’s films?
Ernest Dickerson
54
Avant-garde meaning
comes from the French, meaning "vanguard" or "advance guard"
55
Avant-garde
- stretches the conventional limits of the medium - experiments with aesthetics - rejects the conventions of mainstream movies and the studio system
56
T.D. Rice
- most famous minstrel performer - created the Jim Crow character in the 1830s - particularly popular in the postbellum era
57
Possibly In Michigan concludes with Sharon and Janice sitting down to a nice meal, the main course of which is
Arthur, the man stalking them who they killed
58
Deborah Stratman dedicates Hacked Circuit to two people.
Walter Murch and Edward Snowden
59
Chris Marker described his film ______ as a photo-roman (photo novel?)
La Jetee (1962)
60
Who was Maya Deren's first husband and the cinematographer for Meshes of The Afternoon (1943)?
Alexander Hammid
61
Who was Maya Deren's third husband who's music was incorporated into the previously silent film Meshes of the Afternoon (1943)
Teiji Ito

Intro to Cinema Studies (7 decks)

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