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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
Q

Two Kinds of Sound Image Relationships

A

on-screen sound (visible onscreen source)

off-screen sound (no visible onscreen source)

26
Q

Diegetic Sound

A

has a clear source within the film’s diegesis (story)

27
Q

Nondiegetic Sound

A

Does not have a clear source within the films diegesis (story)

28
Q

Two Types of Diegetic Sound

A

internal and external

29
Q

Internal Diegetic Sound

A

Originates within a character’s subjectivity, part of the diegesis, but other characters cannot hear it (inside the character’s head)

30
Q

Narrative

A

a chain of events linked by cause and effect and occurring in time and space

31
Q

Motif

A

a significant element that is repeated in a film (similarity and repetition)

32
Q

What can strong similarities and repetition create?

A

Parallelism

33
Q

Four Types of Character Development

A

External Change
Internal Change
Progressive Character Development
Regressive Character Development

34
Q

External Change

A

indicates physical changes

ex: graying hair, weight loss

35
Q

Internal Change

A

measures character change from within

ex: character becomes bitter

36
Q

Progressive Character Development

A

an improvement or advance of some quality in a character

37
Q

Regressive Character Development

A

loss of or return to some previous state or a deterioration from the present state

38
Q

Documentary

A

a non-fiction film that presents real people and events

39
Q

How is narration different in documentaries?

A

common use of voice-over and direct address

40
Q

Documentaries are assumed to be factual even if

A

the filmmaker has an agenda

41
Q

Documentaries are

A

informative, cultural, historical, biographical, rhetorical (persuasive), etc.

42
Q

Features of Errol Morris’ Filmmaking

A
  • 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
Q

Highly stylized elements of Errol’s filmmaking

A
  • cinematography –> framing, slow-motion, use of shallow focus, grainy image
  • editing –> artful match cuts
  • sound –> sophisticated relationship between sound and image
44
Q

Auteur

A

from French for “author”

45
Q

The auteur is always the

A

director b/c at the end of the day its the director who makes the final decisions regarding casting, editing, cinematography, etc.

46
Q

What did Francois Truffaut write?

A

his essay “Une Certaine Tendence du Cinema Francais” for Cahiers du Cinema in 1954

47
Q

What did Francois Truffaut argue?

A

that the work of an auteur could be detected in Hollywood productions; director’s filmography illustrates the author’s “signature”

48
Q

Who did Francois Truffaut name as auteurs?

A

Hitchcock, John Ford, Welles, and Howard Hawks

49
Q

Who are two other auteur critics?

A

Andrew Sarris and Peter Wollen

50
Q

What did Andrew Sarris argue?

A

the the whole body of work marks an auteur, regardless of different cinematographers, stars, and screenwriters

51
Q

What does Sarris say a director must have to be considered an auteur?

A
  • a substantial body of work by which to judge
  • a strong command of the medium and must make good movies
52
Q

Arguments against auteur theory

A
  • 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
Q

Who is the cinematographer on most of Spike Lee’s films?

A

Ernest Dickerson

54
Q

Avant-garde meaning

A

comes from the French, meaning “vanguard” or “advance guard”

55
Q

Avant-garde

A
  • stretches the conventional limits of the medium
  • experiments with aesthetics
  • rejects the conventions of mainstream movies and the studio system
56
Q

T.D. Rice

A
  • most famous minstrel performer
  • created the Jim Crow character in the 1830s
  • particularly popular in the postbellum era
57
Q

Possibly In Michigan concludes with Sharon and Janice sitting down to a nice meal, the main course of which is

A

Arthur, the man stalking them who they killed

58
Q

Deborah Stratman dedicates
Hacked Circuit to two people.

A

Walter Murch and Edward Snowden

59
Q

Chris Marker described his film ______ as a photo-roman (photo novel?)

A

La Jetee (1962)

60
Q

Who was Maya Deren’s first husband and the cinematographer for Meshes of The Afternoon (1943)?

A

Alexander Hammid

61
Q

Who was Maya Deren’s third husband who’s music was incorporated into the previously silent film Meshes of the Afternoon (1943)

A

Teiji Ito

Intro to Cinema Studies (7 decks)

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