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Film History > Final Exam Key Terms > Flashcards

Final Exam Key Terms Flashcards

1
Q

The Arkoff Formula

A
  • Action (exciting, entertaining drama)
    • Revolution (novel or controversial themes and ideas)
    • Killing (a modicum of violence)
  • Oratory (notable dialogue and speeches)
  • Fantasy (acted-out fantasies common to the audience)
  • Fornication (sex appeal, for young adults)
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2
Q

Big 5/Little 3

A
  • 5: MGM, Paramount Pictures, RKO, 20th Century Fox and Warner Bros
  • 3: United Artists, Universal and Columbia
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3
Q

Reaganite entertainment

A
  • Childishness
  • Special Effects
  • Imagination/Originality
  • Nuclear Anxiety
  • Fear of Fascism
  • Restoration of the Father/Nuclear Family
  • Nostalgia for an imagined past
  • Regaining confidence in America
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4
Q

Influences on Bollywood Style

A
  • Indian Epics: elements that allow the story to be large
  • Sanskrit Dramas: use of music, dance, gesture, stock characters, and Rasa (dominant emotional theme)
  • Parsi Theater: Mixing tones and moods, realism and fantasy, music and dance, and spectacle and narrative
    • Hollywood
  • MTV!
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5
Q

Diaspora

A

The dispersion of people somewhere other than their original homeland
ex: the large number of Indian population who lives somewhere other than India

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6
Q

Transnational Cinema

A
  • across nations
  • appeals to multiple cultures and nationalities
  • often collaboration between nations
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7
Q

Chirtrahaar

A
  • began in 1982
  • Longest running program in TV history
  • videos taken from the latest Hindi movies
  • “Garland of Pictures”
  • moves started to incorporate musical numbers in the hopes of being featured on the program
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8
Q

Item Numbers

A

musical numbers that have nothing to do with the film but are used to display beautiful women in revealing clothes

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9
Q

Playback Singers

A

people who prerecord the songs used in Bollywood films

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10
Q

Item Girls

A
  • actors, singers, or dancers in Bollywood musical numbers
  • usually dress in revealing clothing and have very sexually charged performances
  • not tied to the plot
  • large draw for audiences to see the movie
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11
Q

Jodi (couple)

A

two people who are destined to be together

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12
Q

Masala film (Bollywood)

A
  • “Mixture”
  • commercial films
  • musical, comedy, action, melodrama, romance
  • biggest blockbusters
  • Bollywood, Mumbai (originally Bombai)
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13
Q

Parallel Cinema/Art Cinema (Pather Panchali)

A
  • began in the 1960s
  • Alternative to mainstream commercial cinema in India
  • Realism, naturalism, and serious content
  • sociopolitical
  • Apu trilogy: follows a young boy as he grows up
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14
Q

The 7 Shades of Love

A

attraction
infatuation
love
reverence
worship
obsession
death

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15
Q

Golden Age of Korean Cinema (1955-1972)

A
  • Production went from 15 films in 1955 to 108 in 1959
  • Hollywood genre; melodrama, noir, horror
  • Italian neo-realism
  • overtly nationalist stories
  • contemporary issues
  • intially news reels
  • foreign aid programs
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16
Q

New Korean Cinema (1998-present)

A
  • Linked to the success of Shiri, the first Korean Blockbuster
  • Economic & artistic revival
  • straddle arthouse & commercial cinema
  • commercial auteurism (Park-char and Bong Joon-ho)
  • Influenced by classic Hollywood genres but told with the specificity of Korean POV
  • Expanded production & distribution
  • Busan International Film Festival: asia’s largest film festival
  • 60% of films watched are domestic
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17
Q

Bong Joon-ho as auteur

A
  • Examines “monsters” of society
  • engages with history of Hollywood cinema but makes it unique to Korean national context
  • Bumbling/incompetent characters
  • Conflicts arise from social and economic class difference
  • Slapstick comedy
  • genre mixing
  • sudden tone shifts
  • black commedy
  • political commentary
  • dynamic movement captured in long takes
  • Song Kang-ho as the “everyday” man
  • Food
  • top 4 grossing films to come out of Korea
18
Q

Motion Picture Law (Korea, 1962)

A

quotas, consolidates studios

19
Q

Motion Picture Law (Korea, 1984)

A

allowed independent filmmakers to begin producing films

20
Q

Corpus Christi Massacre (June 10, 1971)

A
  • 1971
  • peaceful student protest is interrupted by the paramilitary
  • police were present but did not intervene
21
Q

Pigmentocracy

A
  • when Mexico was colonized this led to a caste system, a social structure based on ethnicity and skin color
  • Peninsulares: Spainards born in Spain; crown, bishop, officers
  • Criollos: children of Spainards born in the colonies; land owners, government, church officials
  • Mestizos & Mulattos: Mix of different mexican populations; laborers
  • Amerindians & Africans: Indigenous and African population; hard labor and domestic work
22
Q

Golden Age of Mexican Cinema (1930-1960)

A
  • telling national tales
  • traditions, concepts unique to Mexico
  • Government funded support
  • Literary adaptations
  • Rely on Mexican culture
  • Shape the self-image of Mexican society
23
Q

Cabarateras

A
  • focused on sex workers
  • melodrama
24
Q

Ranchera films

A
  • The ranchera song
  • performance
  • inspsired by hollywood’s “singing cowboy”
  • Lets Go with Poncho Villa
25
Q

Mariano Moreno Cantiflas

A
  • One of the most popular entertainers of Latin America
  • Charlie Chaplin of Latin America
  • Rapid fire wordplay
  • Popularity peaks in the 1960s; didnt’ fit with Mexico’s “modern” image
26
Q

Luis Bunuel

A
  • Un Chien Andalu
  • Political; exiled during the Spanish Civil War
  • Founded surrealist cinema: you recognize the image but it is disorted
27
Q

El Grupo Nuevo Cine

A

critical of the low budged genre pictures in the 60s and 70s; felt that these genre pictures were “low brow” and diminished national pride

28
Q

New Mexican Cinema

A
  • Help redefine the industry and its reputation
  • find funding outside Mexico
  • co-productions
29
Q

Intellectual Property

A

a set of intangible assets owned and legally protected by a person/company from outside use/implementation without consent

30
Q

Genres

A
  • last for decades
  • Genre Film: follows familiar or established narrative structure, uses familiar character types, and communicates through familiar images/icons
  • Film Genre: shares subject matter, thematic concerns, plot formulas, and settings with other films
31
Q

Semantics vs Syntax

A
  • Semantics: Building blocks of genre; common traits, attitudes, characters, shots, & locations that make up a genre
  • Syntax: structure that semantics are arranged in; isolate the genre’s specific meaning-bearing structures (i.e. themes) ex: self vs other; individual vs. society
32
Q

Sequels

A

a film that continues a story in a second film; explicitly tied to the first text and often reuses titles

33
Q

Cycles

A
  • share images, characters, settings, plots, and themes with other films
  • lasts 5-10yrs
  • subset of a larger genre
  • tend to react to something happening in society
34
Q

Remakes

A

retells the same story with the same characters; ties itself to the original

35
Q

Reboots

A
  • telling the same story with the same characters but reimagining it
  • meant to be different
36
Q

Series

A
  • any group of texts that continues a story across four or more series
  • comes from serials
  • often appeal to younger viewers
37
Q

Multiplicities

A

media texts that consciously repeat and exploit images, narratives, or characters from previous media texts

37
Q

Transmedia

A
  • storytelling involving multiple media platforms
  • sometimes the stories are continued or sometimes it just expands the universe
38
Q

Media Convergence

A

the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences

39
Q

Web 1.0 vs Web 2.0

A
  • Web 1.0: read only; static; few to the many;
  • Web 2.0: internet change around 2006; web as a publishing platform; read/write/collaborate; many to many
40
Q

Fandom & participatory culture

A
  • culture in which media producers and consumers interact
  • people take texts and do more things with them like cosplay
41
Q

Intertexuality

A

any individual text becomes part of larger textual discourse and must be read in relation to other texts

Film History (4 decks)

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