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Film Genres > Final Exam Review > Flashcards

Final Exam Review Flashcards

1
Q

The “Big Five” studios

A

Warner Bros
RKO
20th Century Fox
Paramount
MGM

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2
Q

The “Little Three” Studios

A

Universal
Columbia
United Artists

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3
Q

studios that are completely vertically integrated- owned distribution companies, chains of movie theaters, means of production

A

The Big Five

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4
Q

studios that are not vertically integrated, but they had access to first run theater owned by the Big Five

A

The Little Three

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5
Q

when production companies owned all movie theaters and means of production and controlled distribution and exhibition of the films

A

Vertical Integration

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6
Q

1945 film directed by Vincente Minnelli and advertised by MGM

A

Meet Me In St. Louis

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7
Q

How the film exists in relation to the media surrounding it as well as how Hollywood promotes and markets it’s movies nationally; includes movie posters

A

Intertextual Relay

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8
Q

case in 1948 where the supreme court tells the studios they have too much power; this is the beginning of the end of the Studio Era

A

Paramount Case

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9
Q

people need to know the formula to be familiar with it

A

Standardization (generic formula)

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10
Q

Universals house style

A

horror

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11
Q

Warner Bros house style

A

gangster movies

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12
Q

Fox house style

A

detective pictures

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13
Q

idea that each film had to be different enough to attract paying moviegoers

A

Differentiation

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14
Q

time when studios became a factory for producing stars and genre cycles

A

The Studio Era

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15
Q

Dominates the industry in the 30-40s
Tagline is- “All the stars in the heavens”

A

MGM

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16
Q

historical romances, musicals, family-friendly movies; ex. Meet Me In St. Louis

A

Saccharine worldview

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17
Q

a central figure that is considered the author of the film; originated from the Cahiers du Cinéma

A

The Auteur Theory/auteurism

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18
Q

French film journal/magazine that developed the idea of a single person being in charge of the film and it’s narrative

A

Cahiers du Cinéma

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19
Q

Visual conventions/repeated patterns of visual imagery over several decades; can become cliches in genre

A

Iconography

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20
Q

the believability of a work of fiction

A

Generic Verisimilitude

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21
Q

generically marketed film

A

Film Genre

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22
Q

generically modeled film (evokes traditional definitions)

A

Genre Film

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23
Q

how local theaters promote and market a film

A

Exploitation

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24
Q

Groups of films made within a specific and limited time span and founded on the characteristics of individual commercial successes

A

Cycle

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25
Q

when music, singing, and dancing are integrated naturally into the plot

A

Integrated musical

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26
Q

the technological aspect of film such as: technology, narrative, screening conditions, mental machinery

A

The Cinematic Apparatus

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27
Q

1986 film directed by James Cameron

A

Aliens

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28
Q

a film editing/montage effect where you have one photo that has a different meaning depending on the shot to follow

A

The Kuleshov Effect

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29
Q

Genres made known to audiences through: statements, manifestos, programme notes, lectures, introductions, discussions, etc.

A

Institutionalized genres

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29
Q

Films known to be cheap, crappy, over stylized, not a large budget

A

The B Movie

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30
Q

1954 film directed by Nicholas Ray produced by Republic Pictures

A

Johnny Guitar

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31
Q

A genre that can almost be made fun of due to excessive performance (Sontag)

A

Camp

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32
Q

a pose of gender identity to conceal a different identity underneath (Jennifer Peterson)

A

Masquerade

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33
Q

Group that wanted to protect the interests of the studios during the HUAC

A

IATSE – International Alliance of Theatrical Stage Employees

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34
Q

Occurred in 1947 that was a backlash against FDR and the New Deal

A

HUAC (House Committee on Un-American Activities)

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35
Q

Organization in Hollywood that led to communists trying to gain a foothold

A

SWG – Screen Writers Guild

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36
Q

Friendly witnesses during HUAC hearings

A

Walt Disney and Ronald Reagan

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37
Q

19 witnesses who refused to answer questions about their political beliefs. “Are you or were you ever a part of the communist party?”

A

Unfriendly witnesses

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38
Q

10 of the 19 unfriendly witnesses who refused to testify before the committee, including Dalton Trumbo, Edward Dmytryk, Adrian Scott

A

Hollywood Ten

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39
Q

the published names of who was a communist

A

the Hollywood Blacklist

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40
Q

1946 film directed by Robert Siodmak and produced by Universal

A

The Killers

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41
Q

a term coined by the French cineastes; is a response to WW2, increase in crime, and the mounting paranoia regarding working women’s place in society

A

Film Noir

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42
Q

any topological pattern in the artistic work that references real life situations with everyday associations for audiences, helping to create a sense of shared place

A

Chronotype

43
Q

the danger women poses towards masculine characters in films, as they are a powerful figure in the story, throwing off masculine confidence

A

Femme Fatal

44
Q

Idea that when we are watching film, we are in two spaces at once, where we are and where the film is

A

The Double Occupancy of Cinematic Space

45
Q

idea that there are no homes in film noir, contributing to the anxiety; is a part of a national idea after WW2 with efforts and nostalgia of the home front

A

There’s No Place Like Home

46
Q

The world (time and space) of the screen and the world (time and space) outside of the screen

A

Chronotope

47
Q

characters have too much time on their hands, which leads to them crafting murder plans; everyone is bored and finding things to do

A

Idyllic/idle

48
Q

it’s a single unit, the experience of time is spacialize

A

Time-Space

49
Q

we have experienced the space and have spent much time there; ex. Starbucks, Clemson, etc.

A

Modern chronotopes

50
Q

A space devoid of one’s personality; typically seen in film noir

A

Negative Existentialism

51
Q

how you connect the space of the film and the space of reality/the real world

A

Coherence

52
Q

Comedies, epics, women’s pictures, noir

A

Paramount genres

53
Q

Is put in place in 1930, but not actively being issues until 1934; put a limit on sexuality and violence

A

Production Code

54
Q

limited by its style and typical tropes; they exist through time

A

genre

55
Q

builds on genre by also being a product of its time and place; are of their time

A

Movement

56
Q

1944 film directed by Billy Wilder and produced by Paramount

A

Double Indemnity

57
Q

genre that encapsulates social political phenomenons

A

Royal Genre

58
Q

additional maps you can put on a film to expand it generically

A

Generic cartography

59
Q

2017 film directed by Makoto Shinkai

A

Your Name

60
Q

an imitation of previous genres and styles that is more of a celebratory take

A

Parody

61
Q

Imitates previous genres and styles WITHOUT being critical, ironic, or subversive

A

Pastiche

62
Q

genres that have a physical impact on the spectator’s body

A

Body genres

63
Q

Psychoanalytic Structure by Lacan

A

The Imaginary
The Mirror Stage
The Symbolic
The Phallus

64
Q

the desire to make amends, but recognizing it’s too late

A

Agnition

65
Q

terms wrapped up together and apply to melodrama, with an emotional response setting up further action

A

Pathos vs Action

66
Q

characters in melodramas will spend the majority of the film attempting to return to their place of origin; while attempting to return to this, the narrative teases

A

Temporal and Rhythmic Elements

67
Q

where action feels fast paced, yet the duration of the event feels slow

A

Melodramatic time

68
Q

sense that the characters are overreacting, yet acts as a merger between morality and feeling

A

Excess

69
Q

idea we go to the movies we watch things that please us

A

Cinema of attraction

70
Q

when a picture speaks more powerfully than words

A

Tableau

71
Q

melodrama focuses on the recognition of virtue with the main character, who goes from being the victim of their life and plot to the hero

A

Victim Hero

72
Q

1942 film directed by Irving Rapper and produced by Warner Bros

A

Now, Voyager

73
Q

A Warner Bros top celebrity

A

Bette Davis

74
Q

melodrama heavily relies on the inversion of it to carry the film from problem to solution

A

Realist narrative

75
Q

the crucial recognition of virtue that concludes the moral journey of the melodramatic film in a tableau, relying on imagery rather than words to reveal the truth

A

Melodramatic denouement

76
Q

relies on the classic linear narrative structure and interrupts a stricter journey from beginning to end with emotional sequences and tableau, but still manages to cling to classical Hollywood cinema

A

System of melodrama

77
Q

How does Linda William’s define melodrama?

A

It is a critical study of morality and brings audiences to a moral recognition

A uniquely American mode of telling stories

Can be a genre and a mode, where the mode is used in any kinds of films, looking at character’s virtues and morality

78
Q

First central feature of melodramatic mode

A

Melodrama begins, and wants to end, in a space of innocence

79
Q

Second central feature of melodramatic mode

A

Melodrama focuses on victim-heroes and the recognition of their virtues

80
Q

Third central feature of melodramatic mode

A

Appears modern by borrowing from realism, which serves as the melodramatic passion and action

81
Q

Fourth central feature of melodramatic mode

A

It involves a dialectic of pathos and action- a give and take of “too late” and “in the nick of time”

82
Q

Fifth central feature of melodramatic mode

A

Presents characters who embody primary psychic roles organized in Manichean conflicts between good and evil

83
Q

television supported by advertising

A

linear television

84
Q

Lotz term; a dominating belief and idea that is a cultural norm and doesn’t even realize there are alternative ideas

A

Hegemony

85
Q

2002 film directed by Spike Lee

A

25th Hour

86
Q

Smith term referring to the duality of constructed American identity and the enactment of said identity

A

pluralism

87
Q

The difference between terror and horror

A

Horror is the inferior product of gothic text, while terror is the expanding dread of the unseen

88
Q

Lotz term that describes a person who is overwhelmed by the choice of where to watch their show and “throw away their money” in order to watch what they want

A

Subscription creep

89
Q

a general classification of content, but more specific than genre

A

Vertical

90
Q

similar to vertical, defined by viewing patterns and preferences of those who watch rather than the content itself

A

Taste Cluster

91
Q

Broader Taste Cluster, aggregated by general viewing behaviors

A

Taste Community

92
Q

describes a user’s taste or preference. The user determines what content they like and watch, which will affect how Netflix interprets their viewing patterns

A

sensibility

93
Q

A Feeler word; Lotz suggests Netflix considers this from the media we consume

A

tone

94
Q

a value that indicated how important access to the title is to a viewer deciding to maintain the service (can be seen by the amount of hours streamed)

A

Satisfaction coefficient

95
Q

when the streaming service funds and creates the series/movie

A

commissioning

96
Q

when streaming services pay for the rights to put the series/movie on the platform

A

Licensing

97
Q

A strategy that Netflix seeks first for its library to be different from what is familiar and readily available on linear ad-supported television

A

45 degrees shift

98
Q

most viewers see only the bit of the library that interests them, and thus that corner becomes the totality of their imagined Netflix

A

Rorschach prompt

99
Q

industry factors in the 1950s that led to production and advertisement of films as adult (PG-13, R)

A

Competition with television
The import of foreign films
The statue of film censorship
The Paramount Case

100
Q

Suggests how artificial the US is
Uses mirrors to have characters “reflect on themselves”
You can’t get the full picture, there is always something that obstructs your view
Draws us to different spaces in time

A

Sirks Mise en Scene

101
Q

1959 film directed by Douglas Sirk and produced by Universal International

A

Imitations of Life

102
Q

bellhooks term that is the idea of black women shedding their identity to watch the movie from a different point of view

A

The oppositional gaze

103
Q

bellhooks term when you watch a film and deconstruct how white women are portrayed and how black women are portrayed, in both the film and society

A

The pleasure of interrogation

104
Q

bellhooks term that is the discernible influence of a particular individual on some social or textual practice even when they are not present

A

the absent presence

Film Genres (2 decks)

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