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Intro to Film > Intro to film > Flashcards

Intro to film Flashcards

1
Q

Form

A

The overall patterning of a film, the ways its parts come together to create specific effects

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2
Q

Style

A

the film’s use of cinematic techniques

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3
Q

Cinematography

A

the use of cameras and other machines to record image and sounds (writing and movement)

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4
Q

mise-en-scene

A

the placement of people, objects and places to be filmed

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5
Q

Three Colors: Red

A

Krzysztof Kieślowski (1994)

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6
Q

Citizen Kane

A

Orson Welles (1941)

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7
Q

Voyage to the Moon

A

George Melies (1902)

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8
Q

Grand Budapest Hotel

A

Wes Anderson (2014)

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9
Q

Daughters of the Dust

A

Julie Dash (1991)

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10
Q

Raging Bull

A

Martin Scorsese (1980)

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11
Q

Pierrot le Fou

A

Jean-Luc Godard

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12
Q

Narrative

A

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

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13
Q

Story

A

A chain of events in chronological order

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14
Q

Plot

A

The sequence of events inside of a story that creates another event

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15
Q

standard frames per second

A

24 frames per second (cut by the shutter to create 48 images per second)

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16
Q

George Melis…

A

Was a magician, who created special effects, used mise-en-scene and burned his life work

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17
Q

Non-diegetic/ Extra diegetic

A

Things in films characters cannot sense (music or text)

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18
Q

Narration

A

the plot’s way of distributing story information in order to achieve specific events

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19
Q

Omniscient Narration

A

the narrator knows all the thoughts, actions, and feelings of all characters. (sometimes called voice of god narration)

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20
Q

POV

A

Provides an objective point of view to the viewer

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21
Q

High-Key lighting

A

Low contrast (high levels of brighter lights)

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22
Q

Key Light

A

The primary light projected on a subject (brightest light and strongest shadow)

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23
Q

Fill light

A

less intense illumination used to provide more shadow and dynamic light

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24
Q

Components of Mise-en-scene

A
  • Setting
  • Costume and make-up
  • Lighting
  • Staging (placement on stage)
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25
Duration
the time elapsing in a film
26
Frequency
manipulation that involves the number of times any story event is repeated
27
Highlights
A relative patch of brightness on a surface
28
Hard Light
defined shadows, textured edges
29
Soft Light
diffused illumination (overcast) no shadows or minimal
30
Frontal light
light from front of an object (eliminates shadows)
31
Backlight
light that comes from behind an object
32
Underlighting
light that comes from below subject (intense defined shadows)
33
Top lighting
lighting that comes from above (spotlight)
34
source (light)
where the light comes from
35
Motivated light
light from in-scene
36
Magic hour
best time for natural light, 1 hour before sundown or 1 hour after sunrise
37
Three-Point Lighting
System of film lighting which has a fill light (near the camera), a backlight (behind and above figure), and a key light (diagonally from front)
38
Low-key Light
strong contrast between light (creates, sharper, deeper and darker shadows)
39
Power of a shot
controlled by light quality, direction, source and color
40
Bilateral Symmetry
the property of being divisible into symmetrical halves on either side of plane (left and right halves)
41
Which film invention did the Lumiere brothers invent
the cinematographe (a 3-in-1 camera, film printer, and projector)
42
Form and relation to content
Every piece of content has form they cannot exist without another
43
Depth Cues (screen space)
- Overlap - Aerial perspective - Size dimmunition (size gets smaller with distance)
44
180-degree rule
the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters
45
Linear Perspective
a system of creating an illusion of depth on a flat surface. Parallel lines in a film converge in a single vanishing point on the composition's horizon line.
46
graphic match cut
A graphic match creates a cut between two shots that juxtapose their graphically similar images.
47
Daughters of the dust plot
chronicles the tension in the Peazant family as some members decide to leave their homestead on the island for the mainland.
48
The axis of action
the imaginary line that passes through the main actors or the principle movement, Defines the spatial relations of all the elements of the scene as being to the right or the left, Establishes an imaginary line that the camera is not supposed to cross and Is also called the 180-degree line
49
Exposure
How much light passes through the camera lens when filming a shot
50
Ramping
Varying the frame rate during a shoot (changing the speed of a shot during a shot)
51
Racking, or Pulling focus
shifting area of focus from one plane to another
52
How does Cinematography direct our attention?
- tone - exposure - speed - focal length - depth of field - framing, - camera position
53
wide-angle lens
Can create a “fish-eye” look, where space gets bent at the edges of the frame (around 35mm)
54
Super-imposition
Images are laid over another showing multiple perspectives of a frame
55
Camera angle
The position of the frame in relation to the subject it shows
56
The Kuleshov effect
Is a psychological effect that causes viewers to infer a connection between two juxtaposed images, Refers to a technique of cutting together portions of a space in a way that prompts the spectator to assume a spatial whole that isn’t shown onscreen and is a cutting technique used widely across most films today
57
Shot/reverse-shot
Is an editing technique that honors the 180-degree principle and cuts to a shot at the opposite end of the axis of action (typically two edited characters engaging in conversation)
58
Continuity editing
A system of cutting to maintain continuous and clear narrative action
59
Telephoto lens
long-range lens that tends to flatten space
60
Depth of field
a range of distances within which objects can be photographed in sharp focus, given a certain exposure setting
61
Aspect Ratio
the ratio of frame width to frame height (academy ratio 1.37 : 1)
62
The position of the frame in relationship to the subject it shows
Camera angle
63
She described the scene in Jake lamottas dining room as the hardest scene she’s ever edited
Velma schoonmaker
64
Continuity editing
Cutting to maintain clear and continuous editing
65
Implicit, explicit, referential, symptomatic
4 types of meaning that spectators might consider in a film
66
Non diegetic Insert
Intercut shots inserted that don’t belong in the space and time of the narrative ( is metaphorical or symbolic )
67
Graphic contrast
The relationship between intercut expressions and a point of action (Because the view or characters are changing directions of view) Different planes in different directions cutting (Movement is contrasted) Graphically contrasted shots
68
Depth of field
What determines what planes of deep space staging are in focus
69
Constructive editing
Editing in a way that shows relation between space (often with kuleshow effect) and doesn’t need an establishing shot
70
Analylitical Editing
Using a way of framing in an order to establish space and characters

Intro to Film (1 decks)

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