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SMEDILI > Lesson 5 > Flashcards

Lesson 5 Flashcards

1
Q

System of signs which create meaning

A

Codes

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2
Q

The physical elements that the audience experiences, which bring the narrative conventions to the media form.

A

Media Codes

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3
Q

The formal written language used in a media product. It can be used to advance a narrative and communicate information about a character or issues and themes in the media product.

A

Written Codes

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4
Q

Examples of written codes

A
  • Headlines
  • Captions
  • Speech Bubbles
  • Subtitles
  • Language Styles
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5
Q

Examples of written codes in print

A
  • Typography
  • Images
  • Layout
  • White & Negative Space
  • Framing
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6
Q

Are ways in which equipment is used to tell the story

A

Technical Codes

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7
Q

Examples of technical codes

A
  • Camera
  • Lighting
  • Acting
  • Color Grading
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8
Q

Refers to how the camera is operated, positioned and moved for specific effects.

A

Camerawork

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9
Q

A film lighting technique that goes beyond the standard three-point lighting setup to add drama, depth, and atmosphere to the story.

Utilizes lighting tricks like bouncing light, diffusing light, and adjusting color temperatures.

A

Lighting

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10
Q

It refers to the location that the light source is placed in relation to the subject.

A

Direction of lighting

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11
Q

The light source is placed in front of the subject. It is a neutral lighting that diffuses shadows on the face. You will find it is mostly used for portraits or to emphasize an object or subject.

A

Frontal lighting

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12
Q

The light source is placed on either side of the subject (right or left). It creates a shadow on one half of the subject and sculpts the subject’s features. The contrast between light and shadow creates a sense of mystery.

A

Sidelight

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13
Q

The light source is placed behind the subject. It creates silhouettes and a glowing effect on the subject. This is used to create a dramatic effect and emphasise the subject in a mysterious way. You may see directors use backlighting to introduce a superior character without revealing their identity.

A

Backlighting

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14
Q

Light source is placed underneath the subject and shines upwards. It can either be used as a monumental lighting (light up a statue) or distort the subject’s features (ghost stories around the campfire). It creates feelings of fear, curiosity or awe.

A

Underlighting

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15
Q

The light source is placed above the subject and shines downwards. It tends to glamourise the subject. It places the subject in a divine light. As such, we usually feel awe, pride to dominance.

A

Top lighting

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16
Q

Show what is beneath the surface of what we see (ex. objects, setting, body language, clothing, color). It includes the language, dress or actions of characters, or iconic symbols that are easily understood.

A

Symbolic codes

17
Q

Visual Codes

A
  • Setting
  • Location
18
Q

A set design can be seen as realistic or stylistic. A realistic set design strives to look exactly how the setting may look in real life. This may include intricate building of sets or shooting on location. This may have a connection to the genre of the narrative.

A

Settings

19
Q

Includes the wardrobe choices and make-up that is used to convey a character’s status or personality. It can have a wide variety of other functions. They can help signify the setting or era of the narrative, can play important roles in the plot of the film, draw the eye to a specific character or help point out the difference between characters or the setting.

A

Costumes

20
Q

Is short for property, another term borrowed from the theatre. It is when an object in the setting has a function within the ongoing action. They are often closely linked to the plot of the narrative, or a cause and effect relationship. If it is repeated throughout the narrative, it may become a motif, and connected to a theme or moral of the story.

A

Props

21
Q

It refers to how elements within the frame have been arranged for a particular effect. This includes its position within the frame and its relationship with other elements within the frame.

A

Staging and Composition

22
Q

Audio Codes

A
  • Scoring
  • Sound effects
  • Dialogue
  • Jingles
23
Q

Repeated ways of constructing media works, using codes that, over time, have become accepted by audiences. (e.g. a fade to black indicates time has passed; a scene of a car chase will include dramatic music).

A

Media Conventions

24
Q

The meanings that are constructed by codes and conventions are…?

A

culturally determined

25
Q

OPENING → DEVELOPMENT → CLOSURE

A

Story Principles

26
Q

Are value driven statements that motivates or shapes a narrative. It will often point to the ideology behind the text.

A

Themes

27
Q

Where storylines run parallel to each other.

A

Concurrent Storylines

28
Q

Where storylines intersect or impact on each other

A

Interrelated or Interconnected Storylines

29
Q
  • Linear Narrative:
    Orientation → Complication & Conflict → Resolution
  • Circular Narrative:
    Action begins and ends at the same point. Plots are repeated.
  • Flashback / Flash-Forward
A

Form & Structure

30
Q
  • Human Mishap
  • Illness and disability
  • The search for love
  • Impact of crime
  • Coming of age
  • Good vs evil
  • Popular vs misfits
  • Achievement of a sporting or entertainment goal
A

Cause & Effect

31
Q

PROTAGONIST & ANTAGONIST

  • Establishment
  • Development
  • Motivation
  • Relationships
A

Character Convention

32
Q
  • Exposition
  • Conflict
  • Rising action
  • Climax
  • Falling action
  • Resolution
A

Story Arc

33
Q
  • Linear and nonlinear
  • Fast forward & slow-mo
  • Flashbacks & flash forward
  • Repeat
A

Structure of Time

34
Q
  • Story POV
  • Technical code POV
A

Point of View

35
Q
  • Font choice
  • Background selection (Colour or location, moving or still)
  • Duration – Length of Opening sequence
  • How much information you wish to give away to your audience
  • Narrative possibilities
  • Closure of the narrative or sequel possibilities
A

Titles and Credit Sequences

SMEDILI (11 decks)

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