LMC Test 1 Studying Flashcards

1
Q

type of filmic organization which parts relate to one another through series of causally related events taking place in time/space.

A

Narrative Form

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2
Q

All events seen and heard iplus all events which are inferred or assumed to have occurred. Arranged in terms of chronological order, duration, etc.

A

Story

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3
Q

All events directly presented to audience, ordered in period when they are presented.

A

Plot

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4
Q

Aspect of temporal manipulation involving time span presented in plot and assumed in the story.

A

Duration

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5
Q

Element in film that is repeated in significant way.

A

Motif

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6
Q

Anything which originates from within the film world.

A

Diegesis

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7
Q

Common arrangement using three directions of light on a scene.

A

Three Point Lighting

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8
Q

Lighting that creates little contrast between light and dark areas of the shot.

A

High-Key Lighting

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9
Q

The bright source of light used in three point lighting.

A

Key Lighting

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10
Q

The less bright source in three point lighting balancing the key light.

A

Fill Light

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11
Q

Source of light coming from behind the subject.

A

Backlighting

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12
Q

Character’s Desire Determines Plot and Everything is built around his/her goals.

A

goal oriented protagonist

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13
Q

The central character’s psychological traits cause much of the action in the film.

A

Scenes motivated by cause-effect.

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14
Q

Explicit markers throughout the film to help organize time and action.

A

Deadlines/Time Markers.

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15
Q

Story is resolved.

A

Closure.

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16
Q

What do costumes contribute toward the narrative?

A

Establishes traits/shifts in the characters.

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17
Q

Aspect of Mise-En-Scene that guides our attention.

18
Q

Lighting which creates harsh/well defined shadows.

A

Hard LIghting

19
Q

Light which avoids casting harsh shadows on its subject.

A

Soft Lighting

20
Q

Manipulation of filmed materials VIA Camera Lens

A

Perspective

21
Q

Short Focal Length exaggerating depth.

A

Wide Angle

22
Q

Long, focal length flattens space.

23
Q

Staging in several planes of action.

A

Deep Space

24
Q

All frames are in clear focus.

A

Deep Focus

25
Shift planes in and out of focus in one continuous shot.
Rack Focus
26
Method of squeezing image to create a wider image than what could be presented on a 35 mm film.
Anamorphic Lens
27
Effect of engineering physical/emotional responses plus an intellectual conclusion.
Eisenstein Constructs Effect
28
Instantaneous jump from one shot to another.
Cut
29
Lightens shot from black.
Fade In
30
Darkens shot to black.
Fade Out
31
Briefly superimposes end of shot A on beginning of shot B
Dissolve
32
Shot B replaces Shot A through a boundary line sweep.
Wipe
33
Editing where the two edited shots have similar graphics (color, movement, shapes, composition).
Graphic Match
34
Shot transition which omits part of an event.
Elliptical Editing
35
Shot transition that repeats part of an action again.
Expansive Editing
36
Shot which establishes spatial distance between characters.
Establishing Shot
37
Next shot is in line of axis of what the previous shot's character was looking at.
Kuleshov Effect/Eyeline Match
38
Cut that seems to be an interruption of a single shot.
Jump Cut
39
Cut that adheres to 180 rule but doesn't adhere to same position.
Cheat Cut
40
What are the four types of relations in editing
Graphical, Rhythmic, Spatial, and Temporal
41
What are the different types of editing.
Editing Continuity vs Editing Discontinuity.
42