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Film Terms > Master > Flashcards

Master Flashcards

1
Q

Exhibition

A

Division of the film industry concentrating on the public screening of film.
Example: Nickelodeons

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2
Q

Distribution

A

Concentrating on the marketing of film, connecting the producer with the exhibitor by leasing films from the producer and renting them to the exhibitor.

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3
Q

Production

A

Concentrating on the making of the film.

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4
Q

Kinetograph

A

Film Studio, Edison’s first movie camera

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5
Q

CameraMan system

A

Films largely the creation of the cameraman, who did everything

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6
Q

Patent Pool

A

Association of companies that operated collectively in the marketplace by pooling patents held by each individual company

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7
Q

MPPC

A

Motion Picture Patents Company: patent pool

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8
Q

Vertical Integration

A

Oversees a product from planning through production through to the end user. Company controls production, marketing, and exhibition of films MPPC

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9
Q

Trust

A

Group of companies operating together to control the market for a commodity (MPPC)

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10
Q

Oligopoly

A

State of limited competition exists between a small group of competitors
Example: The Big Five competing with each other

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11
Q

First-Run

A

Movie theaters that would show films immediately upon their release. (Big five owned most)

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12
Q

Big Five

A

Warner Bros, Loews -MGM, Fox, Paramount, RKO

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13
Q

NRA

A

Designed to rescue the american economy from the great depression, made unions

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14
Q

Consent Decrees

A

Court made order made with the consent of both parties

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15
Q

Exclusive Run

A

Only screened in one cinema

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16
Q

Multiple Run

A

Simultaneous runs at a number of cinemas, but not as many as a saturation run, word of mouth typically

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17
Q

Saturation Run

A

Film opens ‘wide’’ and is shown simultaneously at a large number of cinemas

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18
Q

DVD

A

Digital Versatile Discs

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19
Q

Free Publicity

A

Free coverage of subjects the media feel are newsworthy

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20
Q

Paid Advertising

A

Promotion on TV, radios, etc

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21
Q

Tie-ins

A

Promotional liaisons between films and other consumer products

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22
Q

Merchandising

A

Manufacturers pay a film company to use a film title

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23
Q

Independent

A

Promotion realized outside on of the majors. (Indie films)

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24
Q

Horizontal Integration

A

Parent company acquires several businesses with the same profile.
(all of one vs one of all)

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25
Q

Lateral Integration

A

Parent company acquires a vast empire of different properties
(one of all vs all of one)

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26
Q

Synergy Strategy

A

Combined or related action by a group of individuals or corporations towards a common goal

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27
Q

Midas Formula films

A

12-24 yr olds. Is a result of audience profiling. They are based on children’s stories that have a young protagonist, have a fairy-tale plot and are at most PG13

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28
Q

Spectatorship

A

Concerned with the way an individual is positioned between screen

Audience ceases to exist for the individual spectator

Studies try to generalize how all spectators behave

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29
Q

Ideological Effect

A

Political significance that manipulates the spectator into specific ways of thinking about the world
Example: Mr. Fantastic fox and heteronomativity and marriage beliefs

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30
Q

Audience

A

Concerned with before and after the film

Audience is constructed by mass media institutions

Concerned with large group, but individualizes specific factors that explain why audience may behave

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31
Q

Community of Interest

A

Group of people who share a common interest, but may not live in a close physical proximity to one another

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32
Q

Interior Self

A

Countless memories and desires that can be rarely acknowledged and understand from individual to individual

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33
Q

Social Self

A

Make meanings in ways not different from others

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34
Q

Cultural self

A

Inter-textual references based on bank of personal memories

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35
Q

Private self

A

Own experiences that have personal significance

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36
Q

Desiring self

A

conscious and unconscious energies and intensities to the film event

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37
Q

Early cinema

A

1895-1915

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38
Q

mise en scene

A

Arrangement of props and background in film.

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39
Q

Parallel editing

A

Two events can be followed simultaneously

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40
Q

The look

A

Central concept in relation to the control of the spectator, has been associated with theories of desire and pleasure theories in phychoanalysis (“The male gaze”)

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41
Q

Interpellation

A

Distinctive way the film spectator is placed inside the fiction world of the film. Hailed or called into a place we have no control over.

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42
Q

Hegemony

A

Captures the idea that a set of ideas, attitudes, practices, become so dominant that we forge they are rooted in the exercise of power.
The idealogical rendered invisible.

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43
Q

Institutional mode of Representation IMR

A

Normative set of ideals about what constitutes a mainstream film.

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44
Q

Structuralism

A

Model of spectatorship that states: From linguistics came the idea that language did our thinking for us.

Films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication.

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45
Q

Cognitivism

A

The brain works with the stimulus it is bombarded with by a film in order to make sense and gain emotional experience.

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46
Q

Example of cognitivism: Schemas

A

A familiar pattern recognized by the mind that allows us to orient ourselves and make sense of what is in front of us.

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47
Q

Autuerism/Auteur

A

French term that refers to a director or someone important who infuses their films with their distinctive personal vision through manipulation of film techniques.

Think QT and his obscenity, Tim Burton and hes gothic, etc.

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48
Q

Metteurs en scene

A

Technically competent who only made movies without personality

Basically auteurs without the signature

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49
Q

Mise en scene

A

Both what is filmed and how it is filmed

Double indemnity: Low lighting, oppressive music

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50
Q

Three paradoxes of authorship

A

Collaboration: Get me my agency
Theoretical: Immortal monster
Cultural: Authors everywhere

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51
Q

Auteurism as a method

A

The principal method by which this was achieved was the establishment of the
hierarchical distinction between those directors dubbed mere ‘metteurs-en-scène’and genuine auteurs

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52
Q

Intentional Fallacy

A

The fallacy of basing an assessment of a work on the author’s intention rather than on one’s response to the actual work.
Basically disecting film on the authors thoughts instead of your own.

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53
Q

Studio System

A

Period of Hollywood history where major studios controlled all aspects of production, distribution, and exhibition.
(Basically vertical integration)

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54
Q

Intertextuality

A

The ways in which a film either explicitly or implicitly refers to other films (think Easter eggs)
QT’s PF when the mob wife asks John Trev to dance

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55
Q

Star as commodity

A

Star approach with economic context

Famous star in movie = guarantee movie sales

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56
Q

Star as text

A

Star as a sign, an image constructed through a network of intertextuality (what is this?)

Stars are not reducible to flesh and blood actors, but rather the complex of personas made up from other films they appear in

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57
Q

Star as object of desire

A

Unquantifiable returns on our emotional investments that are erotic contemplations

Getting a sense of fullfilment

58
Q

Female Star

A

Typically the sexualized spectacle that disrupts narrative momentum, for erotic exhibition.
QT’s mob wife when first introduced

59
Q

Synthespians

A

Virtual/non-human actors. (mr. fantastic fox)

60
Q

Star as celebrity

A

Sustained not by talent or ability in profession, but sustained through meda gossip etc.

Easy remember: Stars are famous for the work they represent, not for who they are outside of those works.

61
Q

Star as professional

A

Stars are rooted squarely in the film text itself.

62
Q

Star as performer

A

Focusing attention on the job and art of acting only.

63
Q

Postmodern

A

artistic or aesthetic style which privileges surface appearances over deep meaning or truth.

Emphasis on face value rather than deeper meaning

64
Q

Pastiche

A

Imitation of art work

65
Q

Eclecticism

A

Style that draws upon multiple theories, styles, or ideas to gain complementary insights into a subject, or applies different theories in particular cases.

66
Q

Self reflexivity

A

Describes films to texts which self consciously acknowledge or reflect upon their own status as fictional artifacts and or the processes involved in their creation.
This daffy duck when he deals with the “artist”

67
Q

Taxonomy

A

Practice of classification, classifying films based on similarities of form and or content

68
Q

Theoretical Taxonomies

A

Same way as aristotle’s model of poetry (epic, comedy, tradegy), film genres are narritive, experimental, docucmentary.

69
Q

Avant-garde

A

experimental films, very thinking outside of the box filmology

70
Q

Iconograhpy

A

visual patterns of setting, dress, props and style have been used to classify and analyse films generically

Example: Stage Fright: Presence of femme fatale
Double Indemnity: Dark lighting

71
Q

Femme Fatale

A

Female that ultimately brings disaster to the male main protagonist

72
Q

Sophisticated hyper consciousness

A

the extreme knowingness and high degree of media literacy by both cinema and its audience

73
Q

Genre a cognition

A

Genres are not simply bodies of work, however classified, labelled and designed. Are different based on each individuals viewing of the film and the personal experiences they bring into the viewing.

74
Q

Palimpsest

A

A film or text with multiple levels of meaning created through dense layers of intertextuality

75
Q

extra-textuality

A

the range of cultural sets which relate in some way to film, text but in a narrower sense, refers to the non-filmic inter-texts which in varying degrees relate to the film/text.

76
Q

Actuality

A

Films that often consist of people going about their everyday lives.

77
Q

Direct Cinema

A

Documentary type that emerged in 1950’s. Often have a ‘fly on the wall’ aesthetic, where filmmakers were only observers of the reality they were filming.

78
Q

Cinema Verite

A

Cinema truth, has a foundation of interaction between filmmaker and filmed, rather than detachment.

79
Q

Reality TV

A

Documentary basis in the sense that they use actual footage, but are often shaped to fit certain formats.

80
Q

Rhetorical

A

Designed to persuade.

Typically a voiceover or presenter stating what the argued point is, or more subtly.

81
Q

Poetic Documentary

A

More allusive and use associative editing to capture a mood or tone rather than make an explicit argument

82
Q

Expository Documentary

A

Use of rhetorical techniques to make points and persuade

83
Q

Participatory Documentary

A

Filmmaker does not remain aloof and actively engages with it by participating or interacting with the people.

84
Q

Observational Documentary

A

Documentary appears to take a detached and thereby neutral stance towards subject matter

85
Q

Reflective Documentary

A

Offers a commentary on the means of representation itself. Encourages the viewer to question the idea of documentary

86
Q

Performative Documentary

A

Performing in front of a camera, where the filmmaker and their subjects actively create the documentary by performing certain social actions

87
Q

Topicals

A

Given name to nonfictional news items in the early period.

Old news

88
Q

Participant observation

A

Social science methodology where researchers immerse themselves in a social context. Researching monkeys by being one with the monkey.

89
Q

Qualities of Animation

A

Symbolisation of objects and human beings

Picturing the invisible

Penetration

Selection exaggeration and transformation

Showing the past and predicting the future

Controlling time and speed

90
Q

Proto-animation

A

Demonstrated certain techniques as a method in creating animation.

Stop motion, mixed media, and use of dissolves to create the illusion of metamorphasis.

Mr. Fantastic fox uses proto animation in the form of stop motion.

91
Q

Animated Documentary

A

Fusion of documentary tropes and animation

92
Q

Incoherent Cinema

A

Animation that was often surreal, anarchistic and playful, relating seemingly unrelated forms and events in an often irrational and spontaneous fashion

93
Q

Character Animation

A

Prioritizes exaggerated and sometimes caricatured expressions of human traits in order to direct attention to the detail of gesture and range of human expression and emotion.

94
Q

Anthropomorphism

A

To endow creatures, objects, and environments with human attributes, abilities, and qualities.

95
Q

Realism

A

Hyper realism which located characters in plausibly real worlds in fantasy. Think Avatar

96
Q

Deconstruction

A

All texts are constructed, and deconstruction is necessary to understand all components.

97
Q

Synecdoche

A

The idea that part of a person may be used to represent the whole

98
Q

Iconic

A

Dominant signs that signify a particular person or object

Chaplin’s moustache

99
Q

Ideological

A

Seen as the dominant set of ideas and values which inform any one society or culture, but which are imbued in its social behavior and representative texts at a level that is not necessarily obvious

100
Q

Metamorphosis

A

Ability for a figure to relinquish its fixed properties and mutate into another model

101
Q

Condensation

A

Compression of a set of narrative or aesthetic agendas within a minimal structural framework.

102
Q

Squash and Stretch

A

Cartoon characters that are malleable and attached circles which can be compressed or stretched.

Used the squish and stretch to imitate movement.

103
Q

Reduced Animation

A

Form of minimalism constitutes reduced animation at the premise of “less is more”

104
Q

Feminism

A

Argument that media reinforces the status quo by representing a narrow range of images of women.

105
Q

Patriarchal Society

A

Society in which men have the power and control, and women are generally disadvantaged and have lower status.

106
Q

Stereotyping

A

A quick and easy way of labelling or categorizing the world around us and making it understandable.

Learned but by no means fixed

107
Q

Representation

A

Media re-presentation that encourages others to see their output as a window on the world.

Makes use of stereotypes because they are quick and easy way of using information

108
Q

Alternative Cinema

A

Provides an alternative to the codes and conventions of mainstream narrative cinema

109
Q

Avant-Garde Cinema

A

Non-narrative in structurem and often intellectual in content.

Often self-conscious and frequently makes use of devices such as cuts to the camera crew, talking to the camera, and scratching the film.

110
Q

Independent Cinema

A

Indie mainstream cinema: Aims to compete with the big studios

Filmmaking outside mainstream sector: Film workshops, avant garde films, feminist films, etc

111
Q

Psychoanalitic theory

A

Based on patriarchal assumptions that woman is inferior to man.

Mother is seen as lacking because she got no dick

112
Q

Scopohpilia

A

Sexual pleasure gained by looking

113
Q

Structuralistm

A

Movement founded on the belief that that the study of society could be scientifically based and that there are structures in society that follow certain patterns or rules.

114
Q

Semiotics

A

Argues that the meaning of words are not natural but learned and socially constructed, therefore the meaning of a word can be complex and layered

115
Q

Marxist Theory

A

Argues that those who have the means of production have control in a capitalistic society

116
Q

Hegemony

A

Set of ideas, attitudes, or practices that become so dominant that we forget they are rooted in choice.

117
Q

Polysemic

A

Text with possible readings

118
Q

Voyeurism

A

Sexual pleasure gained from looking at others

119
Q

Fetishism

A

Linked to the castration complex and is a form of male denial of the threat and fear of castration by the female. Because the women is made less threatening, certain things like high heels, lipstick, breasts, and lips are sexualized.

120
Q

Heterosexual

A

Main sexual feelings are for opposite sex

121
Q

Gender

A

Social and cultural construction of a person’s sex and sexuality

122
Q

Sexuality

A

Gender, sex, and sexuality can overlap, but are no ways exactly synonymous.

Sexuality is the name for the sexual feelings and behavior of a person

123
Q

Homosexual

A

A person whose main sexual feelings are for people of the same sex

124
Q

Homoerotic

A

Conveying an enjoyable sense of same sex attraction

Same sex fun

125
Q

Gay

A

Description of strong positive sexual love and attraction between members of the same sex. Also means happy, typically reffering to males, but can also be used for any person

126
Q

Lesbian

A

Women whose sexual feelings are for other women

127
Q

Queer

A

Describes a challanging range of critical work and cultural production among lesbian and gays, with emphasis on DIVERSITY OF RACE, NATIONALITY, and CULTURAL EXPERIENCE.

128
Q

Butch

A

Behavior patterns such as aggression and sexual dominance that are typically associated with masculinity

129
Q

Femme

A

Description of behaviour patterns such as gentleness, sexual passivity, and concern with dress and appearance, typically associated with femininity.

130
Q

LGBT

A

Les,Gay,Bi,Transgender

131
Q

Camp

A

Critical attitude that involves looking at texts less as reflections of reality and more as constructed sets of words, images, and sounds that are distant from reality. Amusement vs relatability

132
Q

Homophobia

A

Irrational prejudice and hatred against a person because of their homosexuality

133
Q

Stereotype

A

A set of commonly expected behavior patterns and characteristics based on role or personal features such as race, age, sexuality, in society and cultural products.

134
Q

Performativity

A

Social groups develop self-awareness through shared actions that develop tastes habits, and attitudes in common.

Applied to gender, you may wish to consider the popular conflation of masculinity and football, or femininity and shopping

135
Q

Reappropriation

A

Process where a previously oppressed group takes a negative term and terns it around to invest it with new meaining

136
Q

Pink Triangle

A

Wore by homosexuals during nazi concentration camps

137
Q

Diaspora

A

Movement of African people to other parts of the world.

Participants of diaspora are diasporans.

138
Q

Constructed

A

A quality of an idea being neither natural nor inevitable, assembled or otherwise created to appear natural or inevitable

139
Q

Racist Iconography

A

Images that accompany racist rhetoric or that occur in racist contexts

140
Q

Blaxploitation

A

Exploitation of what they believe were black urban audiences tastes in film.

141
Q

Race films

A

Black cast movies that were made for segregated african american audiences before 1950, most often by african american directors.

142
Q

Archetypes

A

Embodiments of a range of ideas and identities. Ideal examples of a role, person, or certain personal traits

Film Terms (11 decks)

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