Midterm 1 102924

Question 1

Cinematography Terms: Close up

Answer 1

Height of the human head

Question 2

Cinematography Terms: Extreme closeup

Answer 2

less than height of the human head

Question 3

Cinematography Terms: Extreme closeup

Answer 3

less than height of the human head

Question 4

Cinematography Terms: Long shot

Answer 4

height of human body

Question 5

Cinematography Terms: Medium shot

Answer 5

medium long shot - knees to the top of the head; medium close-up – torso to the top of the head

Question 6

Cinematography Terms: One shot

Answer 6

single shot, typically focusing on one person or subject

Question 7

Cinematography Terms: Two shot

Answer 7

a shot that frames two subjects in the same frame, which/whom are usually positioned next to each other, emphasizing their relationship in the narrative.

Question 8

Cinematography Terms: Camera angle

Answer 8

high angle- looking down; low angle - looking up; medium/normal angle - on level

Question 9

Cinematography Terms: Depth of field

Answer 9

determines how many planes in the image should be in focus

Question 10

Cinematography Terms: Shallow focus

Answer 10

restricted, in close ups, often display facial expressions, block out additional stimuli/information

Question 11

Cinematography Terms: Deeo focus

Answer 11

more planes in focus, immediate ground, background, foreground- cam create a tunnel effect of space, can emphasize power dynamics.

Question 12

Cinematography Terms: Panning

Answer 12

camera is often in the center of the space, enables the viewers to experience the space ar a distance, and occurs when the camera moves/turns on a vertical axis, distinguished from a tracking shot (which tens to have a focal point); examples from Roma- opening courtyard scene, the cinema scene with Fermin.

Question 13

Cinematography Terms: Tilting

Answer 13

the vertical movement of the camera from a fixed point, looking up or down

Question 14

Cinematography Terms: Zoom

Answer 14

: the technique of changing the focal length of a zoom lens during a shot, usually to magnify or less often to reduce the size of the subject in the frame without moving the camera

Question 15

Cinematography Terms: Dolly

Answer 15

equipment that allows the camera to move smoothly along a track or other surface during a shot

Question 16

Cinematography Terms: Tracking

Answer 16

aka the “push in,” in which the camera moves along tracks or a dollar, often following a subject

Question 17

Cinematography Terms: Steadicam

Answer 17

camera stabilization system that allows for smooth camera movement even though the operator is often moving across uneven surfaces or through tight spaces

Question 18

Cinematography Terms: Eyeline match

Answer 18

used to orient the viewer in space; for example from Rear Window - Jefferies’ eyes indicate where in the courtyard he is looking.

Question 19

Cinematography Terms: Graphic match

Answer 19

when a visual element within one shot matches a visual element in the next shot

Question 20

Cinematography Terms: POV (point of view) shot

Answer 20

displays what a character is looking at from their direct visual perspective, the camera positioned to simulate the eyes of the character, allowing the audience to experience the scene as if they are seeing it through the character’s eyes

Question 21

Cinematography Terms: Mise-en-scene

Answer 21

the world the characters of a film live in all the elements that make a particular film itself ( in analysis, often we can learn a lot about the film by attempting to describe this world); “world creation.”

Question 22

Cinematography Terms: Continuity editing

Answer 22

basic principle of classic Hollywood-style films; ensures that
the viewer always feels that they know where they are in time and space, where the “realistic” spell of the film is never broken, creating the illusion of seamless action over time and space so the audience can follow the narrative without being distracted by shifting camera
angles, etc.

Question 23

Cinematography Terms: Match on action

Answer 23

a technique used in continuity editing in which one shot cuts to anothershot that continues the action from the first in a seamless manner, creating the illusion that
the action is uninterrupted even though the shots may have been filmed at different timesor from different angles

Question 24

Cinematography Terms: Establishing shot:

Answer 24

locate viewers in a specific space (which could be real - SF, fictional –
Rear Window, or historical – Roma;

Question 25

Cinematography Terms: 180-degree rule:

Answer 25

fundamental guideline in cinematography that helps maintain spatial
consistency in a scene, establishing an imaginary line, often called the axis of action, that runs through a scene (note: filmmakers sometimes intentionally break the rule in order to disorient the viewer or for dramatic effect)

Question 26

Cinematography Terms: Match cut

Answer 26

editing technique that connects two shots with a similar visual, audio, or thematic elements to create the illusion of a smooth, often symbolic, transition (the main idea is to match the composition, movement, or content from one shot to the next)

Question 27

Cinematography Terms: Jump cut

Answer 27

type of editing technique in which two sequential shots of the same subject are cut together, but there is an abrupt (and identifiable) transition in time, position, or angle; the scene should “jump” rather than flow

Question 28

Cinematography Terms: Shot/reverse shot

Answer 28

when we see over someone’s shoulder, we know that we’re
momentarily occupying their perspective, and then the same with a second character –puts us in the scene without necessarily asking us to identify with either character,
provides consistency in scene direction for characters while providing flexibility in framing
and perspective

Question 29

Cinematography Terms: Whip pan

Answer 29

technique in which the camera is panned (rotated horizontally) very quickly, creating a motion blur eIect, often causing disorientation in transitioning between two scenes or shot, pointing to a sense of urgency in the narrative of the film

Question 30

Cinematography Terms: Wipe

Answer 30

shot A peels oI to reveal shot B (used to move location in time and space

Question 31

Cinematography Terms: Dissolve

Answer 31

similar to a wipe, in that the viewer is moved quickly from one time/space to another, but they shots feel connected because they’re visualized simultaneously

Question 32

Cinematography Terms: Fade (in/out)

Answer 32

typically signifies a shift in time, often a fade to black (but not always) at the end of a film

Question 33

Cinematography Terms: Iris (in/out)

Answer 33

the image closes in/out, similar to a fade/wipe

Question 34

Bigger Concepts: Montage

Answer 34

Small and large jumps in time and space are highlighted through rapid-fire editing; in soviet Montage, jumps between shots signify conflict and juxtaposition –Eisenstein masters this in dialectical montage; in dialectical montage, elements within a
frame, or between shots (conflicts like thesis and anti-thesis) prompt a “revolutionary
consciousness” (psychological realization) within the spectator

Question 35

Bigger Concepts: Eisenstein’s Theories of Montage

Answer 35

Metric, rhythmic, tonal, overtonal (what Eisenstein calls ‘associational’), intellectual.

Question 36

Eisenstein’s Theories of Montage: Metric

Answer 36

a precise mathematization to editing (matching/contradicting something on
the screen) - the making of a sense of time through a clash of images (adding one to
another, and creating a collision of a measure of time, a vibration)

Question 37

Eisenstein’s Theories of Montage: Rhythmic

Answer 37

becomes more expressive (long, long, short) – in the same way music
creates a rhythmic through the alternation of tempo – the creation of tension,
alternating between diIerent vibrations and motion within the frame, produces
affect / a visceral reaction

Question 38

Eisenstein’s Theories of Montage: Tonal

Answer 38

creates metaphorical association (rather than realism, make connections
metaphorically through disparate images, the hand – the knife …), produces an
“emotional impression”

Question 39

Eisenstein’s Theories of Montage: Overtonal (‘associational’)

Answer 39

: the sense of pathos, you begin
to identify or connect with something in the shot / in the sequence (the way it pulls
you in) – realization in the spectator (a moment of identification, recognition of the
impact of that expression, tone of the situation)

Question 40

Eisenstein’s Theories of Montage: Intellectual

Answer 40

: the most abstract, about the jump between ideas, the overt use of
metaphor or simile to connect one thing to another - engages a higher cognitive
function, the production of meaning or consciousness

Question 41

Bigger Concepts: Narrative Structure

Answer 41

Parallelism. Story vs. Plot, Diegetic, Non-Diegetic

Question 42

Narrative Structure: Parallelism

Answer 42

the film follows multiple storylines simultaneously, intersecting at key
points, mirroring each other thematically, contrasting each other, or remaining
separate; often these narratives explore different characters or time periods

Question 43

Narrative Structure: Story vs. Plot

Answer 43

a story refers to the full sequence of events in chronological order,
including everything that happens in the world of the film, shown/implied; plot, on
the other hand, refers to the specific arrangement and presentation of events in the
film as the audience experiences them

Question 44

Narrative Structure: Diegetic

Answer 44

elements that are part of the film’s world; anything the characters in the
film are aware of in the story is considered diegetic (meaning they can be seen,
heard, or experienced by the characters themselves)

Question 45

Narrative Structure: Non-Diegetic

Answer 45

: elements that exist outside the world of the story and are not directly
experienced by the characters (added for the audience’s interpretation, mood, or
narrative clarity but don’t affect the film’s diegesis, such as film score/music,
narration/voiceover, sound effects, text on the screen, etc)

Question 46

Bigger Concepts: Kuleshov Experiment (Lev Kuleshov):

Answer 46

demonstrates a power of montage in shaping the
audience’s perception of meaning; employs a single, neutral expression shot of the actor
Ivan Mozzhukhin and intercuts it with three different images (a bowl of soup, a girl in a
coffin, a woman reclining on a sofa), and in each shot, allowing the audience to interpret
Mozzhukin’s expression is differently based on the context provided by the image (hungry,
5
sad/mourning, lustful/desirous); in short – meaning is created through editing and
audience participation

Question 47

Bigger Concepts: Voyeurism:

Answer 47

Observing others without their knowledge or consent, often with sexual
undertones; in Rear Window, Miss Torso’s dance performance in private, her lack of return
of the gaze, and the silence involved are all examples of voyeurism; additionally, the
audience member becomes a voyeur vis-à-vis JeIries’ character, manipulating the our
perspective and creating intimacy or tension

Question 48

Bigger Concepts: First Cinema

Answer 48

include the aesthetics of dominant, mainstream, Hollywood cinema;
supported by industry and government (hegemonic structures); distribution and making are
both supported and normalized by dominant society; idealizes bourgeois values (escapism
and the individual hero); movie stars are worshipped

Question 49

Bigger Concepts: Second Cinema

Answer 49

opposed to/a reaction to First Cinema; subversive, intending to repoliticize cinema; received by dominant power(s) with indiIerence or even pleasure;
created by smaller teams; exert imaginative control over the narrative; largely encompass
European art films of the 50s/60s (French new wave); filmmaker is understood as both an
author and an artist

Question 50

Bigger Concepts: Third Cinema

Answer 50

designed to invent alternative modes of distribution and exhibition; create
diIerent cinematographic languages; intervene artistically in the modernizing,
revolutionary, anti-colonial, and anti-imperialist politics of the time; explicitly political;
expose historical and/or current dominant political and cultural colonization, call for
militant production techniques to generate militant audience response

Question 51

Bigger Concepts: Imperfect Cinema

Answer 51

movement/theory that originated in Latin America (particularly Cuba)
during the 1960s; introduced by Julio García Espinosa; rejects polished, high-budget,
“perfect” films typical of mainstream Hollywood (which tend to focus on escapism,
entertainment, technical perfection, etc)

Question 52

Bigger Concepts: Ideology

Answer 52

Arbitrary conventions that govern conduct and largely go unquestioned because
they present themselves as “natural,” “normal,” “given,” or “the way things are”

Question 53

Bigger Concepts: Dominant Ideology

Answer 53

: things that have been decided to be defined a certain way and then
we treat them as the only way that they could be; something that has become normalized
but is really just convention; note: films in their various forms can subvert or reinforce
dominant ideologies

Question 54

Bigger Concepts: Hegemony / Hegemonic Order

Answer 54

inequality/unfairness presented as a natural societal
arrangement, which typically (further) oppress already oppressed/marginalized groups of
people; individuals (and filmmakers) can reject, deviate from, and resist dominant ideology
and hegemonic order, creating new possibilities for change

Question 55

Bigger Concepts: Post-Colonialism film

Answer 55

: seeks to address, critique, and deconstruct colonialism,
exploring the complexities of identity, culture, and power dynamics in formerly
colonized nations, aiming to give voice to marginalized groups

Question 56

Bigger Concepts: Neo-colonial film

Answer 56

perpetuate/reinforce the dynamics of neo-colonialism (the
continuation of colonial practices and power structures in a postcolonial context,
often through economic-political-cultural means); often reflect contemporary forms
of imperialism (in which powerful nations or entities exert influence over formerly
colonized countries)

Question 57

Bigger Concepts: Condensation

Answer 57

overloading a particular character, context, or object within larger social or
situational significance (e.g.: the American flag becomes a condensation of American
values and ideals)

Question 58

Bigger Concepts: Displacement

Answer 58

moving a contentious issue or idea into a less volatile context, in which the
social conflict or problem becomes an interpersonal conflict, an individual challenge (e.g.
Jefferies’ feelings of masculine insecurity and his anxiety about marriage and domestic life
get displaced onto the lives of his neighbors)

Question 59

Semiotics

Answer 59

(components of a sign, which refers to anything that conveys meaning or
represents something else)

Question 60

Different Types of Film Analysis

Answer 60

Formal, narrative, historical, socio-cultural

Question 61

Different Types of Film Analysis: Formal analysis:

Answer 61

lighting, composition (mise-en-scene), cinematography (angle,
movement, focus), sound, acting, editing (how is this shot joined with other shots) –
describing and then interpreting that description

Question 62

Different Types of Film Analysis: Narrative analysis

Answer 62

plot, characters (good guys/bad guys), dialogue, genre (comedy,
tragedy, epic, etc), setting (civilization and society/nature), sets (domestic/national)

Question 63

Different Types of Film Analysis: Historical analysis

Answer 63

production history (studios, actors, directors), popular/critical
reception (why do some films ‘go viral’?)

Question 64

Different Types of Film Analysis: Socio-cultural analysis

Answer 64

social and ideological tropes presented, upheld, and contradicted
(race, class, gender, nationality), politics

Question 65

Cinematic worlds vs. historical worlds:

Answer 65

: questions the manner in which cinema is a mirror
of or a challenge to the real world; what is cinema’s relation to the real world in each of the
film’s we’ve seen?

Question 66

Rear Window

Answer 66

Alfred Hitchcock, 1954

Question 67

Roma

Answer 67

Alfonso Cuarón, 2018

Question 68

Battleship Potekmin,

Answer 68

Sergei Eisenstein, 1925

Question 69

Meshes of Afternoon

Answer 69

Maya Deren, 1943

Question 70

Black Girl

Answer 70

Ousmane Sembène, 1966