Midterm #1 Flashcards
1
Q
Makeup of film form
A
narrative and stylistic elements
2
Q
What is the power of form based on?
A
expectations, either fulfilling or thwarting them
3
Q
Four Dimensions of Film
A
- mise-en-scene
- cinematography
- editing
- sound
4
Q
Mise-en-scene
A
“putting into the scene,” from the French theatre
5
Q
Elements of Mise-en-scene
A
- setting
- lighting
- costumes + makeup
- staging/figure movement
6
Q
Setting
A
- shot on location or on a constructed set
- props (property) –> an aspect of setting
7
Q
Lighting
A
the most complicated aspect of mise-en-scene
8
Q
Four major features of film lighting
A
- quality
- source
- direction
- color
9
Q
Staging
A
- figure movement and performance
- how a figure moves has a huge impact on how we perceive the character
10
Q
Composition
A
the arrangement of visual elements within the frame
11
Q
Elements of Composition
A
- symmetry
- balance
- shape
- color
12
Q
Visions of Light
A
Arnold Glassman (1993)
13
Q
Important duo from Visions of Light
A
Gregg Toland and Orson Welles
14
Q
Four factors in every shot
A
- framing
- depth of field
- color
- movement
15
Q
Framing
A
the use of edges to determine what will be visible on screen
16
Q
What does framing define ?
A
mise-en-scene
17
Q
Aspect Ratio
A
ratio of width to height
18
Q
Camera…
A
- angle
- level/balance
- height
- distance
19
Q
Depth of Field
A
range of distances before the lens within which objects are in sharp focus
20
Q
Depths of Field
A
- deep
- shallow
- racking
21
Q
Deep depth example
A
window scene in Citizen Kane (1941)
22
Q
Shallow depth example
A
gun scene at the end of Se73n (1995)
23
Q
Racking Depth
A
shift from front to back or vice versa
24
Q
Color
A
comprised of color and tone
25
Color: Color
the spectrum of colors and hues
26
Color: Tone
the shading and saturation of the colors
27
Camera Movements
- pan
- tilt
- tracking
- crane
28
Pan
left to right axis
29
Tilt
up and down axis
30
Tracking/Dolly Shot
forward/back or in/out
31
Crane Shot
shot with a crane
32
Duration
how long a shot lasts
33
Four Methods of Joining Shots
- cut
- fade
- dissolve
- wipe
34
Four Basic Areas of Editing
- graphic
- rhythmic
- spatial
- temporal
35
Graphic
concerned with editing together the pictorial qualities of two shots (ex: bone to spaceship in 2002: A Space Odyssey (Kubrick, 1968))
36
Rhythmic
when a discernible pattern emerges, editing has its own visual "beat" or tempo
37
Spatial
editors can juxtapose any two points in space and time
38
Establishing Shot
defines overall space
39
Temporal
manipulation of our experience of story time through editing
- flashback
- flashforward
- elliptical editing
- overlapping editing
40
Elliptical Editing
suggests more time actually goes by in a story than is presented on screen (skipping the boring parts)
41
Overlapping Editing
action from one shot partially repeated in next shot, expands story time
42
Run Lola Run - director and release year
Tom Tykwer (1998)
43
Run Lola Run editor
Mathilde Bonnefoy
44
The Player - director and release year
Robert Altman (1992)
45
The Player- cinematographer
Jean Lepine
46
When did synchronized sound become the industry standard?
1927
47
Which film introduced synchronized sound?
Warner Brother's release of "The Jazz Singer"
48
What did audiences experience prior to synchronized sound?
Movies with live musical accompaniments
49
Three Types of Cinematic Sound
- speech (dialogue)
- music
- sound effects (noise)
50
Two Kinds of Sound Image Relationship
on-screen sound and off-screen sound
51
On-screen sound
sound has a visible onscreen source
52
Off-screen sound
sound does not have a visible onscreen source
53
Diegetic Sound
has a clear source within the film's diegesis (story)
54
Nondiegetic Sound
does not have a clear source within the films diegesis (story)
55
Two Types of Diegetic Sound
internal and external
56
Internal Diegetic Sound
Originates within a character’s subjectivity, part of the diegesis, but other characters cannot hear it (inside the character’s head)
57
Voiceover
characters in diegesis can't hear it
58
Film used to exemplify the usage of sound
Apocalypse Now (1979)
Francis Ford Coppola
59
What kind of narrative does The Conversation have?
Totally restricted to Harry’s subjectivity (audience only knows as much as the character)
60
What is a key motif in The Conversation and some examples?
Semi-translucence
– windows, screens, raincoat, curtains, scrim
- metaphor for Harry’s understanding of the circumstances
61
Narrative
a chain of events linked by cause and effect and occurring in time and space
62
Motif
a significant element that is repeated in a film (similarity and repetition)
63
What do patterns of motifs create?
expectations
64
What can strong similarities and repetition create?
Parallelism
65
What can changes and variations of elements create?
variety, contrast, and change
66
Does repetition occur in exactly the same way in a film?
No, and the differences can be meaningful
67
Four Types of Character Development
- External Change
- Internal Change
- Progressive Character Development
- Regressive Character Development
68
External Change
indicates physical changes
ex: graying hair, weight loss
69
Internal Change
measures character change from within
ex: character becomes bitter
70
Progressive Character Development
an improvement or advance of some quality in a character
71
Regressive Character Development
loss of or return to some previous state or deterioration from the present state
72
Examples of Difference and Variation in Mulholland Drive
Diner scene
- guy and his dream
- Camilla and Betty
- Diane and the hitman
73
The Conversation - director and release year
Francis Ford Coppola (1974)
74
The Conversation - sound and music
Walter Murch
David Shire
75
Mulholland Drive - director and release year
David Lynch (2001)
