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Cinema > Midterm > Flashcards

Midterm Flashcards

1
Q

Aspect Ratio

A

The width to height ratio of the film frame as it appears on a movie screen or television monitor

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2
Q

What is academy ratio and how does it differ from widescreen ratios?

A

An aspect ratio of the screen width to height of 1.37:1, the standard adopted by the Motion Picture Academy of Arts and Sciences in 1931 and used by most films until the introduction of widescreen ratios in the 1950s; academy ratio is similar to the standard television ratio of 1.33:1 or 4:3. Widescreen ratio is wider and a more rectangular aspect ratio typically 1.85:1 or 2.35:1

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3
Q

Widescreen processes

A

Any number of systems introduced in the 50s that widened the aspect ratio and dimensions of the movie screen.

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4
Q

Anamorphic lens

A

A camera lens that compresses the horizontal axis of an image or a projector lens that “unsqueezes” such an image to produce a widescreen image

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5
Q

Masks

A

Attachments to the camera or devices added optically that cut off portions of the frame so that part of the image is black.

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6
Q

Letterboxed vs. pan - and -scan

A

Both are processes used to transfer a widescreen-format film to the standard television aspect ratio. Letterboxed means blocking off the top and bottom strips of the square television frame to accommodate the wisecreen image. Using pan-and-scan, a computer controlled scanner determines the most important action in the image and then crops the peripheral action and space or presents the original frame as two separate images.

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7
Q

Shot

A

A continuous point of view (or continuously exposed piece of film) that may move backward or forward, up or down, but not change, break, or cut to another repoint of view.

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8
Q

Framing

A

The portioned of the filmed subject that appears within the borders of the frame; it correlates with camera distance

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9
Q

Shot scale

A

The distance from which the shot was taken, how close the subject is eg. Long shot, close up etc.

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10
Q

Extreme close up

A

A framing that is comparatively tighter than a close up, singling out for an example, a person’s eyes, or the petal of a flower.

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11
Q

Close up

A

Framing that shows details of a person or an object, such as a character’s face

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12
Q

Medium close up

A

A framing that shows a comparatively larger area than a close up such as a person from the shoulders up , typically used during the conversation sequences (shoulders and face)

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13
Q

Medium shot

A

A middle ground framing in which we see the body of a person from approximately the waist up

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14
Q

Medium long shot

A

A framing that shows most of the individual’s body (knees up) aka the “American shot”

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15
Q

Long shot

A

A framing that places the considerable distance between the camera and the scene or person so that the object or person is recognizable but defined by the large space and background

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16
Q

Establishing shot

A

Generally, an initial long shot that establishes the location and setting that orients the viewer in space to a clear view of the action

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17
Q

Mobile frame

A

A property of a shot in which the camera itself moves or the borders of the image are altered by a change in the focal length of the camera len

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18
Q

Pan

A

A left or right rotation of the camera, whose tripod or mount remains in a fixed position that produces a horizontal movement onscreen

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19
Q

Tilt

A

An upward or downward rotation of the camera, whose tripod stays in a fixed position producing a vertical movement onscreen

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20
Q

Dolly or tracking shot

A

A shot that changes the position of the point of view by moving forward, backward, or around the subject usually on tracks that have been constructed in advance

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21
Q

Crane shot

A

A shot taken from a camera mounted on a crane that vary distance, height and angle

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22
Q

High angle

A

A shot directed at a downward angle on individuals or a scene

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23
Q

Low angle

A

A shot from a position lower than its subject

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24
Q

Canted frame

A

Framing that is not level, creating an unbalanced appearance

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25
Q

Editing

A

The process of selecting and joining film footage and shots

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26
Q

Cut

A

In the editing process, the join or splice between two pieces of film: in the finished film, an editing transition between two different shots or scenes achieved without optical effects. Also used to describe a version of the editor’s film as in rough cut, finished cut, or director’s cut

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27
Q

Dissolve

A

An optical effect that briefly superimposes one shot over the next. One image fades out as another image fades in and takes its place ; sometimes called a lap dissolve because two images overlap in the printing process

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28
Q

Fade (out and in)

A

Fade in : an optical effect in which a black screen gradually brightens to a full picture . Often used after a fade out to create a transition between scenes

Fade out: an optical effect in which an image gradually darkens to black often ending a scene or a film

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29
Q

Wipe

A

A transition used to join two shots by moving a vertical, horizontal, or sometimes diagonal line across one image to replace it with a second image that follows the line across the frame.

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30
Q

Iris (a kind if mask)

A

A shot in which the corners of the frame are masked in a black, usually circular form. An iris out is a transition that gradually obscures the image by moving in: an iris in expands to reveal the entire image

31
Q

Continuity editing/ continuity style

A

The institutionalized system of Hollywood editing that uses cuts and other transitions to establish verisimilitude, to construct a coherent time and space, and to tell stories clearly and efficiently. Continuity editing follows the basic principle that each shot or scene has a continuous relationship to the next; sometimes called invisible editing.

32
Q

Dialectical / soviet montage

A

A concept developed in the theories and films of soviet silent film director Sergei Eisenstein that refers to the cutting together of conflicting or unrelated images to generate an idea or emotion in the viewer.

33
Q

Disjunctive editing

A

A variety of alternative editing practices that call attention to the cut through spatial, temporal jumps, or rhythmic or graphic pattern so as to affect viscerally, disorient, or intellectually engage the viewer, also called visible editing.

34
Q

Overlapping editing

A

An edited sequence that presents two shots of the same action : because this technique violates continuity, it is rarely used.

35
Q

Shot /reverse shot

A

An editing pattern that begins with a shot of one character taken from an angle at one end of the axis of action, follows with a shot of the second character from the reverse angle at the other end of the line, and continues back and forth through the sequence; often used in conversations

36
Q

Cross cutting or parallel editing

A

An editing technique that cuts back and forth between action in separate places, often implying simultaneity

37
Q

Point of View (POV) shot

A

A subjective shot that reproduces a character’s optical point of view, often preceded and or followed by shots of the character looking

38
Q

Mise en scene

A

A French theatrical term meaning literally “put on stage”; used in film studies to refer to all of the elements of a movie scene that are organized, often by the director, to be filmed and that are later visible onscreen. They include the scenic elements of a movie, such as actors, lighting, sets, costumes, makeup,and other features of the image that exist independently of the camera and the process of filming and editing. A naturalistic Mise en scene appears realistic and recognizable to viewers, while a theatrical Mise en scene emphasizes the artificial or constructed nature of this world.

39
Q

3 point lighting

A

A lighting technique common in Hollywood that combines key lighting, fill lighting, and back lighting to blend the distribution of light in a scene.

40
Q

180 degree rule

A

A central convention of continuity editing that restricts possible camera set ups to the 180 degree on one side of an imaginary line (the axis of action) drawn between the characters or figures of a scene. If the camera were to cross the line film from within the 180 degree field on the other side, onscreen figure position would be reversed

41
Q

Key lighting

A

The main source of non natural lighting in a scene.
High key lighting : is even ( the ratio between key and fill is high);
Low key lighting : shows strong contrast ( the ratio between key and fill light is low)

42
Q

Backlighting

A

A highlighting technique that illuminates the person or object from behind, tending to silhouette the subject; sometimes called edge lighting.

43
Q

Fill lighting

A

A lighting technique using secondary fill lights to balance the key lighting by removing shadows or to emphasize other spaces and objects in the scene.

44
Q

Focus

A

The point or area in the image that is most precisely outlined and defined by the lens of the camera; the point at which light rays refracted through a lens converge

45
Q

Focal length

A

The distance from the centre if the lens to the lint where the light rays meet in sharp focus

46
Q

Telephoto lens

A

A lens with a focal length of at least 75mm, capable of magnifying and flattening distant objects

47
Q

Wide angle lens

A

A lens with a short focal length (typically less than 35mm) that allows cinematographers to explore a depth of field that can simultaneously show foreground and background objects or events in focus

48
Q

Depth of field

A

the range or distance before and behind the main focus of a shot within which objects remain relatively sharp and clear.

49
Q

Deep focus

A

A focus in which multiple planes in the shot are all in focus simultaneously; usually achieved with a wide angle lens.

50
Q

Rack focus ( or pulled focus)

A

A dramatic change in focus from one object to another

51
Q

Long take

A

A shot of relatively long duration

52
Q

Montage sequence

A

The French word meaning “editing”. It can be used to signify any joining of images, but it has come to indicate a style that emphasizes the breaks and contrasts between images joined by a cut, following soviet silent era filmmakers’ use of the term; also designates rapid sequences in Hollywood films used for descriptive purposes or to show rapid passage of time.

53
Q

Intellectual montage

A

Was defined by Sergei Eisenstein as an intentional juxtaposition of two images in order to generate ideas.

54
Q

Process shot

A

A special effect that combines two or more images as a single shot, such as filming an actor in front of a thematic background.

55
Q

Optical printer

A

The photographic equipment used by technicians to create optical effects in films by duplicating the already exposed image onto a new film stock and altering the lighting or adding additional components.

56
Q

Matte shot

A

A shot that joins two pieces of film, one with the central action or object and the other with additional background, figures or action, (sometimes painted or digitally programmed) that would be difficult to create physically for the shot

57
Q

Story vs plot

A

Story: the subject matter or raw material of a narrative, or our reconstruction of the events of a narrative based on what is explicitly shown and ordered in the plot.
Plot: the narrative ordering if the events of the story as they appear in the actual work, selected and arranged according to particular temporal, spatial generic, casual or other patterns

58
Q

Diegisis

A

A term that refers to the world of the film’s story ( its characters, places, and events), including not only what is shown. It also what is implied to have taken place. It comes from the Greek word meaning narration.

59
Q

Linear chronology

A

Plot events and actions that proceeded one after another as a forward movement in time.

60
Q

Flashback

A

A sequence that follows images set in the present with images set in the past; it may be introduced with a dissolve conveying a character’s subjective memory or with a Voiceover in which a character narrates the past

61
Q

Foley artist

A

A member of the sound crew who generates live synchronized sound effects such as footsteps, the rustle of clothing, or a key turning in a lock, while watching the projected film. named after their inventor, John foley, foley tracks are eventually mixed in with other audio tracks.

62
Q

On screen and off screen space

A

On screen space: space visible within the frame of the image

Offscreen space: the implied space outside the boundaries of the film frame.

63
Q

Diegetic sound

A

Sound that has its source in the narrative world of the film, whose characters are presumed to be able to hear it.

64
Q

Non diegetic sound

A

Sound that does not have an identifiable source in the character’s world and that consequently the characters can not hear

65
Q

VoiceOver

A

A voice whose source is neither visible in the frame nor implied to be offscreen, it typically narrates the film’s images such as flashback or the commentary in a documentary film

66
Q

Voice off

A

A voice that originates from a speaker who can be inferred to be present in the scene but is not present onscreen

67
Q

Optical sound recording

A

A sound recording process that converts sound waves into electrical impulses that then that control how a light beam is projected onto a film. The process enables a soundtrack to be recorded alongside the image for simultaneous projection.

68
Q

Digital sound

A

Recording and reproducing sound through technologies that encode and decode it as digital information.

69
Q

Direct sound

A

Sond captured directly from its source

70
Q

Synchronous sound

A

Sound that is recorded during a scene or that is synchronized with the film images; as used by scholar Siegfried Kracauer, a term that describes sound that has a visible onscreen source, such as moving lips; also referred to as onscreen sound.

71
Q

Sound designer

A

The individual responsible for planning and directing the overall sound of a film through to the final mix.

72
Q

Sound mixing

A

An important stage in the postpreduction of a film that takes place after the image track, including the credits, is complete; the process by which all the elements of the soundtrack imcluding music, effects, and dialogue, are combined and adjusted; also called re-recording

73
Q

Post synchronous sound

A

Sound recorded after the actual filming and then synchronized with onscreen sources

74
Q

Automated dialogue replacement (ADR)

A

A process during which actors watch the film footage re-record their lines to be dubbed into the soundtrack, aka looping

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