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Film > Quiz 4 > Flashcards

Quiz 4 Flashcards

1
Q

film editor

A

technical coordinator of post production activities who monitors the work of the various departments to see that all visual and aural values are uniform and consistent

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2
Q

what is the film editor responsible for?

A

select, order, trim, and splice together the various film shots into a credible and coherent rough cut. also, the editor is concerned with such matters as the proper way to make a smooth cut, the appropriate dramatic length, of a piece of film, the interplay of cuts, tempo and rhythm and such

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3
Q

what is important about angles and pov?

A

depending on the arrangement and context, certain angles and pov can generate a specific emotional tone

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4
Q

when does an editor begin to work?

A

theoretically after the principle cinematography, but they often consult with the director and cinematographer during the shooting process

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5
Q

slow motion

A

produced by operating the camera at a higher speed than normal

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6
Q

the Kuleshov Effect

A

a wide ranges of meanings and nuances can be created from the juxtaposition of fragments of time and space captured in a film
two completely different and separate shots can be cut together to form meaning

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7
Q

when is the effect of a scene decided?

A

effects created during editing have to be anticipated in the script and implemented during shooting in order for the editor to bring them to fruition in postproduction

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8
Q

editing within a scene

A

primary goal is to create a sense of continuous space and time so that the action unfolds smoothly

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9
Q

continuity editing

A

process of accomplishing a scene with cut that don’t seem interrupting or intervening. this process needs to be started from initial filming, because two particular shots go together smoothly

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10
Q

180-degree systme

A

central to continuity editing. the line or axis that the filming can take place to not confuse the audience about spatial relations, keeps the placement consistent

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11
Q

other techniques of continuity editing?

A

match on action, graphic similarities, connecting glances, or common sounds

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12
Q

graphic match

A

actors, object,s and other compositional factors retain approximate positions in the frame from shot to shot

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13
Q

eye line matches

A

the separate glances of the speakers connect, let the audiences know whom each speaker is looking at and talking to even when they are not shown together on camera

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14
Q

match on action

A

continues a physical actions from one shot to the next without any disorientating jumps

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15
Q

when can a scene seem disorienting and too jumpy?

A

when its all from the same shot and angle

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16
Q

thirty degree rule

A

the joining of shots taken from camera angles varying by at least 30 degrees, ensuring that there is a visible change in angle

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17
Q

reverse angle cutting

A

a key component to continuity editing, in which the second of two shots joined together reverses the field of view of the first by 90 degrees. typically connected by eye-line match

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18
Q

fade

A

an image gradually goes black

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19
Q

temporal ellipse

A

a break in time designed to compress the narrative duration and heighten drama

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20
Q

what is the purpose of a fade?

A

to signify temporal ellipse

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21
Q

what was the purpose of a fade in the studio system?

A

so suggest sexual activity

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22
Q

dissolve

A

one image gradually fade out while another begins to appear

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23
Q

what does a dissolve signify?

A

a flashback

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24
Q

flashback

A

narrative time is disrupted to recall earlier events

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25
Q

montage editing

A

the cutting together of very brief shots to form a scene or sequence

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26
Q

what is the purpose of montage editing?

A

to signify a passing of time

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27
Q

swish pan or wipe

A

a blurring sideways motion across the scene to indicate temporal duration

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28
Q

parallell editing

A

separate scenes intercut to suggest that they are happening simultaneously

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29
Q

visual effects

A

(different from special effects) comes during the calm of postproduction and involved glass shots, miniatures, stop-motion animation, optical printers, and computer generated imagery (CGI)

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30
Q

matte shot

A

a portion of the frame is matted or blanked out and another picture substitutes that part of the frame
filmed by partially covering the lens during one shot and then covering the other for the next shot

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31
Q

optical printer

A

a device consisted of a camera and a projector running in sync with lenses facing each other so the film could be spliced together smoothly

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32
Q

King Kong (1933)

A

an example of the sophisticated animation by Willis O’Brien

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33
Q

Marcel Delgado

A

constructed all the figures used in the tabletop animation for king kong

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34
Q

how big were the models for the King Kong (1933) movie?

A

no more than 2-3 feet, for close up shots they used larger models

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35
Q

stop-motion animation

A

self-explanatory

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36
Q

how were live actors in king kong combined with the animated models?

A

through matte shots and rear projection

37
Q

rear projection

A

staging action in front of a translucent screen behind which a filmed background is projected. the camera then records the combined images of the foreground and the background

38
Q

front porjection

A

a system that produces a brighter projected image and greater sense of depth. requires a more complicated setup of camera and projector. uses a half-silvered mirror set at a 45 degree angle in font of the camera so that shadows from subjects in front of background aren’t cast

39
Q

when was front projection perfected?

A

Stanley Kubrick’s 2001: A Space Odyssey

40
Q

miniatures

A

small-scale models used to simulate buildings, vehicles, creatures, and so on

41
Q

how long have miniatures been used?

A

they have been an integral part pf the creation of visual effects – like the colosseum in Ben-Hur, a Tale of Christ (1925)

42
Q

computer generated imagery

A

makes it possible for moviemakers to create and control film images in ways ranging from the mundane to the miraculous

43
Q

morphing

A

a process that alters the general appearance of images can be altered at will by scanning filmed frames into a computer and manipulating the individual picture units

44
Q

pixels

A

individual picture units

45
Q

when was morphing first used

A

in the fantasy adventure Willow (1988) and the under-water saga The Abyss (1989) and it was significantly refined in the Terminator 2: Judgement Day (1991)

46
Q

how many stages are there to movie editing?

A

2

47
Q

what are the stages of movie editing

A

the rough cut and then the sound cuts

48
Q

what are the categories of sound elements?

A

speech, ambient noise, and music

49
Q

what are the two basic types of speech in movies?

A

dialogue and voice over narration

50
Q

looping

A

replaces dialogue marred by such things as on-set noise, previously undetected flubs, and inappropriate inflections. also used when directors are not satisfied with a particular reading and they want another interoperation

51
Q

revoicing

A

when all of an actors lines are redone

52
Q

ADR editor

A

automatic dialogue replacement– the editing of dialogue

53
Q

sound effects

A

sounds that are artificially produced by experts to match the appropriate noise of a setting

54
Q

Foley artist

A

a professional who can create all sorts of sound simulations

55
Q

what is the function of sound effect?

A

to lend mood and feeling to a scene or to heighten tension

56
Q

what kind of speech is common in film noir

A

voice over

57
Q

what kinds of movies is voice over narration an intrinsic setting to the mood and providing an interpretation of the dramatic events?

A

Murder My Sweet, The Postman Always Rings Twice, Dead Reckoning, Out of the Past, and Double Indemnity

58
Q

when does the musical composer come into the moviemaking process?

A

often quite late in the stage of editing

59
Q

what does the composer do?

A

he writes the score and composes a cue sheet which lists directly where music will go and how long it will run

60
Q

what can music do?

A

establish mood or suggest something about what is taking place
it also sets the place of the action and serves as a substitute for dialogue

61
Q

supervising sound editor

A

oversees such matters as the dubbing of the dialogue and the placement of music

62
Q

sound mixer

A

combines the separate voice, music, and effects tracks into a single master track

63
Q

negative cutter

A

a person that matches the actual camera negative with the cut of the film provided by the editor

64
Q

color timer

A

a person that works closely with the director of photography to ensure that the look and mood of the movie is consistent with the directors intentions from shot to shot

65
Q

What did Walter Murch say about movie editing?

A

that the transition from celluloid to digital film is like the transformation in the 15th century when European artists changed from frescoes to oil colors on canvas

66
Q

What did Walter Murch say about movie editing?

A

that the transition from celluloid to digital film is like the transformation in the 15th century when European artists changed from frescoes to oil colors on canvas

67
Q

what can determine the genre of a film?

A

subject matter and rhetorical intent

68
Q

can a movie be a hybrid of genres? give examples

A

yes, Mildred Pierce or Westworld

69
Q

what kind of movie is Mildred Pierce?

A

a film-noir domestic melodrama

70
Q

what are the are the characteristics of a western?

A

the frontier, self-reliant loner/responsible man, wilderness vs civilization, individual vs community, adventure vs domesticity

71
Q

typically, what is the story of a western?

A

a self-reliant man reluctantly teams up with a responsible man and theres a strong sense of community and commitememnt

72
Q

Shane

A

a western

73
Q

western as a myth

A

cultural historian Richard Slotkin argues that the western genre was a symbolic narrative that expressed America’s culture’s central beliefs, political struggle, and social uncertainty

74
Q

Professionals (1966) and The Wild Bunch (1969)

A

a disguised western centered around a group rather than an individual

75
Q

what is one of Hollywood’s most enduring male archetypes?

A

self-reliant loner who reluctantly shifts from isolation to social responsibility

76
Q

what is the driving force of film?

A

conflict

77
Q

MacGuffin

A

an object, event, or character in a film or story that serves to set and keep the plot in motion despite usually lacking intrinsic importance

78
Q

what creates suspense and curiosity in detective films?

A

withholding causes

79
Q

classic detective

A

one who solves cases through acute observation and deductive reasoning and reside in an orderly and rational universe that yields its mysteries to science and logic

80
Q

hard boiled detecive

A

one who relies on instinct rather than intellectual causes

81
Q

theme

A

a movie’s central concern or focus around which it is structured

82
Q

motifs

A

repeated elements in the film that reinforce central concern and also can convey meaning

83
Q

what kind of themes are there in movies?

A

dark vs light, city vs country, migrations vs settlement, competition vs cooperation

84
Q

what is most likely the most common theme of Hollywood movies from 1930-1980? and what movie is an example?

A

the incompatible values and beliefs of an individual and a community
It’s a Wonderful Life (1946)

85
Q

plot

A

the way the events, characters, and settings of a story are represented in terms of temporal order, duration, and frequency

86
Q

story

A

the events explicitly or implicitly in chronological order and linked by cause and effect

87
Q

what is the benefit of stereotypes?

A

short-cuts to character developments and can communicate a great deal in a short time

88
Q

what are the two types of asian stereotypes?

A

the wily nefarious villain (mask of fu manchu) and the smart unthreatening, asexual male protagonist (mr. moto)

Film (5 decks)

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