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Stories In Diverse Media > Test 1 > Flashcards

Test 1 Flashcards

1
Q

Metonym

A

Refers to a part of some- thing used to represent it as a whole (e.g. ‘I’ve bought some wheels’ for ‘I’ve bought a car’

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2
Q

Metaphor

A

The substitution of one idea for another
Ex: life is a box of chocolates

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3
Q

Analogy

A

Comparing two entities to form logical argument in order to make a point
(Ex:life is like a box of chocolates, you never know what you’re going to get)

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4
Q

Narrative

A

How the sequence of events is organized into a story with a particular structure

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5
Q

Story

A

The chronological sequence of events that are behind the narrative

All the events in a narrative,
those presented directly to an audience and those which might
be inferred
Ex: The king died and then the queen died

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6
Q

Plot

A

Refers to the shaping of the story into a logical structure that shows a causal connection between those elements
Ex: The king died and then the queen died of grief

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7
Q

Ego

A

ego (the realistic part of the mind that mitigates the primitive with the conscience)

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8
Q

Id

A

id (the primitive and instinctual part of the mind)

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9
Q

Superego

A

superego (the moral conscience)

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10
Q

Discourse

A

Describes how a story is being told and articulates how the way in which a story is being told impacts the meaning of that story. It is the manipulation of the story in the presentation of the narrative, which could include things like metaphors, similes, editing techniques, camera movements, music, etc..

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11
Q

Storyworld

A

The real or imaginary environments in which the action of the narrative takes place, it can also refer to the mental models the audiences create as they make sense of the narrative

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12
Q

Reader response theory

A
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13
Q

Bergers five focal points for communicating texts

A
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14
Q

Rhetoric

A

The construction and manipulation of language by the creator of a text for affective purpose

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15
Q

Cropping

A

A subtler and more immediate rhetorical device than retouching is to cut out unwanted material by adjusting the
edges of the picture. This can be done ‘in the camera’ during a shoot or in processing afterwards.

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16
Q

Juxtaposition

A

This refers to the placing of one picture or part
of a picture alongside another. We may read them as constituting a single text and thus come to a third meaning.
Juxtaposition may also take place in the frame at the point of
composition, of course, wherein objects are thrown together
due to the choice and perspective taken by the photographer
or image maker.

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17
Q

Montage

A

A step beyond juxtaposition is the merger of two or more images into a seamless whole to create a new text

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18
Q

Implied audience

A

leaders or listeners imagined by a writer or speaker before and during the composition of a text

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19
Q

Semiology

A
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20
Q

Langue

A
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21
Q

Signifier

A

the signifier, to put it simply, is the word

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22
Q

Diachronic

A
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23
Q

Parole

A

Refers to any particular ‘utterance’ derived from the system of signification of langue

24
Q

Signified

A

thing or idea it represents.

25
Q

Semiotics

A

study of the use of symbolic communication

26
Q

Denotation

A

the literal dictionary definition of a word, without any emotional and/or implied meaning hidden beyond the literal
EX: the term “hot” - to mean literally giving off heat

27
Q

Indexical relationship

A

expression whose reference can shift from context to context. For example, the indexical ‘you’ may refer to one person in one context and to another person in another context.

28
Q

Symbolic relationship

A
29
Q

Semiotic relationship

A

the relationship between the sign, the context, and the meaning

30
Q

paradigmatic relationship

A

a relation that holds between elements of the same category, i.e. elements that can be substituted for each other

31
Q

iconic relationship

A

This describes the physical similarities between a sign and its object

32
Q

genre

A

Categories defined by shared attributes and conventions. Shares common elements include thematic motifs, settings, character archetypes, narrative structures and stylistic feature

33
Q

primary orality

A

Persons/cultures totally unfamiliar with writing

34
Q

secondary orality

A

New orality sustained by telephone, radio, TV, etc..

35
Q

rebus writing

A

representation of a word or syllable by a picture of an object the name of which resembles in sound the represented word or syllable

36
Q

pictogram

A

signage that may have a small bit of writing to go along with it

37
Q

symbolic communities

A
38
Q

Schmidts rabbit hole

A
39
Q

Features of avant-garde film

A

Avant-garde films often lack a conventional narrative structure, opting for fragmented or abstract storytelling that challenges the viewer’s perception of time and space.

40
Q

Framing

A

The choices made about
what to include within
the frame and what to
exclude.

41
Q

Mise-en-scène

A

French term originating from theatre to label all the contents of the stage and their arrangement

42
Q

Grapholect

A

A written variant of a language

43
Q

Establishing shot

A

A shot at the start of
a film or scene which
establishes spatial
relationships within
the mise-en-scene and
locates the story within
the diegesis.

44
Q

diegesis

A

The fictional world in
which we presume the
story takes place

45
Q

Femme Fatale

A

A term which originated
in critical discourses
on film noir; it refers to
dangerous, seductive
female characters who
are normally literally
‘fatal’, in that they
course the death of the
hero.

46
Q

30 degree rule

A

An editing technique
which dictates that
the camera should be
stationed at an angle
of at least 30° from its
location in the previous
shot.

47
Q

Continuity editing

A

. The purpose of continuity editing is to maintain the viewer’s
understanding of, and engagement with, the story.

This means that shots are generally juxtaposed in ways that minimize the disruption
inherent in editing. Cuts are designed to avoid confusing ellipses, or disorientating
changes in screen space

48
Q

High angle shot

A

A framing where the
camera looks down from
above on the objects or
scene filmed.

49
Q

Low angle shot

A

A framing where the
camera looks up from
below at the objects or
scene filmed.

50
Q

Straight on shot

A

A framing where the
camera is at the same
level as the objects or
scene filmed.

51
Q

Track/tracking shot/dolly shot

A

A camera movement in
which the camera moves
horizontally by travelling
along the ground
(originally on ‘tracks’
on which a wheeled
support – or ‘dolly’ – for
the camera could be
mounted).

52
Q

Crane shot

A

A camera movement in
which the camera moves
above the ground in any
direction (for which it is
mounted on the arm of a
special ‘camera crane’).

53
Q

The classic paradigm for TV

A
54
Q

Three principle narrative modes used in TV

A
55
Q

focalization

A

The presentation of a scene through the subjective perception of a character

Stories In Diverse Media (1 decks)

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