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Kerr > Test 1 > Flashcards

Test 1 Flashcards

1
Q

3 pillars of cultural identity

A

religion, language, Common past/history (won’t be the same in 50 years)

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2
Q

culture is:

A

ideals, beliefs, values, ideas, knowledge, attitudes, assumptions

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3
Q

culture defines…

A

“the right way of living”

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4
Q

–functions of culture

A

communication; social criticism; social unity; collective memory

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5
Q

foundations of culture are being replaced by ___

A

pop culture

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6
Q

we must know culture to ______ it

A

influence

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7
Q

good elements of culture (do what?)

A

exalt truth, beauty, and leads to righteousness and prosperity and eventually easier access to a relationship with God.

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8
Q

poor culture leads (to what?)

A

suffering and demise

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9
Q

influencing culture matters to our ___ and ___.

A

faith and future

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10
Q

“four hostile newspapers are to be more feared than a thousand bayonets”

A

napoleon bonaparte

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11
Q

“there is, these days, only subculture…”

A

Andrew sullivan

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12
Q

5 ways our culture parallels Rome

A 
2nd Great Republic
Built on another civilization
devolves into democracy then autocracy
farms, roads, military
crumble from decadency within
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13
Q

7 most dominant influencers on society

A

movies, music, tv, books, the internet, law, family

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14
Q

second tier influencers on society (5)

A

schools, peers, newspapers, radio, businesses

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15
Q

media is the new cultural _____

A

glue

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16
Q

Media sets conversation ______

A

agendas

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17
Q

Media exemplifies a standard of ____ ___ ___

A

acceptable public morals

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18
Q

Media gives common ________

A

language

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19
Q

media tells our _____ ______

A

common stories

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20
Q

3 bad christian news examples

A

hypocrisy; sex scandal; closing church for christmas

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21
Q

the _____ is the message

A

medium

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22
Q

culture will change more because of ___ I’m communicating than ____ I’m communicating

A

how; what

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23
Q

Radio made US into an _____ culture… no secrets

A

oral

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24
Q

—-cold media

A

does not emotionally excite. TV

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25
Q

—-hot media

A

makes you emotional… radio; movie theater

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26
Q

effects of internet

A

makes us global. international perspective. one world govt.

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27
Q

effects of tv

A

causes short attention span; mistrust of journalism; laziness

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28
Q

AOD the media of communication available to a culture are a ___ ____ on the formation of the culture’s intellectual and social preoccupations

A

major influence

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29
Q

AOD a major new medium changes the structure of discourse; it does so by by creating new forms of _______ ____.

A

truth-telling

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30
Q

media are extensions of existing _______.

A

senses

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31
Q

—-global village theory

A

the globe is being contracted into a village by electric technology. globalization.

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32
Q

Four Com revolutions

A

Writing; print; electronic; internet

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33
Q

internet gives the same access to all, so it _____ hierarchies.

A

breaks down

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34
Q

Innis: dominant com tech determines stability/conservatism vs. ______ _____ government

A

long distance

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35
Q

Medium Theory affected trio:

A

group identity, socialization, hierarchy

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36
Q

group identity

A

defines who you are

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37
Q

socialization

A

rites of passage/ promotion

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38
Q

hierarchy

A

rank order of classes

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39
Q

cultural glutton

A

one who consumes popular art too passively, without discrimination.

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40
Q

cultural anorexic

A

Those in irrelevance and alienation from others due to a cultural barrier that has arisen from a lack of cultural familiarity. (they consume none)

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41
Q

Story

A

a metaphor; a model of some aspect of human behavior

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42
Q

included in “story”

A

narrative, history, fiction, nonfiction, legend, myths

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43
Q

Myth

A

a way of thinking, is not an untruth but a way of reaching profound truth

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44
Q

myth must include a ______ or explanation component

A

moral

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45
Q

Spring Myths

A

comedies, i.e., stories that lead from bad situations to happy endings (Twelfth Night)

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46
Q

Summer myths

A

utopian fantasies (Dante’s Paradiso)

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47
Q

Fall myths

A

tragedies that lead from ideal situations to disaster (Hamlet, Othello, Legends of the Fall)

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48
Q

Winter Myths

A

dystopias (Brave New World)

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49
Q

The cultural messages is coated or masked by ______, so that the greater the _____, the less one notices and examines the cultural message.

A

pleasure; pleasure

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50
Q

Primary purpose for creation of narratives

A

making of money (profit) [used to be conveying culture]

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51
Q

In Film, it is easier to create spin-off merchandise if the film is “________ ____”

A

“generically coded”

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52
Q

TV runs by advertising, and thus must attract not only viewers but is best if it has viewers of similar __________.

A

demographics

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53
Q

2 common american myths/plots

A

Rags to riches;

Liberty and justice for all

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54
Q

The new global superpower is _________.

A

entertainment

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55
Q

Narratives

A

ways of structuring or representing lived experience/stories

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56
Q

narratology

A

seeks to identify what all, and only, narratives have in common. examines the nature, form and function of narratives across genre and media

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57
Q

Text

A

any media

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58
Q

myths are “narrativised ideology, the formulaic articulation and naturalization of ____, _____, and _____.

A

values, truths, and beliefs

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59
Q

3 characteristics of myths

A

they often distinguish “us” and “them”
they often reinforce traditional views and absolute categories because they must appeal to the masses.
Today they often sell global capitalism and individualism (US culture values)

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60
Q

Genre

A

“type or category of a text”

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61
Q

Genre are NOT “_______ or _________” but serve the practical function of creating a market/audience.

A

natural or inevitable

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62
Q

_______ are vague categories with no fixed boundaries, formed by sets of conventions that often overlap.

A

genre

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63
Q

some genres

A

comedy; romance; action; thriller; horror; sci fi (hard and soft); western; fantasy; documentary; animation; family; classic; sports; drama

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64
Q

STC “movies are intricately made _____ _____”

A

emotional machines

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65
Q

STC ten movie types (genre)

A

Monster in the house; golden fleece; out of hte bottle; dude with a problem; rites of passage; buddy love; whydunit; the fool triumphant; institutionalized; superhero

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66
Q

STC log-lines

A

irony/emotionally involving; compelling mental picture; audience and cost; killer title

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67
Q

Robert McKee’s 20 plots

A

quest; adventure; pursuit; rescue; escape; revenge; the riddle; rivalry; underdog; maturation; love; sacrifice;; discovery; ascension; temptation; descension; metamorphosis; transformation; forbidden love; wretched excess

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68
Q

story/langue

A

chronological order of events

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69
Q

plot/parole

A

causally related order of events in a particular telling

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70
Q

synecdoche

A

part stands for a whole (“face” of God means all of God’s attention)

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71
Q

Metaphor

A

one thing represents another

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72
Q

Metonymy

A

a word or expression used as a substitute for something with which it is closely associated (pentagon suggests entire US military)

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73
Q

sacramental

A

adds mystery to mundane

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74
Q

mystical

A

symbolically reaches for the ultimate

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75
Q

critical realism

A

observed reality is a dim picture of the true reality

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76
Q

idealism

A

looks forward with hope to color the present

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77
Q

expressionism

A

mix of realism and mystical

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78
Q

focalization

A

the perspective from which the narrative is told

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79
Q

diegesis

A

character speaks for him/herself

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80
Q

mimesis

A

character speaks for another

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81
Q

Umwelt

A

the fictional “reality” of characters in a story (Luke lives where “the force” exists)

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82
Q

—Typical Narrative

A

Hero; quest; adversary; character flaw; apparent defeat; final confrontation; self revelation; resolution; redemption

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83
Q

film’s 3-part structure

A

beginning; middle; end

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84
Q

film’s beginning

A

new challenge accepted

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85
Q

film’s middle

A

conflict develops

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86
Q

film’s end

A

fight back, overcome odds, win prize (or anti-hero the protagonist may fail to act and there is no resolution/redemption)

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87
Q

The setup 10-15 pages and development

A

scene sets tone and genre, foreshadows the film, initial events, ends by asking the central question

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88
Q

1st turning point (30 mins)

A

shifts focus, moment of decision, new partners/character, raises stakes

89
Q

middle point (60 mins)

A

no major changes, just slight shifts

90
Q

2nd turning point (90 mins)

A

sometimes ticking clock, last act 30 mins or less

91
Q

climax

A

last 15 mins

92
Q

resolution

A

last 10 mins

93
Q

act one

A

begin with an image (establishment shot)
set stage with the characters/ scene
work in catalyst (begins action)
raise central question

94
Q

act two

A

back story/ depth in characters
turning point/plot minor twist
momentum occurs as one action scene smoothly leads to another action scene
action point; complication; barriers; reversal

95
Q

(act 2) action point

A

event causes characters to react

96
Q

(act 2) complication

A

action point with no immediate pay off

97
Q

(act 2) barriers

A

characters have to change direction

98
Q

(act 2) reversal

A

character goes in opposite direction

99
Q

Act Three

A

second turning point builds momentum
Climax
payoff all the foreshadowing
show how the character has grown — transformational arc

100
Q

STC opening image p1

A

sets tone, mood and scope

gives baseline for hero, may foreshadow

101
Q

STC Theme stated p5

A

thematic premise stated (often not by hero)

102
Q

STC Set-up p1-10

A

Sets up hero dilemma and flaw

Introduces all characters, presents thesis

103
Q

STC Catalyst p12

A

pushes hero from nest; “lights the match”

104
Q

STC Debate p12-25

A

debates the quest, considers declining it

105
Q

STC Break into Act two p25

A

hero chooses the adventure, ends act 1

106
Q

STC B Story p30

A

begins act 2, breather, often love story

maybe antithesis character, discusses theme

107
Q

STC Fun and games p30-55

A

the meat of why the movie/theme are fun

108
Q

STC midpoint p55

A

hero has zenith or nadir; stakes are raised.

never as good or as bad as it seems.

109
Q

STC bad guys close in p55-75

A

bad guys rally, good guys disintegrate

110
Q

STC all is lost p75

A

include a whiff of death

111
Q

STC Dark night of the sould p75-85

A

Hero struggles to find hope and dig deeper.

Hero admits humility and humanity

112
Q

STC Break into Act 3

A

External (A) and internal (B) stories unite.

Path ahead is often due to B story truth

113
Q

STC Finale p85-110

A

Lessons applied, hero wins big fight scene.
Bad guys die or captured, tie all loose ends.
New world order created

114
Q

STC Final image p110

A

Hero returns to more satisfying normal.

Hero flaw/defect has been changed

115
Q

STC It is vital that you hit act break on p___

A

25

116
Q

STC Make the “_______” powerful

A

all is lost

117
Q

STC have conflict in _________ scene

A

every

118
Q

zenith; nadir

A

high point; low point

119
Q

5 reasons we like stories

A 
to waste time
to be entertained or relax
to better understand death
to experience transcendence
to live more lives
120
Q

Why we want to live more lives

A

we are immortals trapped in mortality.
see and explore issues beyond our experience.
reflect on what is right/how we fit in society

121
Q

3 types of hollywood stories

A

classical; modernist; postmodern

122
Q

story type: classical

A

strong dualisms, single plots

123
Q

story type: modernist

A

multiple plots converging

124
Q

story type: postmodern

A

multiple time patterns and disconnected events including intentional meaninglessness.

125
Q

major themes of narratives

A

plot (most action); effect (most horror); style (see director); character (gatsby);

126
Q

Aristotle’s 6 parts of tragedy

A

plot; character; diction; thought; spectacle; song

127
Q

elements of Subplots (B plots)

A 
has beg/mid/end too.
B drives and is related to A.
Takes time away from A story development.
Too few makes A too boring/linear.
stories often have 2-3 subplots
often just romance.
creates twists and turns in A plot
128
Q

Conclusion: paradox must:

A

come as a surprise; make sense in context (could have been seen coming)

129
Q

elements of conclusion…

A

paradox;
Often also involves most intense action;
needs to tie up all loose ends.

130
Q

STC: Save the cat

A

open with a character-setting scene

131
Q

STC: the pope in the pool

A

mask boring background or plot with exciting or interesting distractions

132
Q

STC: avoid double mumbo jumbo

A

only 1 really bizarre/unreasonable device

133
Q

STC: laying pipe

A

get to the point in the 1st 15 minutes or less

134
Q

STC: Too much marzipan

A

don’t beat a good idea to death!

135
Q

STC: Watch out for that glacier

A

danger/enemy must be real and present

136
Q

STC: covenant of the arc

A

every character (except bad guys) change

137
Q

STC: keep the press out

A

only add media with caution as it lowers mystique and hurts the audience’s ability to suspend reality.

138
Q

Temporality

A

how time unfolds in a story

139
Q

sociotemporality

A

culture’s history and being

140
Q

mental temporality

A

personal present

141
Q

organic temporality

A

1 to 1 ratio between story and real time

142
Q

material temporality

A

space / time

143
Q

probablistic temporality

A

quantum mechanics

144
Q

atemporality

A

electromagnetic radiation

145
Q

Duration

A

stability of time in story; plot/screen time compared to how long it would take in reality.

146
Q

Duration: story time

A

everything… however many years

147
Q

Duration: plot time

A

what we see

148
Q

Duration: screen (real) time

A

how much theater time

149
Q

Isochronic

A

when story, plot, and screen time are the same. (the show 24)

150
Q

Montage

A

same time shot in repetition or a cascade of shots showing time pass typically tied together by a single song

151
Q

narrative ellipsis

A

transport of time

152
Q

summary

A

often through dialogue

153
Q

descriptive pause

A

creative pause in action often to build suspense

154
Q

Order: Types of Anachrony

A

prolepsis; analepsis; frequency

155
Q

prolepsis

A

any narrative maneuver that consists of narrating or evoking in advance an event that will take place later (also musical virtual prolepsis)

156
Q

analepsis

A

break in temporal order to narrate what has already occurred. “flashbacks”

157
Q

frequency

A

repetition for perspective and effect

158
Q

good narratives

A

compresses diegesis and umwelt in correct order and length

159
Q

david bordwell’s hollywood story construction laws:

A

causuality; consequence; psychological motivations; drive towards overcoming obstacles and achieving goals

160
Q

aristotle’s 4 dramatic plots

A

simple tragic; simple fortunate; complex tragic; complex fortunate

161
Q

Idea of a _____ is everywhere in society and film

A

“savior”

162
Q

most movies have a _______ figure

A

savior

163
Q

Savior figures often look very ________ from christ, so they imply a ______ than christ’s

A

different; different

164
Q

Christ is the true “______” envisions by Joseph Campbell

A

monomyth

165
Q

God’s story is the ultimate metanarrative and _________ tale

A

prototypical

166
Q

(Brian Godawa) “In short, movie storytelling is about _______ - the recovery of something lost or the attainment of something needed…”

A

redemption

167
Q

What prevents Christians from being the main storytellers and culture formers?

A

don’t portray evil well
lack of motivation
gatekeepers

168
Q

STC: need a hero with a _______ motivation

A

primal

169
Q

primal motivations

A

survival, hunger, sex, avoid death, protect

170
Q

perfect hero

A

longest emotional journey;

identification often involves family context, so make it a sister/mother/brother/etc.

171
Q

If Christ is the prototypcial story, then nearly all stories will reflect elements of the ________.

A

gospel

172
Q

the best stories will illuminate or closely parallel aspects of ______’s story

A

Christ’s

173
Q

Defamiliarization:

A

character has characteristics of a known person (such as christ) but with one or a few stark differences

174
Q

Cinema’s com matrix

A

Realism
education entertainment
fantasy

175
Q

Establishment shot typically starts wide angle establishing _______ and ____ of action

A

location and time

176
Q

The establishment shot sets the stage with _______ and ______ action to create interest

A

context and foreshadowing

177
Q

the establishment shot provides _____ (often hints at genre)

A

tone

178
Q

The Establishment shot makes audience identify with __________.

A

main character.

179
Q

-GSTC: Hero leads

A

hero’s goal is clear.
hero chooses to go on
hero has the answers

180
Q

-GSTC: don’t talk the _____

A

plot

181
Q

-GSTC:make the bad guy _____

A

badder

182
Q

-GSTC: turn up the ______ throughout

A

intensity

183
Q

-GSTC: cover full _______ spectrum

A

emotional

184
Q

-GSTC: delete _____ dialogue

A

flat

185
Q

-GSTC: step back and show _______ _____.

A

entire journey

186
Q

-GSTC: give all characters _____

A

character

187
Q

ensure conflict is ________

A

primal

188
Q

some common themes

A

rags to riches; liberty and justice for all; underdog triumphs; fish out of water; stranger in strange land; community; integrity; overcoming adversity; survival of the fittest; justice; innocence

189
Q

Genre helps us _______ a movie

A

interpret

190
Q

within genre criticism, we can compare the movie to standards in its own ______.

A

genre

191
Q

within genre, the best meet most the standards, but are free to break away and “______” the genre

A

expand

192
Q

Auteur Criticism

A

looks at the director/author and what influences their work.

193
Q

Thematic criticism

A

what the film is really about…

194
Q

thematic criticism often involves _________

A

intertextuality (comparisons with other narratives)

195
Q

Thematic criticism often called the _______/______premise, and is purpose for movie’s creation

A

heart/ moral

196
Q

_______ criticism is most considered by the church

A

thematic

197
Q

thematic criticism focuses on the _____ of a movie

A

content

198
Q

Typical theological topics

A

nature of god, relationships, faith, love, hope, reverence for life, sin , evil, freedom of humanity, nature of life, alienation, and celebration

199
Q

Cultural Criticism focuses on _____ context

A

social

200
Q

Cultural criticism reflect the ____ of an age while also helping define that ______.

A

reality

201
Q

Cultural criticism helps us see ______ from new perspectives

A

issues

202
Q

Cultural Criticism often involves a more marginalized culture, _______ by gender or race

A

divided

203
Q

Other critiquiable aspects of film

A

color; editing; light; special effects; music; camera angles; framing; symbols/metaphors; art direction; opening and closing; acting

204
Q

STC: in the end, you must count on ambition and ______ and prayer

A

fate

205
Q

STC: plan your ______ campaign

A

sales

206
Q

STC: get ______ with any “no”

A

referrals

207
Q

STC: Network at:

A

film festivals, classes, screenwriting groups, LA

208
Q

STC: avoid most screenwriting ________.

A

contests

209
Q

STC: be careful and creative with _____ pitches

A

specialty

210
Q

STC: never ______ up

A

give

211
Q

Matrix Act Breaks:

A

Taking the pill; morpheus taken/oracle says no

212
Q

Foreshadowing in matrix:

A

you’re my own personal Jesus

Neo is a computer hacker

213
Q

Matrix characters/ scene setting

A

computers, networking, “matrix” mentioned

214
Q

Central Question in matrix

A

what is the matrix? what is reality?

215
Q

Utopia

A

imagined state in which everything is perfect

216
Q

Dystopia

A

an imagined state in which everything is unpleasant

217
Q

STC Narrative order

A

opening image; theme stated; set-up; catalyst; debate; break into act 2; b story; fun and games; midpoint; bad guys close in; all is lost; dark night of the soul; break into act 3; finale; final image

218
Q

Good script to great (STC)

A

hero leads; don’t talk the plot; make bad guy badder; turn up the intensity throughout; cover full emotional spectrum; delete flat dialogue; step back and show entire journey; give all characters character; ensure conflict is primal

Kerr (4 decks)

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