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Music and Film > Week 3 > Flashcards

Week 3 Flashcards

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0
Q

Tracking shot and pan

A

Mobile frame

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1
Q

Process shot

A

Alter image in post production

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2
Q

A take is.

A

Shot, no breaks

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3
Q

Transitions

A

Cut, fade, dissolve, wipe!

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4
Q

Wipes can take

A

Different shapes

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5
Q

Continuity editing.

A

Putting togehtor, narrative continuity
Order time space, place.
Temporal and special and logic.
Cutting and trimming and putting togethor,

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6
Q

Time

A

Unfolding present, flashback cues

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7
Q

Lash back

A

Harp, whole tone scale, unstAble. Change place.

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8
Q

Time passing

A

Montage, discontinuity too.

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9
Q

Review terms from sheet!

A

Did it?

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10
Q

Establishing shot

A

General space.

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11
Q

Cut in

A

Get closer, continuity

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12
Q

Shot, reverse shot

A

Juxtaposed.

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13
Q

Turing between different spaces

A

Same time,different place

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14
Q

Continuity editing super imp. To study!

A

Got me down pat?

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15
Q

Eyeliner match related to

A

Point of view and cut

Relationship, shot 1 and two

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16
Q

Match on action

A

Going and then coming out of door.

Von trap mansion. Austria and Los Angeles mansion.

17
Q

Reestablosh ing shot

A

Do exist

18
Q

Sound

Diegetic stylized. Fairy tale.

A

Simultaneous, timeframe of story. Future past compared to images. Sound flashback. Voice over also non simultaneous.
Not like synchronous which is like lips matching.
Voice over, non diegetic,

19
Q

Process shot

A

Superimpose falling onto ground in model.

Note zoom in and move back, vertigo sensation.

20
Q

Sound bridge

A

Lag, match, advance

Transition between scenes. Through sounds

21
Q

Studio system

1920-1950

A

Film production impacted institutional structure

MGM, metro Goodwin Meyer, merge. Larger corp.
more control. Of exposition.
1920-1950.

Strong financial stability. Control
Make, distribute and own theaters and ticket sales. One entity.
New York bank institutions owned them.

22
Q

Studio system turned out

A

Dreams (factory)

23
Q

Studio system hierarchy

A

One part is music, many superiors.
Departments, including music.
Under contract!

24
Q

1930-50

A

Stylistic designation, “classical era”, of the film system.
30 because of sound, stylistic and technological shook things up.
Fewer bugs, and
Big stars
PhysicLly all there consolidated

25
Q

Big studios 5

A 
MGM richt, prestigious (lion)
Fox 20th century tune and stone logo
Wb shield warner brothers
Paramount (mountain)
RKO Radio keith orpheon merger horror

Also
Columbia : b-pictures cheap
Universal : globe logo, horror Frankenstein.

Exist but different entity but financial or distribution today

26
Q

MGM

A

Middle class, respectable
Save for big prestige production,s glamour stars! Stable of stars
Bought lowes theaters

27
Q

Warner brothers

A

Working class audience,
Gritty
Gangster, less sentimalized cleN

28
Q

Study p. 84 of Cooke book imp.

A

Models

Gorman principles

29
Q

Meaning of hierarchical structure in film studios for music people

A

Cannot do what you want to do, individual subsumed by house style, eg. French horns for French. Ignorance.
Extreme time constraints
Preference for fast reliable worker, over presitige, unusual or creative styles
Collaborate with musicians
Financial considerations dictate genre style etc.
effective vs artful. Orchestrator composer distinct

Mixing and chopping of music in editing. :(

30
Q

Considerations for writing underscore (refer to gorbamn principles.

A

See notes!

31
Q

Max Steiner

A

Solid worker studio contract employee, had power though.
Shows that music low on totem pole, drama often put above.
Immigrant from Vienna.
East to west migration, initial arranger on Broadway
Head of RKO for 6 years, 100 films! 20-35
Wb work thereafter, wrote fanfare.
Over lifetime 300 film scores. Wow.
Famous ones gone with the wind and case blanca
Can tell written fast. Quotations used,
Prolific. Hand off to orchestrator, wait for stills. To match up music.

32
Q

1993 film

A

Non diagetic ok, audience will get it.

King Kong, first complete background score. Abundant music, not just selective.

33
Q

Steiner, for gold, Newman.

A

Big red, prolific power pioneers of purpose of music, in film.

34
Q

King Kong

A

Operatic, illustrated,
ROMANTIC
Primitivsm, Micky mousing, jungly,

Then, broafway, demonstrating versatility. *** if story called for it

Impressionism, foggy boat scene.
Wozzeck sounding, brontosaurS.

35
Q

MusicL form change in thought for movie

A

Independant, now after narratives mold to narrative. Oes not stand on its own. Discontinuity factor. Underscore.
Thought of as a supplement.

36
Q

Main title has to

A

Be succinct, main ideas, match genre, showy. Own expectation and functions.

37
Q

Cues, musical decisions to be made in production process

A 
Where music is placed, 
Spotting session used ***
The start, discontinuity considerate, transitions. 
"Stinger" loud musical event. 
Connections form across film, unity,
38
Q

When does music start

A

Island gets music, why. Fog impressionist
Symbol of fantasy, mood setting scared, new place.
Structure, mood, symbolic, function of music

Think about stock convention and ambiguous meanings, like clarinet motive.

Aboriginal music might be called.
Source scoring. And underscoring
In between (non) diegetic. Also called enhanced diegetic.

Love scene
Cut music for interruption clear musical conventions are not ironed out.

Sacrifice, four note, scene.

39
Q

Motivic transformations.

A

Kong has more than one motive. Kong on prowl. And in broadway tune!

Music and Film (17 decks)

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