Term
|
Definition
| social/historical environment permeated with/defined by certain ideas, values, and expectations about movies |
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Term
| experiential circumstances |
|
Definition
material conditions that define our identity at a certain time and in a certain place
-ex. age, gender, socioeconomic/linguistic background, location, etc |
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Term
|
Definition
personal/social encounters through which we have developed our identities over time
-ex. education, relationships, travels, etc |
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Term
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Definition
(script)
short prose description of the action and minor characters |
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Term
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Definition
| called in to do rewrites of the script |
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Term
|
Definition
| oversees all the different operations in putting a film together |
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Term
|
Definition
may be connected to a film primarily in name (plays a role in financing a film deal)
-little creative/technical involvement |
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Term
|
Definition
| in charge of the daily business of tracking costs/maintaining the production schedule of a film |
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Term
|
Definition
| responsible for reporting and managing the details of receipts/purchases |
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Term
|
Definition
| initial costs of contracting the major personnel (directors/stars/etc) and administrative/organizational expenses in setting up a production |
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Term
|
Definition
| technical/material costs (costumes/sets/transportation/etc) involved in the actual making of the film |
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Term
|
Definition
| demonstrates how the quality of the films' images and sounds reflect the extent of the 2 expenses (above/below the line) |
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Term
|
Definition
| agent/producer/casting director determine script, stars, other personnel as first major key |
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Term
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Definition
| determines places that provide the most suitable environment for different movie scenes |
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Term
|
Definition
| individuals responsible for supervising the conception and construction of movie sets (with set designers) |
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Term
|
Definition
| person in charge of the film's overall look |
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Term
|
Definition
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Term
|
Definition
| installs lighting and dollies |
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Term
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Definition
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Term
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Definition
| takes suggested for the finished film |
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Term
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Definition
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Term
|
Definition
| after which is post-production |
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Term
|
Definition
| large soundproof buildings |
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Term
|
Definition
-instrumental
-metaphorical
-cultural
-contextualized |
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Term
|
Definition
objects displayed and according to their common function
-knife in a cooking movie |
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Term
|
Definition
objects reinvented or employed for an unexpected purpose
-knife as a murder weapon in a horror movie |
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Term
|
Definition
objects that carry meanings associated with their place in a particular society
-ex. herbie the love bug of the 70s in herbie:fully loaded |
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Term
|
Definition
| recognizable actors associated with particular character types |
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Term
|
Definition
-scenic realism
-character highlights
-narrative markers
-part of overall production design |
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|
Term
| makeup for scenic realism |
|
Definition
| they reproduce as accurately as possible the clothing/facial features of people living in a specific time/place |
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|
Term
| makeup for scenic realism |
|
Definition
| they reproduce as accurately as possible the clothing/facial features of people living in a specific time/place |
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|
Term
| makeup for character highlights |
|
Definition
| they draw out or point to important parts of a character's personality |
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|
Term
| makeup for narrative highlights |
|
Definition
| their change or lack of change becomes a crucial way to understand and follow a character/development of a story |
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Term
|
Definition
| may create the impression of natural lighting but actually directs light in ways that define the thing being illuminated |
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Term
|
Definition
| a pictorial arrangement of light and dark to create certain atmospheres |
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Term
|
Definition
films where the magnitude/intricacy of the MES share equal emphasis or outshine the story/actors/etc
-sublime/epics |
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|
Term
| sublime movie spectacular |
|
Definition
| power of the scenes/places to dizzy the human mind before their amazing size/beauty |
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Term
|
Definition
| own theaters/chains and make decisions about programming/local promotion |
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Term
|
Definition
physical environment in which we view a movie
-theater, home, plane, room, etc |
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Term
|
Definition
| when we watch a movie and the duration of the experience |
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Term
|
Definition
| technology through which we see a movie |
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Term
|
Definition
| integrating a choice of moviegoing experiences with an outing to a mall |
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Term
|
Definition
motion-picture photography
-"writing in movement" |
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Term
|
Definition
| the incremental differences among sequential still images perceived as we process actual motion |
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Term
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Definition
| studios selling films in packages to theaters |
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Term
|
Definition
| releasing a film in gradually widening markets/theaters to build a reputation/momentum |
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Term
|
Definition
| period of time before its broadcast/cable premiere (~3-6 months) |
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Term
|
Definition
| simultaneous release strategy across several media |
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Term
|
Definition
| academic/journalistic accounts that discuss/value films as especially important |
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Term
|
Definition
| coordinating/merging of media across platforms |
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Term
|
Definition
| using well-known actors as an advertising vehicle |
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Term
|
Definition
| process of advertising that relies on social networks/word of mouth |
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Term
|
Definition
| attempts to sell a movie through its main marketing features (stars, genre, etc) |
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Term
|
Definition
| made to 'exploit' sensational/topical subjects for profit |
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Term
|
Definition
| juxtaposes 2 images whose dramatic difference creates a jarring visual effect |
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Term
|
Definition
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Term
|
Definition
| gradually closes in on image |
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Term
|
Definition
| allows readers/viewers to accept a fictional representation as plausible |
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Term
|
Definition
| dialogue/mes/cinematography/sound to ENHANCE verisimilitude |
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Term
|
Definition
system that uses cuts/transitions to establish verisimilitude to tell stories efficiently with minimal effort on the part of the viewer
-180 degree rule
-approximating real time |
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Term
|
Definition
| one shot must be followed by another shot taken from a position greater than 30 degrees |
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Term
|
Definition
| certain events are narrated more than once |
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Term
|
Definition
| allows for a significant temporal abridgment |
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Term
|
Definition
| film interrupts an action to 'cut away' to another image/action |
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Term
|
Definition
| extension of time with repetition of an action in several cuts |
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Term
|
Definition
| an entire scene plays out in one take |
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Term
|
Definition
| linking/defining shots --> formal patterns |
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Term
|
Definition
| direction of an action is edited to a shot depicting the continuation of that action |
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Term
|
Definition
| organization of editing according to different paces/tempos via how quickly cuts are made |
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Term
|
Definition
| one or more shots that describe a CONTINUOUS SPACE/TIME/ACTION |
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Term
|
Definition
| any number of shots that are unified as a coherent action/identifiable motif (regardless of changes in space/time) |
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Term
|
Definition
| cues in MES/cinematography/etc that make sure to stay in continuity style |
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Term
|
Definition
editing a scene in service of narrative continuity/clarity
-ex. establishing shot --> shot/reverse shot |
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Term
|
Definition
"discontinuity within continuity"
makes a definitive break from cutting, based on how people perceive the world |
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Term
|
Definition
| critical attitude adopted by the viewer when he/she is made aware of how the work of art is put together |
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Term
|
Definition
(distanciation)
interrupts a particular action and creates discontinuities in the spatial/temporal development of shots |
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Term
|
Definition
aim is to grab viewers' attention through collision
-dialectical |
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Term
|
Definition
| 2 shots linked opposed to create a greater visual concept |
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Term
|
Definition
| fragmentation of time/space |
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Term
|
Definition
| study of narrative structure, plots proceed through a fairly limited number of actions and functions |
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Term
|
Definition
| one action/event leads/"causes" another |
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Term
|
Definition
| product of different psychological/historical that we see people and thus characters in fictional narratives, as fundamentally consistent and unique |
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Term
|
Definition
| character coheres in it abstract values |
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Term
|
Definition
| character acts out a logical relation between his/her implied inner/mental life and visible actions |
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Term
|
Definition
| character reflects social/historical assumptions about normal/abnormal behavior |
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Term
|
Definition
| subverts 1 or more patterns of coherence (may be done intentionally to challenge viewers' sympathies/understanding) |
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Term
|
Definition
| social arrangements of characters in relation to each other |
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|
Term
| figurative types (of characters) |
|
Definition
| characters so exaggerated/reduced that they no longer seem realistic and more like abstractions |
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Term
|
Definition
the patterns through which characters move from one mental/physical/social state to another in a particular film
-external/internal/progressive/regressive |
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Term
|
Definition
| adds to tension/excitement of plot, accelerating action toward a central event |
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Term
|
Definition
| refers to implied simultaneity of 2 different plot lines |
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Term
|
Definition
historical
ideological
psychological
symbolic |
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Term
|
Definition
| recognized marker of a historical setting to carry meanings/connotations important to narrative |
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Term
|
Definition
| a narrative that describes spaces/places inscribed with distinctive social values/ideologies |
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Term
|
Definition
| film narrative that suggests an important correlation between a characters' state of mind and place they inhabit |
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Term
|
Definition
| space transformed through spiritual/other abstract means related to the narrative |
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Term
|
Definition
| describes a context/person positioned outside the story to bracket the films' narrative to help define its term/meanings |
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Term
|
Definition
| movies that call attention to the narrative POV in order to complicate/subvert own narrative authority |
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Term
|
Definition
| came after WWII and strained but maintained the classical formula for coherent characters/plots |
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|
Term
| alternative film narrative |
|
Definition
1) deviates from/challenges the linearity of the classical narrative
2) undermines the centrality of a main character
3) questions the objective realism of classical narration |
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Term
|
Definition
method of analysis that considers a film's FORM/STRUCTURE to be PRIMARY
-close readings/textual analysis/codes |
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Term
|
Definition
| relates to mimesis (imitation of reality) in the arts |
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Term
|
Definition
| label conveys only technical competence without a strong creative vision |
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Term
|
Definition
| an approach to linguistics and anthropology that looks for common structures rather than originality |
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Term
|
Definition
|
|
Term
| synchronous sound (onscreen sound) |
|
Definition
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|
Term
| asynchronous sound (offscreen source) |
|
Definition
| no visible onscreen source |
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Term
|
Definition
| when soundtrack and image "say the same thing" |
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Term
|
Definition
| when 2 different meanings are implied by sound and image |
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Term
|
Definition
| its source is in the narrative world of the film --> visible onscreen source |
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Term
|
Definition
| does not belong in the narrative world |
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Term
|
Definition
diegetic music (like a shot of a band performing)
-not background music |
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Term
|
Definition
| takes place simultaneously with the filming of a scene |
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Term
|
Definition
| snapped as slate is filmed at recording |
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Term
|
Definition
| sound captured directly from the source |
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Term
|
Definition
| captured as sounds bounce from walls/ set |
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Term
|
Definition
| combines these different sources during filming, adjusted their relative volume/balance |
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Term
|
Definition
| interacts with the image track to create rhythmic relationships, establish connections between sound and onscreen sources, and smooth/mark transitions |
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Term
|
Definition
| when a sound carries over a visual transition in a film |
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Term
|
Definition
| when the director consults with the composer and picture and sound editors to determine where music/effects will b added |
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Term
|
Definition
recorded after the fact and then synchronized with onscreen sources
(like dubbing) |
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|
Term
| automated dialogue replacement (ADR) |
|
Definition
actors watch film footage and rerecord their lines to be dubbed
(looping) |
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Term
|
Definition
| stage in postproduction in which every sound bit is combined |
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Term
|
Definition
| stage in the process when the audience experience the film's sound |
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Term
|
Definition
| apparent distance of a sound source |
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Term
|
Definition
| voice that can be seen to originate from an onscreen speaker or from a speaker who can be inferred to be present in the scene but who is not currently visible |
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Term
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Definition
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Term
|
Definition
| holes punched in the film to keep the beat of the action |
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Term
|
Definition
| sounds that force us to notice the significance of something on/offscreen |
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Term
|
Definition
| selects/secures the rights for songs to be used in the films |
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Term
|
Definition
| subordinating sound to the aims of the narrative |
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Term
|
Definition
| reminds us that soundtrack is composed of separate elements creatively manipulated and put together like film |
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Term
|
Definition
| process whereby we jduge/approve of movies according to the values of our particular age group/culturual background/social determinant |
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|
Term
| elements of mise-en-scene |
|
Definition
| objects, actors, costumes, lights |
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Term
|
Definition
| (pulled focus) dramatic change in focus from one thing to another |
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Term
|
Definition
| delay in human perception that allows film to produce the illusion of movement |
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Term
| 3 important attributes orchestrated by a shot |
|
Definition
1) framing
2) depth of field
3) movement |
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Term
|
Definition
| light weight camera from 1950s |
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|
Term
| Louis Jacques Mande Daguerre |
|
Definition
| produced 1st still photograph |
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|
Term
| sub saharan african cinema |
|
Definition
| focus on social/political themes and an exploration of the conflicts between tradition and modernity |
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Term
|
Definition
| objects created/used in the past |
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Term
|
Definition
| produced chronophotography |
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|
Term
| main features of any kind of narrative |
|
Definition
| story, plot, character, narration |
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Term
|
Definition
| 2 characters mirror images of each other |
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Term
|
Definition
| supplement accepted versions of past with missing perspectives |
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Term
|
Definition
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Term
|
Definition
|
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Term
|
Definition
| can range from 1.66:1 to 1.85:1 |
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Term
|
Definition
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Term
|
Definition
| attachments to camera that cut off portions of the frame so part of the image is black |
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Term
|
Definition
| recording real figures/actions on video as basis for painting each frame digitally |
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Term
|
Definition
| term describing many different ways that the image can be set up and manipulated during filming |
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Term
|
Definition
| joining 2 pieces of film (1 with action, 1 with background) |
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Term
|
Definition
| "dark room" projecting an upside down image on opposite wall |
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Term
|
Definition
| series of still images that recorded incremental movement and formed the basis of cinematography (muybridge) |
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|
Term
| 1890s-1920s cinematography |
|
Definition
| -lumiere brothers joined ability to record sequence of images and capacity to project the sequence |
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|
Term
| 1930s-1940s cinematography |
|
Definition
| developments in color, wide angle, and small gauge |
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|
Term
| 1950s-1960s cinematography |
|
Definition
| widescreen, 3D, new color processes |
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|
Term
| 1970s-1980s cinematography |
|
Definition
| cinematography and exhibition in the age of the blockbuster |
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Term
|
Definition
| digital cinematography --> no lab processing, economic advantage, sharp, more intimate |
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Term
|
Definition
| sensitive to blue/green light --> processed with red light |
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Term
|
Definition
| responds to a full spectrum of colors --> standard for bw movies after 1926 |
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Term
|
Definition
dominated color film until 1950s
-3 strip process using a dye transfer process to create single image |
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Term
|
Definition
| piece of curved glass that redirects light rays in order to focus and shape images |
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Term
|
Definition
| the distance from the center of the lens to the point where light rays meet in sharp focus |
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Term
|
Definition
| (less than 35mm) allows cinematographers to explore a greater depth of field that could show different visual planes simultaneously |
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Term
|
Definition
| change the aspect ratio by dramatically widening it |
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Term
|
Definition
| squeezing a wide angle view onto a strip of 35mm and then unsqueezing it during projection |
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Term
|
Definition
| lenses with 75mm focal length AND HIGHER and capable of magnifying and flattening distant objects |
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Term
|
Definition
"music drama"
theatrical genre that combines spoken text with music |
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Term
|
Definition
| -audiences/theaters participated in silent films by making noises |
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Term
|
Definition
transition to synchronized sound
-warner bros/fox were top sound computers
-"talkies" |
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Term
|
Definition
by 1930s, only few (charlie chaplin) produced silent films
-RKO: citizen kane, king kong, etc |
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Term
|
Definition
1950s: stereophonic sound
1970s: dolby/surround sound
1990s: digital sound |
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Term
|
Definition
| most recent and radical change in sound production |
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Term
|
Definition
-adaptations of already well known stories
-2 key events: SCREENPLAYS, SOUND |
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Term
|
Definition
-classic hollywood narrative form
-sound technology/dialogue |
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|
Term
| classic hollywood narrative form |
|
Definition
1) narrative focuses on 1 or 2 central characters
2) characters move the linear plot forward
3) action develops according to realistic causal logic |
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Term
|
Definition
"art cinema"
-intentionally subverted traditional narrative forms |
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Term
|
Definition
1) filmmakers focus on how stories are told
2) appropriation of narratives (like from amusement parks and stuff)
3) structure stories with effects of video/digital gaming |
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Term
|
Definition
| (17th century) used by showmen to create illusions of the supernatural |
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Term
|
Definition
1906: cinema dominated by narrative (before it was just scenes)
-crosscutting |
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Term
|
Definition
soviet montage (1917 russian revolution)
-intercut |
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Term
|
Definition
studio era
-continuity editing became dominant in hollywood
-simultaneous need for editing sound
-cinematic realism became primary aesthetic principles
-continuity remained dominant until decline of studio system |
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|
Term
|
Definition
modern disjunctive editing
-change via politic/artistic changes
jump cuts |
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Term
|
Definition
| everything is edited via computer --> more rapid pace of films |
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Term
|
Definition
| =presentation + re-presentation |
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|
Term
| image as presence (PRESENTATION) |
|
Definition
1) close ID with POV of image
2) EMOTIONAL response to image
3) experience of the image as if its a lived reality
-PHENOMENOLOGICAL/PSYCHOLOGICAL |
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|
Term
| image as text (INTERPRETATION/TEXTUALITY) |
|
Definition
1) emotional distancing from the image
2) ANALYTIC reaction to the image
3) experience of the image as if artifice or constructed
-AESTHETIC/SEMIOTIC |
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Term
|
Definition
| filmmaking styles that approximate and visually participate in the physical activity as we would expect it to in the world |
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Term
|
Definition
| creates images that reflect the state of the mind of the viewer or a more general emotional atmosphere in the scene |
|
|
Term
|
Definition
| asks to be contemplated/appreciated for its artistic re-creation of a world/perspective through texture/line/color/composition |
|
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Term
|
Definition
| presents images as signs to be interpreted like language/poem |
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Term
|
Definition
| study of the methods and principles through which the past becomes organized according to certain perspectives/priorities |
|
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Term
|
Definition
| film history divided into historical segments that help identify movies' shared thematic/stylistic concerns |
|
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Term
|
Definition
-from single to multiple shots (cinematic mise en scene)
-continuity editing
-lumiere brothers
-ranged from slapstick comedy to victorian literary adaptations
-anonymous actors/actresses |
|
|
Term
| classical hollywood cinema (cinema between the wars) |
|
Definition
-silent era (1917-1927)
-sound era (1927-1945)
-german expressionist
-soviet silent film
-french impressionist |
|
|
Term
|
Definition
(1917-1927)
-standardization of film production
-feature films
-narrative realism
-bringing viewers in |
|
|
Term
|
Definition
(1927-1945)
-Big 5/little 3 domination
-movie dialogue/growth of characterization
-prominence of generic narrative formulas |
|
|
Term
| german expressionist cinema |
|
Definition
(1918-1929) veered away from realist drive
-dark fringes of human experience
-representation of irrational forces through lighting/set/costume design |
|
|
Term
|
Definition
(1917 russian revolution)
-documentary/historical subjects
-political concept focused on audience response |
|
|
Term
| french impressionist cinema/poetic realism |
|
Definition
| destabilized familiar/objective ways of seeing human perception |
|
|
Term
|
Definition
-postwar hollywood
-italian neorealism
-french new wave
-japanese cinema
-third cinema |
|
|
Term
|
Definition
communism/red scare (HUAC)
paramount anti-trust act (1948) |
|
|
Term
|
Definition
(1942-1952)
-depicting postwar social crises
-using stark realistic style
- |
|
|
Term
|
Definition
(1950-1970)
-break from past filmmaking institutions/genres
-expressing personal vision
-andre bazin |
|
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Term
|
Definition
narrative emphasis on character over plot
contemplative aspects of images
ANIME |
|
|
Term
|
Definition
used to unite films from many countries under one political formal rubric
-reject technical perfection
-embrace film as voice of people
fragmented formal structures + populist documentary subject matter |
|
|
Term
|
Definition
US: social anger/confusion of vietnam war + racial/gender politics +immigration/multiculturalism/gender/sexuality
-contemporary hollywood/new hollywood
-contemporary european cinema (new german cinema)
-indian cinema (bollywood)
-african cinema
-chinese cinema
-iranian cinema |
|
|
Term
|
Definition
1) youth audiences
2) european art cinema influence
3) globalization
4) rise of economic/technological innovations |
|
|
Term
|
Definition
imaginative risks in form/subject matter
1) elevation of special effects
2) fragmentation/reflexivity of narrative constructions
1980+
-auteur director as a brand |
|
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Term
|
Definition
-confrontation with germany's nazi/war past
-emphasis on individual directors |
|
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Term
|
Definition
(1948-present) bollywood
-rooted in hindu culture/mythology
-song/dance
-episodic narrative traditions to accomodate musical numbers |
|
|
Term
|
Definition
(1960-present)
-focus on social/political themes
-conflicts between tradition and modernity |
|
|
Term
|
Definition
3 chinas: mainland china, hong kong, taiwan
-martial arts film made way to US via jackie chan (hong kong) |
|
|
Term
|
Definition
-pictorial beauty
-elliptical storytelling
-women filmmakers
-tackles volatile social issues |
|
|
Term
|
Definition
| indicates surfaces, objects, exteriors that define the material possibilities in a place/space |
|
|
Term
| measure of character (MES) |
|
Definition
| dramatizes how an individual/group establishes an identity through interaction with surrounding settings |
|
|
Term
|
Definition
appears realistic
-assumes laws of nature/society
-consistently logical relation of MES elements
-MES/characters define each other
-HISTORICAL/QUOTIDIAN |
|
|
Term
|
Definition
denaturalizes the locations so its features appear unfamiliar/exaggerated/artificial
-violate/bend laws of nature/society
-dramatic inconsistencies
-MES is independent
-EXPRESSIVE/CONSTRUCTIVE |
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| (theatrical) elements assert themselves independently of characters and describe an emotional/spiritual life permeating the world |
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| (theatrical) world can be shaped/altered through work/desire of characters |
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| films represent an ideological setting we place ourselves in |
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| cinema as a social institution |
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Definition
| expectation of certain manners while viewing |
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| physical sensations we experience as we watch something |
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| 4 things to remember about films |
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Definition
1) films are not reality
2) every film has form
3) form has consequences
4) every instance of form is embedded in cultural/historical contexts and traditions |
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| unbroken/unedited length of the finished film |
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| unbroken/unedited length of film taken by camera (unfinished) |
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defines the shots surrounding it
fundamental to editing |
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external condition
measure of character |
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film stock
perspective relations
depth of field |
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| planes of the image, focal length, depth of field |
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aspect ratio
camera distance
angle
mobile framing |
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pans
tilts
cranes
zooms
reframes |
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| aspects of shot transitions |
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Definition
1)graphic relations
2)rhythmic relations
3) spatial relations
4) temporal relations |
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| patterns of continuity editing |
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Definition
-analytic breakdown of space
-crosscutting/representation of simultaneity |
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1) chain of events (Story/plot)
2) cause/effect relationship
3) occuring in time/space |
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distanciation
soviet montage |
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| montage as DIDACTIC/CONFLICT |
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"collision of 2 give factors (shot/cell) arises a concept"
-metric (shot duration)
-rhythmic (shot content)
-tonal (general emotional tone) |
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| "it is art's task to make manifest the condition of being" |
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=signifier + signified
-referent |
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| 3 different kinds of signs |
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Definition
(cs pierce)
-symbols
-icons
-index |
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Definition
| stands for something in the world |
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| looks like what they refer to |
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| sign literally points to something in the world |
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(balazs/arnheim)
favors aspects of intervening with the MEDIUM
-ex. cuts/close ups |
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(bazin/kracauer)
favored indexical over symbolic
mimesis |
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Definition
1) marx --> world created via struggle
2) dialectic --> thesis, antithesis, synthesis
3) dialectic of film form: scientific understanding, intellectual appreciation, emotional response |
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| voice, music, noise/sound effects |
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Definition
1) sound mix (loudness, pitch, timbre)
2) spatial dimensions (diegesis/nondiegesis, fidelity, etc)
3) temporal dimensions ( a/synchronization, etc)
4) rhythm of sound (stingers/mickeymousing) |
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Definition
authenticity/verisimilitude
emotion |
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Definition
sound continuity
sound montage |
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Definition
Donen, 1952
-MGM studio system
-arthur freed
-musical genre --> elaborate MES |
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Definition
Orson Welles, 1941
-"unhollywood" style in studio era
-multiple flashback structure
-"modernist" --> fragmentation/self-reflexivity |
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Definition
D.W. Griffith, 1911
-cross-cutting "narrativizes" the spaces (editing enables narration)
-unrestricted narration creates suspense |
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Alfred Hitchcock, 1959
-story/plot/screen duration are all different
-work plot overtaken by romance plot |
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Sergei Eisenstein, 1952
-soviet montage |
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