Term
|
Definition
| using natural (no artificial lighting) when filming a scene |
|
|
Term
|
Definition
| The Motion Picture Production Code was the set of industry censorship guidelines that governed the production of the vast majority of United States motion pictures released by major studios from 1930 to 1968. |
|
|
Term
|
Definition
| while the outlaw has a clear sense of right and wrong but operates above the law |
|
|
Term
|
Definition
| embraces common and traditional beliefs |
|
|
Term
|
Definition
| A series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres |
|
|
Term
|
Definition
| world of film is a momentary frame around an ongoing reality |
|
|
Term
|
Definition
| - world of film is all that exists |
|
|
Term
|
Definition
| an editing technique most often used in films to establish action occurring at the same time in two different locations. |
|
|
Term
|
Definition
| may be used to reduce the contrast of a scene and provide some illumination for the areas of the image that are in shadow. |
|
|
Term
|
Definition
| five parts: exposition, rising action, climax, falling action, and revelation/catastrophe.[4] |
|
|
Term
|
Definition
| 1950s and 1960s, influenced by Italian Neorealism[1] and classical Hollywood cinema.[1] Although never a formally organised movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema.[2] Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. |
|
|
Term
|
Definition
| characterized by stories set amongst the poor and the working class, filmed on location, frequently using nonprofessional actors. |
|
|
Term
|
Definition
| holds that a director's film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through all kinds of studio interference and through the collective process. |
|
|
Term
|
Definition
| Since the earliest days of the cinema the development of vertical integration—ownership of the means of production, distribution and exhibition by the same company—has been contentious. |
|
|
Term
|
Definition
| Columbia pictures, Mascot pictures, Pathe exchange, Republic PIctures, Universal Pictures |
|
|
Term
|
Definition
| TKO, grand national, Monogram Pictures |
|
|
Term
|
Definition
| Kuleshov edited together a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a plate of soup, a girl, a little girl's coffin). The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively. Actually the footage of Mosjoukine was the same shot repeated over and over again. Vsevolod Pudovkin (who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting... the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same."[1] |
|
|
Term
|
Definition
| sets up, or establishes the context for a scene by showing the relationship between its important figures and objects |
|
|
Term
|
Definition
| two sequential shots of the same subject are taken from camera positions that vary only slightly |
|
|
Term
|
Definition
| the proportional relationship between its width and its height. |
|
|
Term
|
Definition
| is a style of documentary filmmaking, combining naturalistic techniques with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics. |
|
|
Term
|
Definition
| Deep focus is a photographic and cinematographic technique using a large depth of field. |
|
|
Term
|
Definition
Film speed is the measure of a photographic film's sensitivity to light, determined by sensitometry and measured on various numerical scales, the most recent being the ISO system.
A closely related ISO system is used to measure the sensitivity of digital imaging systems.
Relatively insensitive film, with a correspondingly lower speed index requires more exposure to light to produce the same image density as a more sensitive film, and is thus commonly termed a slow film. Highly sensitive films are correspondingly termed fast films.
In both digital and film photography, the reduction of exposure corresponding to use of higher sensitivities generally leads to reduced image quality (via coarser film grain or higher image noise of other types). In short, the higher the sensitivity, the grainier the image will be. |
|
|
Term
|
Definition
1. The dominant. Where is the eye attracted first? Why?
2. Lighting key. High key? Low key? High contrast? All of the above?
3. Shot & Camera Proxemics. What type of shot (LS. MS, CU)? How far away is the camera?
4. Angle. High, low, or eye-level? What effect does this have?
5. Color values. What is the dominant color? Are there contrasting foils? Color symbolism?
6. Lens/Filter/Film Stock. How do these distort or comment on the scene?
7. Subsidiary contrasts. What are the main eye-stops as taking in the dominant.
8. Density. How much viual inofmration is packed into the image? Stark, moderate, or highly detailed?
9. Composition. How is 2-dimensional space segmented and organized? Is there an underlying design?
10. Form. Open or closed? Is the frame a window or a proscenium arch?
11. Framing. Tight or loose?
12. Depth. How many planes are in the image? Does the background or foreground comment on the midground?
13. Character placement. Center? Top? Bottom? Edges? WHY?
14. Staging positions. Which way do the characters look vis-a-vis teh camera?
15. Character proxemics. How much space is there between the characters? What does that mean? |
|
|
Term
|
Definition
| 1893 that the origin of the distinctive egalitarian, democratic, aggressive, and innovative features of the American character has been the American frontier experience. He stressed the process—the moving frontier line—and the impact it had on pioneers going through the process. In the thesis, the frontier established liberty by releasing Americans from European mind-sets and ending prior customs of the 19th century. |
|
|
Term
|
Definition
| 1970s. It is considered an ethnic sub-genre of the general category of exploitation films. Blaxploitation films were originally made specifically for an urban black audience, although the genre's audience appeal soon broadened to cross racial and ethnic lines. |
|
|
