-experimental circumstances: meterial conditions that define our identity at a certain time and a certain place, such as age, gender, part of the world we live in, etc

-experimental histories: education, relationships, travels, etc. that are the personal and social encounters through which we developed our identities overtime

-the width of the strip of film used for filming and exhibiting movies

-normally 35mm

-the ratio of width to height in the film's shape on the screen

-1:37:1 known as the academy ratio, which dominated movie production until 1952

-allows the film image to fit the tv format

-with this process, a computer controlled scanner determines the most important action in the image and then crops the peripheral action and space so that the central action is reproduced as 1 image, or re-edited into 2.

-film production is, quite literally, about the process of 'producing views,'

-production is a multi layer activity in which industry, art, technology, and scripting of a film to its final edit and, fittingly, in addition of production credits

-often generates the idea for a film, either as an original concept or as an adaptation of a story, novel, or historical or current event.

-presents the early concept or material in a treatment

executive producer

co producer

line producer

unit production manager

-executive producer: may be connected to the film in name, playing a role in financing a film deal, while having little creative development

-co producer: may designate an executive with a particular production company partnering with the company

-line producer: in charge of daily business of tracking costs and maintaining the production of tracking costs and maintaining the production schedule of a film

-unit production manager: responsible for reporting and managing details of receipts and purchases

-chief creative presence or the primary manager in film production

-responsible for and overseeing all the work of making a movie

-director of photography or DP

-selects the cameras, film stock, lighting, and lenses to be used as well as the camera set up or position

-oversees a camera operator and other camera and lighting crew

-wide: as many as 2k screens

-limited: initially only released in big cities, then expand based on its success

-platforming: involved releasing a film in gradually widening markets and theaters so that it slowly builgs its reputation and momentum through reviews and world of mouth

-blockbooking: common practice until it was limited by a court order. a studio/distributor pressures a theater to accept and show smaller, less expensive films in order to gain the opportunity to show more popular movies

film marketing

film promotion

star system

-film marketing: involved identifying an audience in order to bring a product, the movie, to the attention of buyers, the viewers, so that they will consum, or watch, that product.

-film promotion: specific ways a movie can be made an object that audience will ant to see.

-star system: most common and potent component of the above.  characterized by important stars

-A picture: main attraction at a theater

-B picture: less expensive, less important movie that plays before the A picture

-the where and when we see films

-theater, home, etc.

-store front theaters where short films were shown continuously to audiences passing in and out

-usually at carnivals

-french for 'placed in scene,'

-refers to elements of a movie scene that are put in position before the filming actually begins and are employed in certain ways once it does

-large soundproof buildings for moving and constructing with new efficiency elaborate sets

-usually accompied by costumes, lighting, props

-instrumental: objects displayed and used in according to their common function

-metaphorical: objects reinvented or employed for an unexpected, magical purpose

-stylized: actor employs emphatic and highly self-conscious gestures or speaks in pronounced tones with elavated diction. actor is fully aware he is acting and addressing an audience

-naturalistic: fully and naturally acting style where the actor communicates that character

-social: describes arrangement of characters to accentuate relations among them

-graphic: arranges characters or groups according to visual patterns to portray spatial harmony, tension, or some other visual atmosphere

-film movement drawing on painting and theatrical developments that emerged in germany.

-depicted dark fringes of human experience through the use of dramatic lighting and set and costume design to represent irrational forces

-describe physical conditions and limits of our natural, social, or imaginary worlds.

-measure the ability of individuals and social groups to control and arrange their world in a meaningful way

-external condition: indicates surfaces, objects, exteriors that define the matieral possibilities in a place of space

-measure of character: dramatizes how an individual or group establishes an identity through interaction with, or control of, sets and settings

-world and objects follow laws of nature and society

-elements of mise-en-scene have a logical relation

-mise-en-scene and characters mutually define eachother

-this is the most misleading way to approach mise-en-scene

-historical: re-creates a recognizable historical scene, highlighting elements that call attention to a location and time in history

-everyday: constructs commonplace backdrops for the characters and action

-come from naturalistic mise-en-scene

-in contrast to naturalistic

-fantastical environments that display constructed nature

-elements of mise-en-scene tend to violate or bend laws of nature

-dramatic inconsistencies appear

-the mise-en-scene takes on an independent life that requires confrontations or creative negociations between props, sets, characters

-expressive: settings, props, etc. are independent of characters and describe a spiritual or emotional life permeating the material world.

-constructive: world can be shaped or altered through the work or desire of the characters

-part of historical mise-en-scene

-films where the magnitude and intricacy of the mise-en-scene share equal emphasis with or even outshine the story, actors, and other points of the movie

-are either the sublime or the epic

persistence of vision

apparent motion

persistance of vision: -illusion as a delay in human perspection

-occurs when the retina retained a visual imprint, or afterimage, for a fragment of a second

- (short range) appartent motion: recent studies of perseption suggest that human processthe incremental differences amonf sequential still images just as we process actual motion

-'dark room'

-when a light source entering a hole in a camera obscures projects an upside down image on opposite wall, offering it as an analogy of human vision and anticipating the mechanism of the camera

-18th century showmen developed these elaborate spectacles

-most famous was robert's mobile projections of ghosts and skeleton on caolumns of smoke in an abandoned paris crypt

-combines amusement and science

-along with other pre cinema contraptions allowed a person to view a series of images through slits in a circular wheel

-creates the illusion of a moving image

chronophotography

and muybridge

-chronophotography: series of still images that recorded incremental movement and formed the basis of cinemtography

-muybridge:  created the zoopraxiscope which allowed moving images to be projected for the first time

film stock

nitrate film

safety film

orthochromatic

film speed

-film stock: kodack established itself as the primary manufacturor. consists of flexible backing or base and a light sensitive emulsion

-nitrate film: highly flammable and its pervasive use is a reason why so much of the worlds silent film heritage is lost.

-safety film: replaced nitrate film in 1952

-orthochromatic: early black and white films emulation, sensitive to only to blue and green light and processed using a red safety light

-film speed: measure of a films sensitivity to light. a slow film is less sensitive and requires a longer exposure than fast film

-much more sensitive

-responded to a full spectrum of  colors and became the standard for b and w films

-process that dominates color film till 1950s

-evolved originally from color processes, to hand painted frames or tinted sequences of silent films, to colored stocks

-distance from the center of the lens to the point where light rays meet in sharp focus- that alters the perspective relations of an image

-depth of field, along with wider angles and more frame movement because of focal length

-towering figure of classical editing style

-cross cutting also known as parallel editing

-made the birth of a nation

-alternating between 2+ strands of simultaneous action, which Griffth used in rescue -sequences of action in his movies

-lonely villa

-birth of a nation

-french for editing

-eisenstein's film and writings center on this

-signifies a style emphsizing breaks and contrasts between images joined by a cut

-the strike

-the man with the movie camera

-story telling style

-film editing expanded and refined the story telling style

needs more

-used intercut, long shots of gunfire and of the fleeing and falling crowd with gruesome close ups of a bull being butchered

-eisenstein

-'quality of having the appearance of truth'

-allows readers in fictional representations allows viewers to accept a constructed world, its events, its characters, and the actions of the characters

-

continuity editing

invisible editing

establishing shot

-has developed the strategies of continuity style

-its a system that uses cuts and other transitions to establish verisimilitude and tells stories effectively, requiring minimal effort on the part of viewers

-using an estab. shot to construct an imaginary 180 degree space in which action will develop

-approximating the experience of real time by following human actions

invisible editing

establishing shot

reestablishing shot

invis: minimizing the perception of breaks between shots between shots. has to do with continuity editing.

establishing shot: generally an initial long shot that establishes the setting and orients the viewer in space to clear view of action

reestablishing shot:  restore a seemingly 'obvjective' view, making the action perfectly clear to viewers

all part of continuity style

insert

nondiegetic insert

180 degree rule

axis of action

insert: device that is a brief shot, often a close up. (smiling that another character doesnt see, pickpocking

nondiegetic insert: an insert that breaks continuty. such as the display of printed text in a jean-luc godad film and lang's fury.

-180 rule: -primary rule of continuity editing

-one that many films and tv shows consider sacrosanct

-axis of action: imaginary line of the 180 rule

all part of continuty editing

30 degree rule

shot reverse shot

30 degree rule: illustrates the extent to which continuity editing attempts to preserve spatial unity.

-specifies  that one shot myst be followed by another taken from a position greater than 30 degrees

-shot reverse shot: application of the 180 degree rule

-person looks at one person, camera on them, then it reverses on the characters

-significant tempoeral abridgement

-grabbing a coat, exiting the front door.. etc.

shaun of the dead!

graphic editing

movement editing

rhythmic editing

-graphic: linking a series of shots as formal patterns as shapes, colors, lines, etc. within images

-best with absract

-movement editing: connect images through movement means that the direction and pace of actions