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| overall system of relationships among the elements that we perceive in a film |
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| an integreated succession of projected images and amplified sounds that communicate ideas/meanings and evoke emotions |
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| Character constellation, setting, plot development and narration |
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| Mise en scene, Cinematography, Editing, Sound |
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| a chain of events in cause/effect relationship occurring in time and space |
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| Protagonist, Antagonist, Agon, Romantic Double, Goals |
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| a narrative's use of causality, time, and space usually involves a change from an initial situation to a final situation |
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| Linear Vs. Non-linear narratives |
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| stories told in order vs. out of order |
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Open-not all conflicts resolved and open to audience interpretation Closed-all conflicts resolved |
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| audience knows some or less than characters |
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| Audience knows more than the characters |
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| audience observes character's thoughts feelings and perceptions |
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| audience gets inside a character's thoughts feelings and perceptions |
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| audience shown what a character sees and/or hears from the POV of that character |
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| audience is shown what a character thinks or feels |
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The What of the individual shot 1. Sets and Props 2. Costumes and Makeup 3. Lighting 4. Figure Expression and movement |
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| Low-key vs, high-key lighting |
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| Most of set in shadows vs. opened frame with light in background and balance |
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| Hollywood 3 point lighting service |
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| Key light, Fill light, Back light |
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| The how of an individual shot |
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| Black and white vs. Color film stock |
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| Change over in early sixties b/c of color televisions |
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| all the planes in front of the lens are in sharp focus at the same time |
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| only one plane in sharp focus |
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| changing planes of focus during a single shot |
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| Bird's Eye, High, Low, Straight-on |
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| Pan, Tilt, Tracking, Crane |
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| character's dwarfed by setting |
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| whole human figure head to toe to fill up most of frame |
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| Duration of shot (Seconds) |
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| The coordination of one shot to another |
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| Wipe, Cut, Fade out/Fade in (completely black at 1 point), Dissolve (layered frames) |
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| Conventions of CHC continuity editing |
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| establishing shot/breakdown, 180 degree rule, Shot/reverse shot, eyeline match, Match on action |
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| Establishing Shot/Breakdown |
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| estab. the setting of a scene |
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| Invisible line on the actors that setup continuity in a shot to not confuse the viewer |
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| camera over shoulder cutting back and forth |
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| character looks off screen |
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| action has started=>reaction caused |
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| Speech, Music, Sound effects |
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| Internal vs. External diegetic Sounds |
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| sound inside character's head vs outside |
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| sound from outside the context of the story |
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| tell the story as smoothly and absorbingly as possible, drawing the audience into the story while using an invisible cinematic style to do so |
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1. Individual protag, usually male 2. Romantic double of opposite sex 3. Clealy defined antagonist, individual or group 4.Community that reps positive social values 5. Linear plot 6. Primary conflict relatively obvious 7. Closed endings |
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1. Lighting unobtrusive 2. Sets and costumes period approp. 3. Framing centered on principle action 4. Camera distance dependent on aims of the moment 5. Camera movement motivated by actions of characters 6. Conventions of continuity editing followed 7. Technically convincing diegetic sounds; ND sounds used at key points for atmosphere |
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