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| Quo Vadis (1951) director |
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| QV (1951-Mervyn LeRoy) Marcus Vinicius |
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| QV (1951-Mervyn LeRoy)Lygia |
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| QV (1951-Mervyn LeRoy) Petronius |
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| QV (1951-Mervyn LeRoy) Nero |
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| QV (1951-Mervyn LeRoy) Poppaea |
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| QV (1951-Mervyn LeRoy) Peter |
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| QV (1951-Mervyn LeRoy) Paul |
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| QV (1951-Mervyn LeRoy) Tigellinus |
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| Star Wars (1977) director |
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| Star Wars (1977) Luke Skywalker |
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| Star Wars (1977) Han Solo |
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| Star Wars (1977) Princess Leia |
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| Star Wars (1977) Ben Obi-Wan Kenobi |
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| Star Wars (1977) Darth Vader (actor) |
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| Star Wars (1977) Darth Vader (voice) |
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| Life of Brian (1979-Terry Jones) Brian Cohen, Wise Man 2, Biggus Dickus |
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| Life of Brian (1979-Terry Jones) Wise Man 1, Centurion |
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| Life of Brian (1979-Terry Jones) Mr. Cheeky, Stan (Loretta), Otto, Lead Singer Crucifee |
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| Life of Brian (1979-Terry Jones) Mandy Cohen (Brian's mother), Colin, Alarmed Crucifixion Assistant |
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| Life of Brian (1979-Terry Jones) Wise Man 3, Pontius Pilate |
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| LIfe of Brian (1979-Terry Jones) Judith |
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Term
| 2 purposes of film editing |
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Definition
| 1.to separate the desired frames, shots, sequences from the entirety of shot footage. 2. to creatively assemble the chosen material into a finished film |
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| 2 main approaches to editing |
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Definition
| continuity editing-seamless, invisible transitions/ discontinuity editing- visible, appartent transitions (used for comedy, effects of drugs, dream scene) |
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| 4 ways to manipulate time throught editing |
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| flashback, flashforward, ellipsis (omission of time between 2 events), montage (a condensed series of events/ can be shown thru ellipsis) |
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| switches between shots of different characters, who are usually in a conversation or other interaction |
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| shot A and shot B are matched in action, subject, graphic content, or 2 characters' eye contact |
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| 1)match-on action-continuation of motion from 1 shot to the next (ex: Maximus' sword flying thru the air and then the immediate hit) 2) graphic match cut-the similarity between shots A and B is the shape and form of what we are seeing. 3)eyeline match cut-joins shot A, a point of view shot of a person looking off-screen in one direction, and shot B, the person or object that is the object of that gaze (ex: Sparacus and Varinia) |
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| parallel editing (aka cross cutting) |
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Definition
| cuts together 2 or more lines of action that occur simultaneously at different locations or that occur at different times; more interesting and shows emotional impact (ex: Spartacus' speech and Crassus' speech) |
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| Point of view shots/editing |
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| shows what a character is seeing, may be framed between a shot of the character looking at something and the character's action (ex: camera filming the Colosseium in Maximus' point of view as if he's looking at it) |
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| 7 types of transitions between shots |
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Definition
| 1)jump cut-ellipsis between 2 shots caused by the absense of a portion of the film that would have provided continuity 2)fade in/fade out 3)freeze-frame: a still image within a movie, created by repeatedly printing the same image; it stops time and serves to call attn to a particular moment 4)dissolve 5)wipe 6)iris in/out shot 7)split screen-used similarly to parallel editing, to portray 2 or more stories that are happening simultaneously in different places or at different times |
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| 1)spoken words: dialogue, monologue, narration 2) environmental: made by obj, ppl, or ambient sound (ex: wind). 3)music: instrumental, vocal, or a mix of the 2. 4)silence |
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| 3 ways to perceive and analyze sound |
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| 1)pitch-high or low 2)loudness-volume 3)quality-timbre (think same note on different instruments or by different voices) |
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| 4 implied sources of film sound |
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| 1)inside or outside the world of the film (ex: songs in Disney films, most sound effects vs music soundtrack or voice-over narration) 2)on-screen or off-screen:source (ex: singer) we can see, source we cannot see. 3)internal-such as a character's thoughts. 4)external-dialogue, conversation |
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| 1)guide our attn-space, time, emphasis. 2)influence audience interpretation 3)create expectations (which can lead to suspense for example) 4)express an overall point of view 5)express the thoughts and moods of characters 6)rhythm-punctuate the pace of a sequence 7)characterization-sound effects and musical themes can be associated with individual characters 8)create continuity by linking shots or sequences |
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| 1)primitive-formative phase, usually naive, often an allegory of Good vs. Evil. can be powerful, in part b/c of the novelty of the genre. many conventions of the genre are established in this phase. 2)classical-right and wrong are clear cut, moral values of the movie likely to be shared by the audience, justice triumphs over evil. 3)revisionist-more complex and ambiguous in its values, conventions or rules of the genre may be questioned or examined. heroes may be flawed, or at least, less virtuous. 4)parodic-ironic, self-conscious, mockery of the genre's conventions |
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| House of UnAmerican Affairs Committee (1938-75) led to Hollywood Blacklist in 1947. those to who refueed to testify to HUAC were sent to prison. |
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| the decadent East and the stoic West. how to define the West vs the East. the "Orient" was a mirror image of inferior and foreign ideas and beliefs in respect to those held by the West |
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| film theories and analysis |
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| 1)auteurism-director alone as author 2)psychological theories-Freudian, Cognitive 3)Marxist-analysis of power structures, class inequality 4)Seminist 5)Cultural Studies (esp. Reception Theory) 6)genre study 7)film history-technology, economics (cost), natitional cinemas |
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| 1)explicit-surface level (ex: evil empire in Star Wars) 2)implicit-associations and references (ex: echoes of WWII, nature of religion) 3)ideological-worldviews, beliefs (ex: what does it mean to be a republic vs empire) |
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| 2 types of interpretative frameworks |
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| 1)mimesis and catharsis-imitate and work through problems or emotions by purging them. subject of debate, esp. regarding violence in film, etc. 2)dualism, binary oppositions- (ex: farm vs. city/ totalitarianism vs. freedom/ light vs dark) |
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| 1930. enforced in 1934. result of the Catholic Church |
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| produces relationships of space and time between shots. creates the overall rhythm of a film |
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| 1)personality actors (movie stars/fits into their private personality)(ex:Tom Cruise, Julia Roberts) 2)actors who play against persona expectations (Ex: Tom Hanks-"Big" to "Road to Perdition"-gangster) 3)chameleon actors (ex:Johnny Depp, Meryl Strepp 4)self portrayal (athletes, musicians, etc) 5)extras 6)character actors (ex: Gary Olman |
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| SOTC (1932-Cecil DeMille) Marcus Superbus |
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| SOTC (1932-Cecil DeMille) Mercia |
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| SOTC (1932-Cecil DeMille) Empress Poppaea |
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| SOTC (1932-Cecil DeMille) Nero |
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| SOTC-(1932-Cecil DeMille) Tigellinus |
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| SOTC (1932-Cecil DeMille) Stephan |
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| SOTC (1932-Cecil DeMille) Titus |
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| SOTC (1932-Cecil DeMille) Favius |
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