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A collaborative process that involves the combination of various technical and creative departments. Directing, Writing, Acting, Cinematography, Editing, Sound, Design, Scoring, and many others all play a role in the final film. |
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| An audio/ visual medium that creates meaning through interaction with an audience. |
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Applies to everything in the frame and how it is arranged and orchestrated in order to give both information and an emotional or tonal impression to the audience. Textures, Colors, Costumes, Lighting, Use of Space, Props, Camera Movement, and Actors |
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| Tells events in chronological order from the beginning to the end |
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| Reorder the chronological events of the film using flashback and flash-forwards |
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| takes place within the individual against him or herself |
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| Takes place between the individual and some outside force |
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| A minor character whose actions are completely predictable or typical for their job or profession |
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| Remains the same throughout the film |
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| Develops as a result of the events of the film |
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| The act of describing distinctive characteristics or essential features of a character through Appearance, Dialogue, External action, Internal action, or the Reactions of other characters |
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| Contrasting character whose behavior, attitudes, opinion, lifestyle, or physical appearance are in direct opposition to the main character This contrast calls attention to the certain specific characteristics of the main character |
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| A story in which every object, event, and person has an abstract or symbolic meaning |
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| Occurs when the audience is aware of something that the chacter within the film is not |
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| The event or series of events that activates the story and sets the plot in motion |
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The Setup, Confrontation, and Resolution. Not the only method for telling cinematic stories, but the most prevalent model |
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| Not only the events of a film but how they are organized into a story |
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| Refers to the unifying central concern of the film |
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| places the camera in the position of a sideline observer |
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| Take on the viewpoint of a character participating in the action |
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| Camera can call attention to the scene and toward the object of greatest dramatic significance by: |
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| Changing the size and closeness of the object, the sharpness of focus, through motion, lighting, and color |
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| Choice of film stock, type of lighting, shot selection, style of composition play a role in both the visual aesthetics and the overall storytelling of the finished film |
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| 3 Main goals of Cinematic Composition |
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Direct attention to the object of greatest significance Keep the image in constant motion Create the illusion of depth |
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| Exaggerates the size and importance of a subject |
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| Dwarfs the subject and diminishes its importance |
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| Camera shot in which the camera angle is deliberately slanted to one side. This can be used for dramatic effect and helps portray unease, disorientation, frantic or desperate action, or intoxication |
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| When an image is out of focus |
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| Director as the sole author of a film. Auteur theory suggests that certain directors provide the controlling vision for their films, from conceiving the idea, to writing the script, producing, directing, and closely supervising most other steps in the filmmaking process |
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| Audience's willingness to accept the illusion of a given film |
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| Moving the camera's line of sight in a horizontal plane, to the left or right |
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| Moving the camera's line of sight in a vertical plane, up and down |
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| Portable, one-person camera with a built in gyroscopic device that prevents any sudden jerkiness and provides a smooth image despite the often rapid movements of the operator |
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| Change in the focal depth of the camera during a continuous shot to direct the spectator's attention to a change in the object of most significance |
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| Responsible for assembling the pieces of a film into a unified whole in which every shot contributes to the overall thematic focus and effect |
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| Basic unit of construction |
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| Series of shots that communicate a unified action at a given place and time |
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| Choice of an editor with regard to which shots are selected and how they are utilized |
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| A shot at the beginning of a new scene that shows overall view of the setting and the position of the actors in that setting |
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| Begins with an establishing shot and then follows with shots that gradually take us further into the setting |
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| Begins with an unfamiliar detail and follows with shots that orient the audience to the context and setting of that detail |
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| Disorientatin joining of two shots that do not match in action or continuity |
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| Seamlessly editing shots that create the illusion of continuous motion |
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| Disregards physical continuity in favor of emphasizing the core emotional content of a scene |
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Classic Hollywood: short segment in a film in which narrative information is presented in a condensed fashion French Film: has its literal meaning and simply identifies a movie's editor Soviet Film of the 1920's: method of juxtaposing shots to derive new meaning that did not exist in either shot alone |
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| Not about replication and fidelity to sounds in the real world but is an expressive element that is as carefully crafted as the image. Sound provides an aesthetic experience in conjunction with the images on screen |
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| 3 Elements of film Soundtrack |
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| Sound Effects, Dialog, Musical Score |
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Sounds that emerge from within and can be experienced in the film reality (dialogue, sound effects, music, voice over) |
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Emanates from sources not visually locatable onscreen and exist outside the film reality (music, Sound effects, VO) |
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| Sounds that are natural to the scene's environment |
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| creates a sense of space and movement and unifies the audience to the image plane by creating a spatial context for the visuals. Sound helps encourage the illusion that the world of cinema exists beyond the frame by emphasizing the contrast between onscreen and offscreen space |
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| Michel Chion's theory of extra meaning that an image gains from being associated with a sound |
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| Art of adding in synchronous sound effects during postproduction |
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| Effects created by superimposing one image over another image and the two are composited into a single strip of film by an optical printer |
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| Refers to a group of films that share a set of narrative, stylistic, and thematic characteristics or conventions |
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Approach the film medium as an aesthetic, philosophical, and/or political means of expression. Often isolate certain formal elements and subject them to intense scrutiny |
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Director has the greatest opportunity to impart a personal artistic vision, philosophy, technique, and attitude into the film as a whole, thereby dictating its "style" Subject Matter, cinematography, camera movement, editing, sound and score, casting and acting |
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Allows the viewer to expects a certain set of standards Allows certain marketing ploys to be utilized to pigeon hole audience Can hinder viewing experiences because of these pre-set "rules" |
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| Spices up movies,makes the impossible possible, relies on suspension of disbelief |
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