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Definition
| Conversation overlap between cuts in the same scene. |
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Definition
| Sound that links different scenes together. |
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| Synchronous / Asynchronous Sound |
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Definition
| Whether the sound matches the action or not. |
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| Simultaneous / Non-simultaneous |
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Definition
| Whether the sound matches the story or not. |
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Definition
| Hearing as a character hears from their physical source. |
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Inside or outside the study world.
Internal: Thoughts.
External: A physical object creating a sound. |
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| The sense of spatial distance and location of the sound. |
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Term
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Definition
| Narrative, Categorical, Rhetorical. |
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Term
| Rhetorical Documentary Types |
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Definition
Source-Presentation of information from a certain source.
Subject-Centered- Appeal to common beliefs.
Enthymemes: arguments that rely on widespread opinions and usually conceal some crucial premise.
Viewer centered- an argument that is to appeal to the emotions of the viewer. |
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Definition
| Various types of films that audiences and filmmakers recognize by their familiar narrative conventions. |
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| Anything in a film that isn’t incomprehensible. Because it uses conventions that are seen in other films of the dame genre. |
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Definition
Reoccurring symbolic image that can be seen in one film to the next
Ex: horses in westerns, shadows in horror, etc.. |
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Definition
Referential: After a series of adventures, dorothy goes home.
Explicit: Only after she leaves does she miss her family.
Implicit: She must soon face the adult world and accepts the demands of growing up.
Symptomatic: Society in the 1930s measure worth by money, home, and family. |
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Term
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Definition
| Curiosity, Surprise, Suspense |
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Term
| 5 General Principals of Film Form: |
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Definition
Function: justification.
Unity/Disunity: Clean relationships or a lack of motivation.
Differences and Variations:
Development: Progression.
Similarity and Repetition: Motif and Parallelism |
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Term
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Definition
| A chain of events linked together by cause and effect and happening in the same space and time. |
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Definition
| Story Space > Plot Space > Screen Space. |
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Definition
| Order, Duration, Frequency |
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Term
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Definition
Range: Restricted or Unrestricted.
How much we know in relation to the character.
Depth: Subjective, or Objective:
Conveyed by: POV Shots, inter |
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Term
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Definition
Setting: Props, and Location.
Costumes/Make-up: Stylized
Staging: Stylized
Lighting: |
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Term
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Definition
Key, Fill, and Back.
High key: Bright little contrast.
Low key: Dark, high contrast.
Shadows: attached and detached. |
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Term
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Definition
| Shifting the rate of frames per second. |
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Term
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Definition
Short Focal Length:
<35mm, Wide angle.
Exaggerates depth.
Middle Focal Length:
35mm - 50mm, Medium
Represents correct depth.
Long Focal Length:
>75mm, Telephoto
Collapses depth |
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Term
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Definition
| The camera moving forward or backward. |
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Term
| Depth of field and focus: |
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Definition
Deep or selective focus.
Racking, changes the focus. |
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Term
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Definition
Superimposition: Blending two shots.
Process: Rear Projection, Front Projection, Traveling Matte |
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Term
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Definition
Angle: High, straight or low.
Level: Angle to the horizon. Canted, camera off balance.
Height: High, Medium, Low |
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Term
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Definition
Extreme close up: piece of something
Close-up: whole head
Medium close: chest up
Medium: waist up
Medium-long: Knees up
Long: Whole figure but still dominates frame
Extreme long: Super far away person. Tiny. |
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Term
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Definition
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Term
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Definition
| Cut, Dissolve, Wipe, Fade-in, Fade-out |
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Term
| 4 areas of choice and control when joining. |
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Definition
Graphic:graphic matches.
Rhythmic:Pacing.
Spatial: Cross-cut, parallel editing
Temporal: Overlapping editing, Ellipsis, Flashback, Flash-forward, Montage. |
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Term
| Classical Continuity Editing: |
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Definition
Invisible editing. The movie needs to tell a story. Transitions must be smooth as to not distract from the story.
Spatial and Temporal in foreground.
180 system: Shots only taken from one side.
Establishing Shot
Reestablish Shot
Shot-Reverse-Shot
Eye line Match
Match on Action |
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Term
| Eisenstein - Montage of Attractions |
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Definition
Formalist.
Soviet Montage.
Not into thematic analysis, wants the spectator to take the total work into account.
Looks at theater to be oriented to cinema.
Thinks film is the greatest propaganda tool of all time.
Leftover attractions of theater= spraying blood etc.. used to invoke emotions.
Rythmic & Graphic editing
Jump cuts, overlapping editing, nondiagetic inserts |
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Term
| Arnheim, "Film and Reality" |
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Definition
"We don’t choose shots based on the most simple representation."*
“It is just these differences [between film and a copy of life] that provide film with it’s artistic resources.”
Absence of space-time continuum.
Because of the lack of 3d, and the limited margins, the film is denuded of realism. |
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Term
| Bazin "The Great Diptych" (Citizen Kane), "The ontology of the photographic image." |
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Definition
“The slightest camera movement, or a close-up to cue us in on the scene’s evolution would have broken this heavy spell which forces us to participate intimately.” on Citizen Kane
“It forces the spectator to participate in the meaning of the film, by distinguishing the implicit relations, which the decoupage no longer displays” on Citizen Kane
“The preservation of life by a representation of life”
“Painting was torn between two ambitions... one being spiritual reality where the symbol transcended its model, the other purely psychological, namely the duplication of the world outside” |
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