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| director of photography for a film |
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| basic building block of a movie |
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| one camera position is selected, it and everything associated with it |
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| director of photography controls: |
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| cinematographic properties of the shot including film stock, lighting and lenses |
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| basic goal of most special efffects |
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| single shot that has a duration of between one and ten minutes preserves real space and real time |
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| deep-focus cinematography |
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| technique that keeps all three planes of the film frame in focus |
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| best way to draw an audience to a movie |
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| not professional actors (ordinary people) |
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| in the very first movies, especially during the silent era, people on the screen were ___________ |
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| credited for inventing the art of screen acting |
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| can choose their roles and name their salaries, unlike the Golden Age of Hollywood |
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| trained students to bring their own experiences and feelings to their roles |
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| naturalistic style performance |
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| behavior of the actor believable and recognizable |
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| today's actor's ________ most influenced by their popularity with audiences |
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| actors become this when they are repeatedly given particular kinds of roles based on their looks rather than their talent or experience |
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| used to substitute for stars during more tedious aspects of the shoot |
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| ratio of unused footage in Hollywood productions |
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| follows the director's vision in the editing of a film |
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| interruption of the chronological progression of film's action to show an important moment from the past |
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| controls the rhythm of a film by varying the duration of the shots in relation to one another controlling the speed and accents |
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| fundamental building blocks of continuity editing: |
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| master shots and 180o system |
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| cutting together of two or more lines of action that occur simultaneously at different loctions |
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| transitional device where a shot gradually superimposes over another shot |
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| shot of a character looking off screen then a shot of his or her point of view of what is being looked at |
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| traditional film style of storytelling where images follow a logical order |
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| uses disruptive shots that might mix locations, time periods, and angles that can change the meaning of the story |
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| dynamic editing (collision principle) |
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| uses conflicting angles, movement jump cuts to create new meaning o film moments |
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| crucial difference between sound and silent films |
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| sound film can emphasize silence while silent films have no choice |
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| most film sounds are constructed _____ |
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| digital sound, motion picture sound is more complex |
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| made the sound designer a more prominent role |
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| greater flexibility in the recording, editing, and mixing in a film |
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| dialogue (when it's recorded) |
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| narration (when it's recorded) |
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ambient sounds (when it's recorded)
or as sound effects (when it's recorded) |
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ambient sounds- production
sound effects- postproduction |
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| props or equipment is used to create simulated sounds like footsteps or a door closing |
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| ADR (automatic dialogue replacement) |
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| used to rerecord sound originally recorded on location or a set |
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| recorded on location like dialogue |
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| originate from a source outside a film's world |
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| became famous overnight with his 1938 radio production of The War of the Worlds. Later made Citizen Kane |
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| shows transition of films to sound using comedy to show struggles encountered when images didn't match the sound |
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| bridge between still photography and cinematography |
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| recognized for his work in series photography |
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| French magician and filmmaker Georges Melies |
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| known for his innovative use of special effects created on the set. A Trip to the Moon 1902 |
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| 1915 movie that had commercial and groundbreaking success. Sparked nationwide controversy and picketing because the content was racist |
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| directly influenced by German Expressionism in the 1920's and 1930's |
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| film movement with distorted, exaggerated settings, oblique angles are used with nonparallel lines and the camera usually moves and is very subjective |
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| expressed by Soviet filmmakers of the 1920's, lies in its ability to manipulate the viewer's perception and understanding |
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| 1925,Soviet director Sergei Einstein, who later left the Soviet Union to do films in Mexico |
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| based almost totally on realism, on location and use real people to tell a story |
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| became popular after the introduction of sound in the late 1920s |
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| used actual locations, natural lighting, deep-space cinematography, and nonprofessional actors to maintain the air of realism |
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| Italian neorealist film considered a masterpiece of that movement |
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| director of the film is seen as the author of the film |
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| surrealist film movement, absurd in nature and anti conventional based on naturalistic psychological studies |
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| Directors were Vertov, Kuleshov, Einstein and Pudovkin; fragment approach |
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| The 400 Blows, a Francois Truffaut film about his youth; cinema verite or truth film style based on realism |
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| Crouching Tiger, Hidden Dragon |
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| Taiwan film by Ang Lee displaying great choreography and settings along with special effects to aid the story |
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| one of the most famous Japanese directors who adopted a more Western style approach to Japanese films |
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| Free Cinema Movement in England |
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| based on social realism with a more documentary approach to issues of race, class, gender and sexual orientation |
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| largest film industry in the world, Bollywood |
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| 1965-1995, features more violence and sex with complex plots and new storytelling techniques |
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| example of New American Cinema geared around sex and violence |
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| young college graduate is seduced by an older woman; flash frames and jump cuts were used to show the shocking nature of the seduction |
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| ex: Faye Dunaway films like Bonnie and Clyde and Chinatown |
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| women gain more notoriety where her strong performances of women seen as equals to their male counterparts |
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| approximate average total cost to produce and market a Hollywood film today |
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| film stock, resolution, processing instructions, camera angles and positions |
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| in traditional film production, the cinematographer controls the photographic image by advising on all of the following: |
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| securing rights, writing the script, rewriting the script, finding the actors, securing locations |
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| editing, preparing the final print, getting the film to theaters and the public |
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| three phases of postproduction |
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| paramount, MGM, warner bros, 20th century fox, RKO |
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| five major studios in the mid-1930s |
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| controls the production, distribution, and exhibition of most films |
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| Indiana Jones and the Temple of Doom |
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| May 1984; images of chilled monkey brains, abuse of children, and pulling hearts out of people prompts the move to PG-13 which started July 1, 1984 |
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| studio system-era executives |
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| television represented a threat and was luring away movie theater audiences |
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| 8mm, 16mm, 35 mm, 70mm, IMAX |
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| formats of film stock from smallest to largest |
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| changes film forever as it requires less light, no processing, and can easily be duplicated |
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| Motion Picture Association of America |
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| 20th century fox, warner bros, sony pictures, universal studios, walt disney, paramount |
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| current major film studios |
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| famous shower scene shows dynamic editing style and how Hitchcock got away with nudity at a time that was not acceptable |
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| shows nondiegetic sound use when the key character imagines the sounds of the piano as he pretends to play; shows inhuman conditions of WWII where Jews are targeted for death by Nazis |
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| uses graphic explicit images of a rape and implicit images of murder to show the birth of the virgin spring that cleanses sinners |
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| parallel editing is used in the baptism scene to show the contradiction of the sacred vows of baptism with a series of murders orchestrated by Michael Coreone |
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| Frederico Fellini did this film about his struggles coping with Italy's film industry, society, and infidelity. Dream sequence with symbolism involving capitalism, socialism, adultery, the Catholic church and artistic freedom |
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| Christopher Nolan took 10 years to develop this story about stealing dreams; physical special effects using air/water canons, a semi-truck turned into a train and an infinite staircase are important elements of the film |
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| Steven Spielberg's epic on the persecution of the Jews during WWII and how Schindler's saved thousands of lives by putting them to work. |
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| The Girl with the Dragon Tattoo, 2011 |
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| David Fincher's film on Stieg Larsson's book series; physical exhaustion felt when Martin Vanger tortures Mikael Blomkvist was shown |
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| force of the blows by JJ Gittes on Evelyn Mulwray were shown to expose a taboo subject in the film- incest; the original film noir approach in color by director Roman Polanski was also significant |
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