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| What is a principle theme in all of Charles Chaplin's movies? |
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| A physical, comical deformity or a mistaken attitude that a viewer does not associate with real pain despite the difficulties it creates for the humorous figure displaying it. |
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| Concerned with the position of the camera relative to the subject |
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| What is the most common camera position? |
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| A "straight-on" shot, in which subject and camera are generally parallel to one another |
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| What are the different type of camera movements? |
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| Tilt, pan, dollie and tracking shot |
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| What are some of the common camera placements? |
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| Close-up, medium close-up, medium shot, long shot and extreme long shot |
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| A camera movement where the camera moves in the form of an arc |
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| The area in front of the camera that appears in focus on the target area behind the lens |
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| A type of theater, created at the turn-of-the-century, by the great German state director Max Reinhardt. It involved an intimate theater setting for an auidence of no more than 300 |
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| German film that developed in 1921. A very intimate style of filmmaking which enabled an acting style to be developed that emphasized communication through the use of subtle facial expression and restrained gesture. i.e. Der Letze Mann (1924), Variety (1925) |
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| What is the most common form of mask? |
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| An apparatus developed in the 1970's that enables a hand-held camera to get exceptionally steady and fluid shots |
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| Concerned with the illusion of real time and space between shots. It uses techniques designed to conceal the process so that the view is unaware that editing is occurring |
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| Concerned with the form and pacing of a film as well as the way the various parts of a motion picture are put together |
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| What are the two basic kinds of editing? |
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| Continuity and Montage (Russian Montage) |
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One of the principle types of montage that was identified by Eisenstein. It is created when two shots are juxtaposed and the viewer combines the information from them to form some type of conclusion
i.e. Battleship Potemkin (1925) |
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| A principle form of montage identified by Eisenstein. It is accomplished by alternating the physical length of the shots to impose a "temp" in the film. Used when cutting a film to music, the timing is determined by the duration, or physical lengths, of the shot |
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| Often used to refer to what is also called "Russian Montage," the type of editing that Eisenstein codified in the 1920's. An alternative to continuity editing, "Russian Montage" bombards the viewer with disparate shot that he or she interprets by virtue of their juxtapositions |
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| One of the principle types of montage identified by Eisenstien, it is concerned with the manipulation of the emotional responses of the viewer |
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| Identified by Eisenstein, it concentrates on screen movement. If shot #1 has movement going from right to left, shot #2 would have the movement going left to right. |
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| A principle type of montage identified by Eisenstein. It is concerned with contrasting textures between shots. If a preceding shot contains a great deal of white, the second shot would emphasize a dark imagery |
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| Who is the man who invented Hollywood? |
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| Who is concerned with "cinema of emotional involvement"? |
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| What year did the actuality developed into a format known as the newsreel? |
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| Who coined the term "documentary"? |
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| Who is responsible for Formalistic style with documentaries? |
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| Who is the most famous and controversial female director? |
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| A filmmaker attempts to be as objective about the subject being filmed as possible |
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| Who invented the rating system? |
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