Zoetrope

• A round drum filled with sequential images of a siple action; whn spun, it would achivea shutterlike action and the onlooker would see the action in its entirety
• Fist developed by Willian Horner and patened in 1867
• One of the first devices to achieve continuous movement 

• A static gathering of live charectors within a frame.
• Example: D.W. Giffith used tableau extensivley to set up scenes or to creat contrast with action sequences

• Still photgraphs used instead of mocing images
• Evoke a contemplative state

• A form of editing used to condense a larger sequence of events into a shorter cinematic sequence
• Example: Using a rapid succession of newspaper headlines to convey a longer devlopment (Citizen Kane)

• Emphasis on technique more than content
• Post-recolitionary Soviet Union (early 1920s)
• The material in the film is trated scientificallyl how are things arranged, compoased, and edited matters far more than the plot

• A style of editing institutd during Stalin's regime (post-1928)
• Less creative, innocative editing and more simplistic scenes from everyday life in the Soviet Union
• Meant to be more instructive; less art for art's sake
• Example: Eisenstein

• To agitate though propaganda
• Used by Soviet filmmakers

• Names after Soviet filmmaker
• To juxtapose two sequences in order ti make meaning
• Example: The face of the Tsar with varying actions of peasents=different perception of the Tsar

• Shorter individual shots to achieve the effect of faster speed (through form not content)
• Example: D.W. Griffith The Lonedale Operator

• Cutting together shots that create meaning only because of their arrangment together
• Example: Odessa steps sequence

• Juxtaposed images are used to create points of identification
• Example: The Csar and the Peacock in Ten Days that Shook the World

• Punctuating a film with longer.shorter shots for emotional rhythm

• A film that uses related images to address an abstract concept
• Example: Storm=Russian Revolution (final scene of Storm over Asia Eisenstein)

• A pause or break in a line of verse; in film a quite, contemplative break in the midst of frenetic editing

• Cinema that interjects and opposes standard film conventions
• Frequently meant to subvert cultual expectation/sterotypes

• Refers to arrangment of cinematic elements (visual vs. aural, shot vs. shot, color vs color, etc.)
• THe act of contrast forces spectators to re-think the familiar and conceptualize alternative menaing

• AKA "dynamic cut"
• A jarring leap in space/or time (drawing attention to montage, usually with sound emphasis)

• The use of shadows for psychological effect

• Coined by Victor Shklovsky
• If our understanding of the world becomes automatized it must become unfamiliar to us
• Part of th eprocess of art evolution: what was once novel becomes habitual (and must be disturbed once again)

• Begin with Lumiere Brothers
• Uninterruptes recording of real event; omits the expressive role of the editor

• A fictional film that its subject in candid way (borrowing stylistis choices from documentary film)
• Devoid of over-polished studio look
• Less than perfect exposure; flat lighting; hand-held camera, etc.

• "Found stories"
• A film where the plot seems accidental
• Traidtional sense of climax/resolution deemphasized

• Employed by "New American Cinema Group"
• In 1960s Hollywood was in a rut. To respond, a group of avante garde filmmakers emerged, appealing to similar concers as their European counterparts

• Began in Italy near the end of WWII
• Rejected the tenets of the studio
• Use the non-actors and disinterest in traditional story arcs

• A stylr that focuses on the non-realistic and non-naturalistic
• Highest import: expression of psycholgical mood
• Example: The Cabinet of Dr. Caligari

• A style that focuses on stark reality
• Man=product of enviornment
• Avoids value judgments

• The subject of FILM is also the content/plot
• Explore the relationsip between filmmaking and reality (film-within-a-film)

• Europe in the 1920s
• Exploit was in unique to cinema (dynamic cuts, slow-fast mostion, trick shots)
• Fits under catefory of abstract film

• France, 1950-1960s
• Prominent directors include Jean-Luc Godard and Alain Resnais
• Diversity in approach but all are committed to experimentas filmmaking
• Example: Breathless, Hiroshima Man Amour

• Cut Between two non-continuous shots
• Seems to jump back or ahead in time

• Another term for abstract, non-representation cinema

• Sound that has not been synchronized with images on screen
• Mismatched sounds for certain effect (child crying overlaid with image of adult screaming, etc.)

• All that exists within the world of film
• If it is added to the world such as anonymous voice-over narration, it is non-diegetic
• If it is an extension of thw rold a charector doing voice-over work then it is extra-diegetic

• In which filmmakers extent the technological capabilities of film (multiple projectors, computer generated imergy, etc.)
• Mixed media

• The spectator's coercion at the hands of the camera's eye
• This direction influences the desires/expectations of the spectator (unconsciously)