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an association, connection, or inference that a viewer makes on the basis of the given story and form of a film.
Lies below the surface of a movies story and presentation, is closest to our everyday sense of word meaning. |
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| everything that a movie presents on its surface |
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| 3 fundamentals of film form |
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Movies depend on light.
Movies provide an illusion of movement.
Movies manipulate space and time in unique ways. |
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| an interest or concern for the actual or real; a tendency to view or represent things as they really are. |
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a treatment that is against or the opposite of realism, however, realism and antirealism are not strict polarities
abstract, speculative, or fantastic |
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the accepted systems, methods, or conventions by which the movies communicate with the viewer.
composed not of words but a myriad of integrated techniques and concepts, connects us to the story while deliberately concealing the means by which it does so |
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| composes design elements such as lighting, setting, props, costumes, and makeup within individual shots |
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a narrative is a story
narrative is a type of movie
narrative is a way of structuring fictional or fictionalized stories presented in narrative films
narrative is a broader concept that both includes and goes beyond any of these applications |
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factual films
experimental films
persuasive films
propaganda films
direct cinema |
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| 6 tenets of experimental movies |
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not commercial
are personal
do not conform to conventional expectations of story and narrative cause and effect
exploit the possibilities of the cinema.
critique culture and media
invite individual interpretation |
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| categorization of narrative films by the stories they tell and the ways they tell them. |
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Theme
presentation
character types
story formulas
stars |
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Gangster
film noir
science fiction
horror
western
musical |
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exposition
rising action action
climax
falling action
denouemnet |
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| evolution of a typical screen play |
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outline
discussed as story conferences
rough draft
director transforms the literal script images into visualizations
storyboard (shot by shot)
shooting script
determine how to shoot |
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| total world of the story-the events, characters, objects, settings, and sounds is that form the world in which the story occurs |
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| elements that make up the diegesis. |
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| the things that we see and hear on the screen but that come from outside the world of the story, including background music, titles and credits, voice over comments. |
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story duration
plot duration
screen duration |
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round characters
flat characters
major characters
protagonists
antagonists
minor characters
major characters |
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| works closely with director of photography in visualizing the movie that will appear on the screen |
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| Production designer responsibilities |
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| is an artist and an executive responsible for the overall design concept, the look fot he movie, as well as individual sets, locations, furnishings, props, and costumes, and for the supervising the heads of many departments that create that look. |
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setting
decor
properties
lighting
costume
makeup
hairstyle |
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| director of photography responsibilities |
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Definition
| The director of photography, also known as the DP or the cinematographer, assists the film director by establishing the visual look of the movie. As a DP, you’ll help tell the story through the artistic and technical decisions you make regarding lighting, film stock, shot selection, camera operation and other elements. A DP's duties and responsibilities include the work he does before, during and after film production. |
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Personality Actors
actors who take their personae from role to role
actors who deliberately play against our expectations of their personae
Chameleon actors
actors who seem to be different in every role
actors often nonprofessional or people who have achieved success in another filed who are cast to bring verismilitude to a part. |
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| encourages actors to speak and move, gesture not in a traditional stage manner but just as they would in their own lives. |
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| Film editors responsibilities |
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A film editor edits film or videotape from movies, network or cable television. She selects scenes used based on director's vision and story continuity. She literally cuts the film into piece, reassembling it to present the story in sequence. She reviews the assembled tape on a monitor, re-editing it if necessary. She inserts music and sound effects into a film. She screens the film for directors and producers.
spatial relationships between shots
temporal relationships between shots
the overall rhythm of the film |
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| 2 major approaches to film |
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continuity editing
discontinuity editing |
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| basic assumption of sound |
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what we hear gives life to what we see and offers some clues to its meaning
sound should be integral to all 3 phases of film production(preproduction, production, and postproduction) not afterthought to be added in postproduction only
a films sound is potentially as expressive as its images
image and sound can create different worlds
image and sound are co-expressible |
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Vocal
Environmental
Music
Silence |
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| 4 approaches to film history |
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aesthetic
technological
economic
social |
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1891-1903
The first movies
1908-1927
origins of the classical hollywood style-silent period
1919-1931-german expression
1918-1930
french avant garde filmaking
1924-1930
the soviet montage movement
1927-1947
classical hollywood
style in hollywoods golden age
1942-1951
italian neorealism
1959-1964 french new wave
1947-present
new cinemas in great britian, europe, and asia
1965-1995
the new american cinema |
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| 3 phases of movie production |
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preproduction
production
postproduction |
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| everything proceeding and including the inciting moment or the event or situation that sets the rest of the story in motion |
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| development of the action of the narrative toward the |
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| resolution or conclusion of the story or narrative |
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| being taken unawares by the events occurring within the narrative |
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| anxiety brought about by the uncertainty of events unfolding within the narrative |
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| unifying idea that the film expresses through its narrative or imagery |
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| elements of the cinematic language that communicate tone and atmosphere |
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| means by which a subject is expressed, pictures, sound lighting |
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| a documentary film which presents people, processes, and places in a straightforward way meant to entertain and instruct without unduly influencing audiences |
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| a documentary film that seeks to educate viewers about common interests |
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| documentaries which produce systematic disseminated deceptive or distorted information |
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| a documentary that is concerned with presenting a particular perspective on social issues or corporate and governmental injustice |
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| part of the process of visualizing and planning the design of a film |
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| a character with a little development that does not change or grow during the course of a story |
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| a character with a fully developed personality, who may change or act in a surprising way |
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| a character who supports the main character and contributes to the overall plot development |
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| a character who contributes minimally to a scene specifically and may or may not have lines |
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| diegesis is the total world of a film, real, or imagined, experienced by the characters in said film |
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| the soundtrack/theme music is a diegesis element that audience hears |
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| the narration heard by the characters in the film is a nondiegesis element |
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| the narration not heard by the characters in the film but by the audience is a nondiegesis element |
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| extras in a movie sometimes have small lines of dialogue |
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| a script goes from paper and into production with little change to the plot of the story |
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| the cabinet of dr. caligari had no diegetic elements because it had no sound to display |
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| the character of lina in SITR would be considered a marginal character |
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