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| The study of signs. helps to analyze the process of meaning production in sign systems such as literature, tv, advertising, and other forms of pop culture. |
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| greek for "change name" substitution for the name of an attribute for that of the thing meant |
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| a reproduction of images or concepts referring to the textual whole; a film within a film |
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| narration, the content of the narrative; all that is really going on on-screen. Characters words and gestures all action as enacted within the screed |
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| the literal relationship between sign and referent; 3 people in a shot is a 3 shot |
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| a meaning that is culturally encoded in the first meaning; lighting-distorting signifies danger |
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| aspect ratio of 2.35:1 until the 1950s when it was compressed onto 70mm film; today shot on 35mm and transfered to 70mm |
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| filtering stimuli; causality - making meaning; anticipation; expectation |
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| history; culture; ideology; identity; rules/norms |
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| narrative/story/plot relationships |
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narrative structures through plot time
ellipsis: whats left out
analepsis: flashback
prolepsis: flash forward
framing device: whats in and out of the shot |
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| the "map" of the film, provides themes, characterizations, plot elements, framing, essential shots and sounds |
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| dramatic premise (what if?), setting and period, story values, conflict |
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| narrative structure, performance, character, audience |
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| discontinuous action in temporal order (how to) |
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| actions/processes (no temporal order) |
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| collision "the third meaning" |
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| Emotion, Story, Rhythm, Eye-Trace, One-Dimensional Plane, 3-dimensional space |
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| dialogue, music, sound effects |
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| selects a specific time span in a story to focus a film on |
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| when we see the same action or scene several times through the film |
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| classical hollywood cinema |
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| a film that has characters dealing with personal problems as a result of natural or societal causes |
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| have two or more similar stories or ideas going on to show similarities in the different story lines or ideas |
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| material, narrative, economy |
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| motivates the studios to refine story formulas, eventually translated into narrative economy |
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| tiny light sensitive particles in film stock |
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| the different widths that film stock come in |
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| doesn't require as much light |
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| muted, dull and pale coloring |
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| hard light shows people in an unflattering way (reveals characters as plain). Soft light can be bright, dim, or inbetween, illuminates subject |
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| soft light that is used to fill unlit areas of the subject or soften shadows |
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| found above or below subject, helps set off the subject from the other things around it |
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| the subject is flooded with light |
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| the subject is lit at very low levels of illumination, creates mystery or dramatic effect |
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| a device with a lightweight frame, torsion arm, movie or video camera and TV screen, that allows operator to move around smoothly while filming |
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| a very simply way of editing that uses alot of cuts and doesnt cut at the right moments |
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