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| a non-fiction narrative which audiences take on faith as truth constructed with archival footage, talking head interview, and voice over commentary |
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filmmaker is the subject, charts his/her journey. Either literal, spiritual, or metaphorical wile recording changes
Ex: Craigslist Joe |
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| Observational Documentary |
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| filmmaker, though present, is not the subject of the film, usually doesn’t appear on camera and tries not to interfere |
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| Confrontational Documentary |
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filmmaker sets events in motion that would not have otherwise occurred and films them.
Ex. Bowling for Columbine Michael Moore |
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| Ethnographic/Anthropological Documentary |
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| filmmaker records the cultural practices of a foreign tribe or setting while explaining it to their countrymen within frameworks they can understand |
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| The subject matter-the-lives of working poor and middle class people-is paired with realistic form: objective and hand-held camera work |
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Set in a entirely separate world free from mundane concerns
EX:Lord of the rings |
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combines the elements of fantasy exist in a mundane environment
Ex: Harry Potter |
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| setting two images or ideas alongside one another for poignant or ironic effect |
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| the support of a statement with images, data, charts, graphs, or additional testimony to make it credible |
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Ethos-arguments from character
Logs-arguments from reason/data
Pathos-arguments from emotion |
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| Eironos (the 4th persuasive type) |
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arguments of irony
not so much part of Rhetorical Triangle |
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overbearing mothers, grandmothers as dictator figures
Ex: Mrs. Elena |
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props that may be mystical or practical with some kind of power
Ex: The urn in like chocolat |
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| Fidelity Criticism: tallying all the “mistakes” made in adapting any text to screen |
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The critic who quibbles at failures in fidelity is really just saying, “this reading of the original does not tally with mine in x, y, z
Assumes there is only one correct interpretation of a text
Ignores other influences on a film besides the novel
Assumes every viewer has read the source text carefully
Ignores the multi-sensory potential of film |
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| Distracting the viewer with quaint historical details to make them think a text has been rendered faithfully, simply because a time or place has been illustrated painstakingly |
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| Visual Rhetoric of posters esp: cultural capital, color symbolism: Endorsements by film reviewers and award granting entities |
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Definition
Taglines
Titles
Color symbolism
Actors, producers, director billing
Ratio of text to image |
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Chaos Plot type:
Entropy Plot type:
Quest Plot type:
Restitution Plot type: |
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Ironic Setting:
Irrelevant Setting:
Kaleidoscopic Setting:
Symbolic Setting:
Utilitarian Setting: |
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| 3-Act Structure: Is a model used in writing and in evaluating modern storytelling |
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Exposition:
Rising Action:
Denouement or Climax: |
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| Aristotle’s 4 parts of character |
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Chreston:
Harmatton:
Homalon:
Homoios: |
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Transposition:
Commentary:
Analogy:
Pastiche: |
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| The plot of life as lived. Advances and setbacks come without apparent pattern |
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| The tragic plot, named for a term from Physics predicting the dispersal of energy over time |
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| The epic plot. Characters/Hero’s undergoes a series of trials. Loses many things and people along the way who cannot be replaced. But receives enlightenment/growth |
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| The Comedic plot. Character begins at stasis, undergo reversals, but wind up where they stand |
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| is the character good or bad |
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| aptness for the action to be performed |
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| Quirk, idiosyncrasy trait which is at odds with dominant character traits |
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| perfectly reproduces everything on the page into film ( a myth) – (can not give an example because it’s a myth) |
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| emphasizes key plots and characters from the text to shape an interpretation of the work for the screen |
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| also uses key themes from the work but changes language, time, setting, period for the purpose of making a dramatically work of art |
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| a literary or filmic work cobbled together from multiple sources |
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| character interiority is painfully or humorously at odds with the setting |
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| characters do not comment upon the setting-there may be no evidence of a particular location |
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| setting rapidly shifts from realistic exterior to interior fantasy world without warning |
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| very tight emotional connection between the setting and the character interiority |
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| bare minimum needed to set the plot in motion |
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| find out about the character |
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| the character returns back to their new normal |
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