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| Why are film and television fundamentally systematic? |
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Definition
| Need for efficiency, standardization, and economy |
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| Standard techniques, production, genres, classical Hollywood |
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| Why are genres and conventions always in process? |
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| Industry-audience interaction |
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| Establishes characters, conflict, "spine of the story" |
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| raises conflict, stakes, produces time element |
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Build to climactic event, resolution
Solves central problem with YES |
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Experimental
Classical
Refinement
Baroque |
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| Costume design, lighting, blocking, editing, audio |
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| Creates master scene through camera work (medium, close ups, establishing shots) |
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Term
Television is seen as a ___
as opposed to film as a industry audience interaction |
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| Delivery system to advertisers |
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| Television structure of narrative |
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| Becomes mass medium, half hr comedy, hr long drama, episodic structure |
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Hr long dramatic series
cable, vcr, etc. |
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Second Golden Age
hr long ensemble drama |
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Episodic vs. Serial
structure
character
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Definition
Modified 3 act structure vs. expanded second act
1 dimensional character vs. capable of growth
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Long term vs. short term stakes and conflicts
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Definition
| reconstituted conflict vs. closure |
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Definition
theatrical qualities, shot on stage, continuity, live audience
emphasis on comic performance |
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Definition
| one camera, no cues for laughter |
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| domestic workplace, the cast becomes |
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domestic family
work family |
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Evolve with audience and technology
Cyclical rather than linear development
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| most important information first (after lead) followed by information in descending order of importance |
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| Reason for writing the message |
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| singular idea that defines the point |
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| Ordering events in the story as they unfolded |
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| inverted pyramid, followed by a new setup of the information usually from a source |
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Definition
| organizing information into sections |
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Definition
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Term
| Four essential qualities in good writing |
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Definition
Accuracy
Clarity
Completeness
Fairness |
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