Term
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Definition
| A chain of events linked by cause and effect and occurring in time and space |
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Term
| Diegetic vs Nondiegetic sound |
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Definition
| Diegetic sound is when it's sound that is coming from the scene itself (i.e. dialogue between characters) |
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Term
Which of the following is NOT a convention of time in a film?
Order
Duration
Frequency
Rhythm |
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Definition
| Rhythm is not a convention of time in a film |
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Term
| What is the most common pattern of plot development |
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Definition
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Term
| Easy way to analyze the range of narration is to ask: |
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Definition
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Term
| Narration that confines us wholly to information about what characters say and do is: |
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Definition
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Term
| The general conception of narrative within the classical Hollywood Cinema depends on the assumption that action springs from: |
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Definition
| Personal Psychological Causes |
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Term
| Mise-en-scene incorporates which following four elements in capturing the events for the camera? |
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Definition
| setting, lighting, costume, behavior of the figures |
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Term
| What is the best way to analyze mise-en-scene's function in a film? |
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Definition
| according to how it is motivated, how it varies or develops, and how it works in relation to other film techniques |
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Term
| Makeup, like costume, can be important to |
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Definition
Creating character traits
Motivating plot action |
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Term
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Definition
| The dominant light source, which also usually corresponds to the motivating light source |
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Term
| The type of lighting that serves as an overall approach to illumination, and can suggest different lighting conditions or times of day is |
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Definition
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Term
| The lighting effect containing extremely dark and light regions within the image, hard lines and sharp contrasts is called |
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Definition
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Term
| A performance should be examined according to its |
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Definition
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Term
| Film acting calls for a stronger interplay between restraint and emphasis. |
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Definition
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Term
| In order to prime our expectations that something will change position in the frame, directors will often present a(n) ________ frame. |
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Definition
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Term
| Depth cues are provided by |
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Definition
Lighting
Staging
Costumes
Setting |
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Term
| What influences our scanning of a scene the most? |
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Definition
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Term
| The range of tonalities and frequencies of light reaching the film can be strongly altered by the use of |
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Definition
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Term
| With a constant projection speed, to get a slow-motion effect, the cinematographer must |
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Definition
| shoot more frames per second. |
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Term
| What does the focal length of the lens control? |
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Definition
| both depth perception and the scale of things in an image |
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Term
| Cues for depth and volume are reduced with __________ lenses. |
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Definition
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Term
| A shot which begins with the foreground in sharp focus and the background fuzzy and then switches to bring the background into sharp focus and the foreground fuzzy is known as |
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Definition
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Term
| The type of projection where foreground and background appears starkly separate is known as |
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Definition
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Term
| What is the purpose of framing? |
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Definition
to create a neutral border around the image
to impose a certain vantage point onto the material for the audience
to prevent the image from becoming too defined for the audience |
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Term
| Noël Burch has pointed out six zones of off-screen space: the space beyond each of the four edges of the frame, the space behind the set, and the space behind the camera. Which is the LEAST used off-screen space in film making? |
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Definition
| the space behind the camera |
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Term
| When we are looking down at the material in the frame, the camera is at what angle? |
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Definition
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Term
| Framing that is tipped to one side or the other is known as canting. |
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Definition
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Term
| Which of the following is framed by a medium shot? |
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Definition
| the body from the waist up |
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Term
| Which of the following camera movements is a tracking shot? |
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Definition
| The camera as a whole changes direction, traveling in any direction along the ground. |
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Term
| Which of the following is NOT an editing joining method? |
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Definition
fade-in/fade-out
dissolve
switch (CORRECT)
wipe |
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Term
| Which two relationships are present in the editing of any film? |
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Definition
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Term
| the following patterns may be considered purely as graphic configurations |
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Definition
light and dark
line and shape
movement and stasis |
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Term
| When the filmmaker adjusts the length of shots in relation to one another, she or he is controlling what? |
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Definition
| the rhythmic potential of editing |
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Term
| In the Kuleshov effect, editing cues the spectator to |
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Definition
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Term
| An editing technique that presents an action in such a way that it consumes less time on the screen than it does in the story is called what? |
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Definition
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Term
| What is another name for the 180-degree space? |
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Definition
The center line
or
The axis of action |
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Term
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Definition
| mismatching slightly the positions of characters or objects |
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Term
| Crosscutting gives the audience an unrestricted knowledge of causal, temporal, or spatial information by alternating shots from one line of action in one place with shots of other events in other places. Thus, crosscutting creates some ________ discontinuity. |
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Definition
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Term
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Definition
| An ongoing stream of auditory information |
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Term
| Sound relates to visual events that take place in a specific time. This relationship gives sound what? |
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Definition
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Term
| What is fidelity in sound? |
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Definition
| The extent to which the sound is faithful to the source as conceived by the audience |
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Term
| Sound perspective can be suggested by which of the following? |
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Definition
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Term
| What is simultaneous sound? |
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Definition
| the matching of sound with the image in terms of story events |
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Term
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Definition
| sound from a previous scene that lingers briefly while the image presents the next scene |
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