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71 Cards in this Set
- Front
- Back
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Catharsis |
Cleansing wash of emotions, comes from a successful production. |
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Suspicion of disbelief |
Audience lets g of what's real - License (a way to manipulate an image) - Representative of the real |
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Persistence of vision or Phi Phenomenon |
Depends on a biological way of seeing - Human eye ceases to see moment of blackness (i.e., strobe light) - Light lingers on our rods and cones - Biologists call this the phi phenomenon, since we are able to perceive only a certain number of changes per second |
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Representation/Sensation |
What the film represents relative to experience and how an audience feels after watching the film. - Sensation is kinetic (quality of senses) (i.e., music is a kinetic medium because we are moved by the sense of music, only focus on sound) - Camera image can be representative to reality and real life (though it can be manipulated by actors) |
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Mimesis + Kinesis Conviction |
- Mimesis involves the representation or imitation of the real world - Quantities of motion picture experience is whether experiece is actually happening (i.e., when watching a film, you know it's not real, but at the time it feels real) |
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Boiler room phenomenon |
One function of culture in a society, that shows the work done by those of a lower class (i.e., boiler room on a ship, keeps society going) |
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Narrative |
Retelling of a story |
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Expressionism and Realism (Film as a new medium, Roemer's "The Surface of Reality and Arnheim's "The Complete Film") |
Film is concrete (realist)--> Roemer - Film must be realist -Tries to obtain conviction (audience relative to world, must be realistic) Film is flexible (expressionist)-->Arnheim - Point of expression for an artist isn't the same as the real but different - Difference exploits content - Becomes limited if too real - More plastic the more creative you can be |
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Primary vs. Secondary experience (Related to realism and expressionism) |
Primary = Heard from oneself, told in first person Secondary: Watch film and know that it's happened (i.e., documentary and narrative) - More radically you treat form, less concrete |
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Interior Landscape |
Representation of unconscious psyche (interior fantasy, only happens in one's mind) - An example could be a Méliès film |
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Formative Impulse (Arnheim reading) |
Desire of the artist to form reality to audience (i.e., sculpture and painting)-->form material to your own ends - Film and photography does this by manipulating experience |
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Susan Sontag "Film and Theater" |
- Film and theater are distinct and authentic arts - For film, one must define the basic nature of medium - Movies move from theater (actors, frontally) to cinematic fluidity (testifying scope of cinematic eye) - Camera can be passive/selective (edited) vision - Theater is never a medium |
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Centeredness |
Location relative to production - When a play is going on, being in the center acquires one the best possible view of the production - In film, being centered doesn't matter (image appears to be for you) - In literature, one has to create the image through words (becomes a single channel) |
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Audience Contract |
Audience comes into a space for a reason (they have certain expectations) - If these aren't met, they become disappointed in production - Been educated to expect certain things from a film (monetary exchange) - Media artists will frequently go outside audience contract, thus audience will not like exchange |
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Protagonist |
Lead character that we as an audience follow throughout - Center of the story |
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Continuity of Time and Space |
Something being continuous in time |
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Contemplation vs. Distraction |
- Distractive state of mind: we are distracted by what's on screen, in novels however, our mind is actively engaged (contemplate actions and imagery) - Don't have time to be distracted, film is an unchangeable speed (we accept images that we see) |
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Awareness of the maker |
We are aware of makers of the text (understand the nature of the language - (i.e., Harry Potter has a specific style because of J.K. Rowling's way of writing) - Film becomes transparent (we are distracted by the images to be aware) - In a novel, people have control of experience since it's more interactive |
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Continuity |
Continuation of the story - Despite compressions it's continuous |
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Contextual vs. Noncontextual Performance |
- Context: Theater, since it's shown in a continuous fashion - Noncontext.: Film, since it jumps around - Film is permanent (since it's a permanent performance) - Theater is ephemeral since the performance varies |
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Transparency |
Never able to convince an audience, since our perception is limited - One is aware of craft in theater, so it never feels 100% real - Film is so close to life (looking through it rather than at it) |
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Proscenium |
Area of the theater surrounding the stage opening (arch above the stage is also part of this) |
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Process of making (continuous vs. assembly) |
How something is put together - Theater = real space and real time - Film = assembled performance (never happening continuously) |
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Perpetual Presence |
When all past, present, and future actions take place in the hear and now |
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Mise-en-scene (Monaco, "On Editing (from "Montage" to "Mise-en-scene") |
Prestyliseation, scenecraft, camerawork (how actions work in space - involves what you're doing with the camera (camerawork) - Prestylisation = configure reality before you take the shot - Scenecraft = how the set is designed |
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Editing |
Involves postsylisation and editorial work (how scenes are cut and etched together) |
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Dynamitisation of space |
On an edit, it moves an audience to a different place in time - Takes place relative to a frame - Edits between space, time moves (shifts in space) - Cinematographer can move the camera |
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Spatialization of time |
Continuation of time relative to space, taking place scene to scene - Time = change in spaces (i.e., film edits) |
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Montage |
Eisenstein believed that film should go further in medium Frictional editing: From 2 meanings, gets a 3rd conflict (shots become separate units, differential shots, and looks at visual content) Impressionistic montage: break action up into bits (perceived at a specific time and is linear to the order of the film) - gives a sum, relative to a situation (i.e., workout sequence) - Time can lose its order Sequential/Linear montage: Scenes are in order (sequence and linearity) Virtual montage: Puts images over and around one another (lack of perceivable order) - Order as a dream or non-ordered |
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Screen time (Hauser, "Space and Time in Film") |
Encompasses time, compressing it into a feature film |
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Real time |
Life how we experience it - Time how we experience it |
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Virtual time |
Non linear time (sequential) |
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Screen Space |
Compressed, space = reality (makes it feel longer/shorter) - Evokes real time - Gives the effect of real time - Director takes out unnecessary scenes |
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Real space |
Space how we preserve it |
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Virtual Space |
Dream space (unaware of physical logic) - Filmmakers are not forced to focus on one specific timeline |
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Justified/unjustified |
Audience look at film as a material object (they are supposed to look at it in an actual reality) Justified = explains why shot is being shot Unjustified = when camera does something on it's own |
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Simultaneity |
- Temporal: Different events going on at the same time (same time different space - Spatial: Same space, different times (i.e., Citizen Kane dinner scene) - Virtual: Everything at once |
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Montage, Decoupage |
- Sequences are produced before and during the film - Camera structures the film through formation of mise-en-scene |
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Closed and open form |
Have to do with the attitude towards the frame - Closed = no reality outside of the frame - Open = implies ongoing material, outside of the frame - Frame as a boundary: Frame contains what is known (closed vs. open) |
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Phenomenon of a person/POV |
- 3rd person Omniscient: Common storytelling form in moving image experience - 3rd person normal: One set position, long unedited takes - Specialist: Requires an audience to have an advanced education to see what's going on - 2nd image: Audience is addressed to what is happening on screen - 1st person normal: When camera assumes POV of the person on screen (feel something that happened to you at some point) - 1st person interior: Film tries to show sensibility of audience - Objective v. subjective: Camera attitudes involved in 1st v. 3rd person (objective = natural experience; subjective = opinion based) |
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Assembled Performance (William Bayer "Actors") |
Actor works with the director to create a crafted performance |
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Gaze |
Watching what is onscreen - Looking without consequences - Ziplessness (act of actual consciousness; seeing a dead body isn't happening at the time) and ID with camera - Audience feels itself as camera, not the individual |
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Conspiracy with a device |
Performance evolves through director relative to camera (makes ultimate piece of film) - (i.e., Sunrise) |
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Intimacy Product/Distance performance |
Film can be intimate because we are close to the actor. It becomes distant because it's done with "machines watching" - Critical distance: Cannot overcome distance of stage relative to real world (forget about distance with decay |
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Manufactured Presence |
Artist builds a presence from past roles - Actors from long careers know what the audience wants (i.e., Harrison Ford) - Support audience expectation and not going counter to it in real life - Remanufacture oneself to meet expectations |
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Second hand artist (actor v. director) |
Director tells actor what to do (neither have full control) Not a full scene artist - Actor must trust director and editor |
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Sound/Noise |
Sound = General speech around us - pay direct attention to tones Noise = Excess factors that are dismissed due to irrelevance Difference between the two = talking at a party: noise is the music, sound is the convo - Cannot frame sound out - Audience contract involves giving up noise |
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Literal/Nonliteral sound |
Literal = sound with concrete content/concepts Nonliteral = When sound is unable to show concrete content (i.e., music) |
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Source connected/Disconnected |
Connected = Sound where you see source on screen (i.e., dog, then the dog barks) Disconnected = Cannot correct sound with source (controlled through the frame in cinema |
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Selective Hearing |
Choosing what noise is dominant/necessary |
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Sound as Support |
Added sound for support (i.e., footsteps) |
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Friction |
Sound causes us to be nervous (juxtapose this with friction) |
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Harmony & Melody/Mix |
Taking musical composition and applying to film Harm./Mel = Sum of these constitute composition of the piece Mix = Mixture of all tracks; Raising/ lowering of volumes relative to picture - Filmmaker deals with different sound quantities |
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Toolbox for production |
1. Mise-en-scene = the stage craft/camerawork 2. Editing = Deciding which type of editing is needed in constructing the film 3. Performance = Becomes assembled 4. Sound 5. Structure = Starts w/ script (narrative/non narrative) |
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Zipless Centeredness (Susan Langler "A note on Film") |
Lens put viewer in front of viewing experience - When you dream your persona is at the center of experience (literally) |
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Porthole Effect |
Vision is created by this - "mind's eye": Mind's focus and what it's focused on |
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Interior Landscape |
Landscape of inner world - Dream logic: We go through daily life to exist (becomes a created experience) |
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Virtual Simultaneity |
How human mind works |
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Styles of Dreaming |
Every human has their own style of dreaming - Style can involve the content |
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Virtual physics (virtual time and space) |
Constraints on real life where we have no control |
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Psychological Essence |
Ability to get at character without representation to story - Creating a character without telling a story (goes directly to the interior of character) |
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Structuralism (Properties of Avant Garde/Experimental Film Dulac = "Myth of Entertainment" and Youngblood = "Avant Garde") |
Movement that examined film and its relationship to the audience - Reflexivity and deconstruction fall under this category - Separate medium so audience could become aware of the things they are seeing - Exposing intentions of artist |
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Deconstruction |
Separating a work of art into its component parts in order to analyze it (illusions are generated by maker) - (i.e., Structuralist films are deconstructed, undercuts the idea for emotions) |
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Intellectual Ecstacy |
One must be knowledgeable of film aesthetic to appreciate/enjoy it |
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Broadcast/ Receiver (Antin "Video: Distinctive features of medium") -Antin writes in the 1980's when broadcast TV was big |
When you send a television stream via a radio stream, it's only one way - TV cannot talk back "one wayness" |
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Live Medium |
Can only operate in real time - Live immediate: knowing program is happening at a period of time - Emphemeral: Program ends, cannot be seen again - Believable: Program is realistic |
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Three Wall Phenomenon |
Had to create a sound stage (3 walls) - Dollhouse phenomenon: looking into a space, similar to a dollhouse = manufactured reality |
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Studio Aesthetic |
Talk shows, soaps, etc. It's economically efficient and they're all on a studio set |
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Myth of Liveness |
All TV feels live |
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Occasion/Environment (Davis "Film/Video Going") - Davis writes in a time where TV and movies were separate experiences -Cooperate structure |
During early years, television was at home, films were an occasion - TV can just be in the environment, something that you can watch optimally - People want opportunity of occasion |
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Felt Link |
Involves cultural simultaneity. Unique feeling of watching something in your environment, but know that others are watching it at the same time(i.e., 9/11) - Have an invisible but felafel link |
