Basics Of Film And Television

Front 1

Exposition

Back 1

The part of the plot that sets out story events and character traits in the opening situation

Front 2

Characters

Back 2

The individuals who motivate the events of the story

Front 3

Protagonist

Back 3

Main character, generally characters we identify as positive forces in a film

Front 4

Antagonist

Back 4

Character who opposes protagonist, generally characters we identify as negative forces in a film

Front 5

Character development

Back 5

The patterns through which characters move from one mental, physical, or social state to another

Front 6

Narrative

Back 6

The events of a film in chronological order.

Front 7

Plot

Back 7

The film's presentation of events in the narrative: what we see and hear and how we see and hear it. Includes non-diegetic material.

Front 8

Story/Fabula

Back 8

The viewers imaginary reconstruction of all the events in the narrative in their chronological order.

Front 9

Diegetic

Back 9

Characters, events (including implied) and places that occur within the world of the film's story.

Front 10

Nondiegetic

Back 10

Material added to the plot that comes from outside the time and space of the narrative, outside of the character's world. Eg. Music, titles, credits

Front 11

Ellipsis

Back 11

Omission, gap in story, events not represented

Front 12

Motif

Back 12

An element in a film repeated in a significant way.

Front 13

Omniscient Information

Back 13

Unrestricted-We know more than any character

Front 14

Restricted Information

Back 14

Restricted-We only know what a certain character knows when he or she knows it

Front 15

Objective Information

Back 15

What characters say and hear

Front 16

Subjective Information-Perceptual and Mental

Back 16

Perceptual-Access to what characters say and hear (pov shots, sound perspective)
Mental-Access to characters thoughts and mind (voice-overs, mental images, hallucinations and dreams)

Front 17

Shot

Back 17

Continuous length of film

Front 18

Sequence

Back 18

Any number of shots that are unified as a coherent action or identifiable motif regardless of changes in space or time

Front 19

Scene

Back 19

One or more shots that can be described in terms of continuous space and time

Front 20

Cut

Back 20

A transition between shots without optical effects

Front 21

Dissolve

Back 21

Optical effect that briefly superimposes one shot over the next

Front 22

Wipe

Back 22

Transition that joins two shots by moving a line across one image to replace it with another image

Front 23

Fade

Back 23

An optical effect using a black screen (fade in or out)

Front 24

Iris

Back 24

An optical effect that uses masking so that only a small circular portion of the image is seen

Front 25

Jump Cut

Back 25

Edit that violates temporal and spatial continuity. Abrubt, inexplicable shift in time and place of an action.

Front 26

Cutaway

Back 26

A shot that interrupts a continuous action, cutting away to another image or action

Front 27

Crosscutting or parallel editing

Back 27

Cutting back and forth between actions in separate places, often to suggest simultaneity.

Front 28

Kuleshov Effect

Back 28

Any series of shots in the absence pf an establishing shot that cue the viewer to infer a spatial whole on the basis of seeing only portions of that space

Front 29

Montage Sequence

Back 29

Series of shots that show the passage of time in a compressed manner or for descriptive purposes

Front 30

Continuity Editing

Back 30

Classical Hollywood editing devised to minimize the audiences awareness of shot transitions, construct a coherent time and space and tell stories clearly and efficiently

Front 31

180 Degree Line

Back 31

A rule in continuity editing that restricts camera set-ups to 180 degree side of the axis of action drawn between characters or figures of a scene

Front 32

Analytic Breakdown

Back 32

Breaking down a scene to establish spatial and temporal clarity

Front 33

Establishing shot

Back 33

An initial long shot that establishes the location and setting and orients the viewer in space to a clear view of the action

Front 34

Reestablishing shot

Back 34

Shot that returns to establishing shot to restore "objective" view at end of analytic breakdown, often to close out scene

Front 35

Shot-Reverse Shot

Back 35

Shot taken of a character from one angle in the axis of action followed by a shot taken at the reverse angle of action

Front 36

Eyeline Match

Back 36

Editing technique that links two spaces by using a character's line of vision to motivate the cut

Front 37

Reaction shot

Back 37

Depicts character's response to something in the previous shot

Front 38

Match on Action

Back 38

Cut between two shots that feature a similar visual action

Front 39

Graphic Match

Back 39

Cut that emphasizes visual similarities between 2 shots

Front 40

6 Elements of Mise-en-Scene

Back 40

Setting, Human Figure, Costumes and Makeup, Props, Lighting, Composition

Front 41

years of Classical Hollywood cinema

Back 41

1934-1968

Front 42

3 Elements of Lighting

Back 42

Key Light (Frontal), Fill Light (illuminates shadows), Back light (separates subject from background)

Front 43

2 Different types of framing

Back 43

Loose (figure surrounded by great deal of space) and tight (tight space)

Front 44

Aspect Ratio

Back 44

Ratio of frame width to frame height

Front 45

Tilt

Back 45

Movement of the camera up and down

Front 46

Pan

Back 46

Movement of the camera left and right

Front 47

Tracking/Reverse Tracking

Back 47

When the camera follows a person/backs up with a person

Front 48

Crane shot

Back 48

When the camera moves to an elevated point through the use of a crane within a single shot

Front 49

Canted Shot

Back 49

When the camera is an a sidways angle

Front 50

Rack Focus

Back 50

When the focus changes from background to foreground

Front 51

Plan American Shot

Back 51

Knees up

Front 52

Medium Shot

Back 52

Waist up

Front 53

Medium-Close Shot

Back 53

Chest up

Front 54

Close up

Back 54

Head and Neck

Front 55

Extreme close up

Back 55

Face/Eyes and nose

Front 56

Sound Fidelity

Back 56

Ability of a sound to replicate something we expect

Front 57

Sound Bridge

Back 57

Using a sound to establish continuity between shots

Front 58

Walla

Back 58

Added human noise that sounds like background talking. Done using the word "walla" repeatedly

Front 59

Deep focus

Back 59

When all three planes are in sharp focus within a shot

Front 60

Summarize the Mulvey Article

Back 60

Fetishistic Scopophilia-Pleasure in looking Sadistic Voyeurism-Demystifying and torture of women, saving of last girl. This card needs more information

Front 61

Cinema verite

Back 61

A style of documentary filmmaking that stresses unbiased realism

Front 62

Director of Notorious and main character names

Back 62

Alfred Hitchcock, Devlin, Alicia, Alex, Alex's mother

Front 63

Director of In the Mood for Love and main character names

Back 63

Won Kar-wai, So, Chow

Front 64

Director of Run Lola Run and main character names

Back 64

Tom Tykwer, Lola, Manni

Front 65

Director of The Shining and main character names

Back 65

Stanley Kubrick, Danny (son), Wendy (wife), Jack (father)

Front 66

Director of Twin Peaks and main character names

Back 66

David Lynch, Laura Palmer (dead girl), Leland Palmer, Sarah Palmer,

Front 67

Director of Far from Heaven and main character names

Back 67

Todd Haynes, Frank Whittaker, Cathy, Raymond

Front 68

Director of Texas Chainsaw Massacre and main character names

Back 68

Tobe Hooper, Sally, Franklin, Leatherface, Cook, Hitchhiker

Front 69

Director of Firefly and main character names

Back 69

Joss Whedon, Mal, Wash, River, Simon, Kaylee, Inara, Jayne

Front 70

Director of This Film is Not Yet Rated and main character names

Back 70

Kirby Dick

Front 71

Director of Some Like it Hot and character names

Back 71

Billy Wilder, Josephine, Daphne, Sugar, Spats

Front 72

Director of Rushmore and main characters

Back 72

Wes Anderson, Max, Herman, Rosemary

Front 73

Auteurism

Back 73

Director functions as the author of his own work, rather than recreating a novel or play