Bcn 225

Front 1

foreshadowing

Back 1

a hint of whats to come

Front 2

protagonist

Back 2

hero wins/solves the conflict

Front 3

antagonist

Back 3

conflict with the hero

Front 4

anti-hero

Back 4

a character that goes against social norms but we can identify with thoughout the movie

Front 5

static character

Back 5

no change in character

Front 6

dynamic character

Back 6

changes in a significant way by the end of the movie

Front 7

flat characters

Back 7

characters with no depth

Front 8

round characters

Back 8

has depth and there is more to them than just "bartender"

Front 9

mise-en-scene

Back 9

the staging or putting on an action of a scene

Front 10

the 4 aspects of mise-en-scene

Back 10

1.lighting
2.blocking of the characters
3.costume and makeup
4. setting

Front 11

existing setting

Back 11

shooting on location

Front 12

constructed setting

Back 12

artifical setting in real life/sound stage

Front 13

4 purposes of light

Back 13

1. to set the mood
2. so we can see
3. to guide our eyes around the scene
4. articulates shape/texture of objects

Front 14

attached shadows

Back 14

occurs when light fails to illuminate part of an object because of it's shape/ texture

Front 15

cast shadows

Back 15

occurs when 1 object blocks the light from reaching another

Front 16

quality

Back 16

the strength of relative brightness of a light

Front 17

hard lighting

Back 17

bright light creates crisp, sharp shadows

Front 18

soft lighting

Back 18

diffussed sort of glowing light which majes softer shadows

Front 19

source

Back 19

objects within scene that motivate the real lighting setup

Front 20

color

Back 20

balanced to white
all other colors are gels or filters placed in front of the camera

Front 21

high key lighting

Back 21

bright even lighting with few shadows and low contrast

Front 22

low key lighting

Back 22

has deeper sharper shadows and high contrast

Front 23

3 planes

Back 23

1.background
2.middleground
3.foreground

Front 24

3 depth cues

Back 24

1.linear prospective
2.movement
3. size diminution

Front 25

frontality

Back 25

the viewer focuses on characters towards us over than those turned away because we get more info from their face

Front 26

onscreen space

Back 26

within the edge of the film frame

Front 27

offscreen space

Back 27

1-4 - outside of film frame
5 behind camera
6 behind set

Front 28

open frame

Back 28

when a character can freely exit/enter film frame

Front 29

closed frame

Back 29

when characters can't freely enter/exit freely

Front 30

cinematography

Back 30

describes what film makers conrol over how an image is captured in a film

Front 31

shot

Back 31

1 interupted run of the camera

Front 32

take

Back 32

number of times a particular shot is taken

Front 33

set-up

Back 33

1 camera position and everything associated with it

Front 34

cinematographer

Back 34

makes decisions on how film is to be photographed

Front 35

cinematographer's 4 responsibilities

Back 35

1.cinematographic properties
2. framing of the shot
3. speed and length of the shot
4. special effect cinematography

Front 36

4 cinematographic properties

Back 36

1.film stock
2. lenses
3.lighting
4. style

Front 37

film contrast

Back 37

relationship between brightest and lightest areas of an image

Front 38

high contrast

Back 38

extreme difference between brightest and lightest areas in an image

Front 39

low contrast

Back 39

little difference between brightest and darkest areas of an image

Front 40

exposure

Back 40

measure of light admitted by the lens to create an image

Front 41

under exposure

Back 41

dark and undefined

Front 42

over exposure

Back 42

washed out and loss of detail

Front 43

focal length

Back 43

distance from the camera lens to focal point

Front 44

4 types of lenses

Back 44

1.wide angle
2.normal
3.telephoto
4. zoom lense

Front 45

depth of field

Back 45

the distance in front of the camera in which objects are in sharp focus

Front 46

aspect ratio

Back 46

relationship between the film's height and width

Front 47

high camera angle

Back 47

camera above subject angled downward to make subject seem weak

Front 48

low camera angle

Back 48

looking up makes subject seem bigger/stronger

Front 49

point of view shot

Back 49

looking through the eyes of a character restricted to their point of view

Front 50

image box/secondary frame

Back 50

anything providing a secondary frame within the film frame

Front 51

steady cam

Back 51

worn by camera operater that keeps it balanced and compiensates for movement

Front 52

saturated color

Back 52

pure color cannot be anymore of that particular color

Front 53

desaturated color

Back 53

muted or lower intensity of color

Front 54

technicolor

Back 54

3 color film using 3 film strips

Front 55

eastman color

Back 55

3 color process but in 1 strip of film

Front 56

rule of thirds

Back 56

grid pattern that divides an images vertically/horizontally into thirds

Front 57

method acting

Back 57

ecourages actors to speak, move and gesture as they woulld in their own lives instead of being on a stage

Front 58

9 types of roles

Back 58

1.major
2.minor
3.cameos
4.stand ins
5.bit
6.extras
7. walk ons
8. stunt doubles
9.character

Front 59

improvisation

Back 59

delievering lines based loosly on the script

Front 60

camera frame that effects actors preformance the most

Back 60

close-up because it focuses our attention the face

Front 61

4 things considered when analyzing an actor's preformance

Back 61

1.expressive coherence
2.appropiateness
3.inherent thoughtfulness
4. wholeness and unity

Front 62

american social realism

Back 62

1940-1950
set of values
influenced by the italian neo-realism movement

filmed mainly on location
method acting
strong interest in the complexites

Front 63

12 film noir critera

Back 63

1.dark shadowy contrast images
2.voice over narration
3.austo-hungry director
4.paranoia
5.voice-over narration
6.flashbacks
7.male protaginist facing moral delema
8.cynical characters
9. sassy independant woman
10. crime/detective story
11. crisp whitty dialogue
12.no happy ending

Front 64

time period of film noir
and major film makers

Back 64

1940-1950
fritz lang
orsen wells

Front 65

editing

Back 65

the coordination of joining 1 shot with the next

Front 66

the 4 basic ways to join a shot

Back 66

1.wipe
2.fade in/ fade out
3.dissolve
4.cut

Front 67

3 types of cuts

Back 67

1.hard cut
2.soft cut
3. jump cut

Front 68

cut

Back 68

going from one shot to another with no transition

Front 69

hard cut

Back 69

calls attention to iself

Front 70

jump cut

Back 70

when a portion in the middle of a continous shot is removed

Front 71

dissolve

Back 71

where both shots are seen on the screen in a superimpostion

Front 72

superimposition

Back 72

the printing of one image on top of another

Front 73

4 areas of choice

Back 73

1.temporal realtions
2.spacial
3.graphic
4.rythmic

Front 74

flashbacks

Back 74

from present to past

Front 75

flashforewards

Back 75

from the present to the future

Front 76

temporal ellipsis

Back 76

when an action takes less screen time than story time

Front 77

temporal expansion

Back 77

"overlapping" editing is used to intensify drama

Front 78

cutaway shot

Back 78

a shot of something related to the scene ised to cover missing time

Front 79

temporal frequency

Back 79

repetition of a whole action

Front 80

crosscutting

Back 80

cutting back and forth between 2 shots to build suspense or show complentary action

Front 81

match cut

Back 81

2 or more shots linked together in near graphic unity

Front 82

cutting on movement

Back 82

action started in 1 shot continued in following shot movement is used to discuse the act

Front 83

montage

Back 83

shortning a long time period into a few mins

Front 84

establishing shot

Back 84

shows the overall space of a scene

Front 85

axis of action

Back 85

the space of a scene
everything happens on an invisable line

Front 86

shot reverse shot

Back 86

cutting back and forth between opposite ends of conversation

Front 87

eyeline match

Back 87

when a person is looking off screen and the next shot match what we look at

Front 88

2 general purpose of sound

Back 88

1.to guide us through images pointing out what to watch
2. classify or contradict images

Front 89

3 perpitual properties

Back 89

1.volume
2.pitch
3. timbre

Front 90

volume

Back 90

measured in dB
loudness or softness

Front 91

pitch

Back 91

measured in Hz
highness or lowness

Front 92

timbre

Back 92

harmonies of sound that give it a certain sound quality

Front 93

silence

Back 93

1.creates tension
2.adds value
3.causes viewer to focus on image

Front 94

sync- sound

Back 94

sound that come from a logical place within the scene

Front 95

async-sound

Back 95

no logical source within the screen

Front 96

off screen sound

Back 96

can come from within sound range even though not present in the shot

Front 97

5 types of dialogue

Back 97

1.intrinsic
2.voiceover
3.overlapping
4.off-screen

Front 98

2 types of music

Back 98

1.intrinsic
2.underscoring

Front 99

underscoring

Back 99

used to reinforce or counterpoint the image

Front 100

4 things that melody can be associated with

Back 100

1.character
2.setting
3.idea
4.situtation

Front 101

by varying musical motifs what can the film maker do

Back 101

1.compare scenes
2.trace patterns of development
3.sugguest meanings

Front 102

foley

Back 102

1.adding additonal sounds
2.sweeting of sounds

Front 103

post-sync

Back 103

adding sound after the film after its been shot to seem like the sound was in the shot to begin with

Front 104

dubbing

Back 104

adding dialogue to a film after its been shot

Front 105

pre lap sound

Back 105

conversation that moves from 1 shot to another

Front 106

counterpoint sound

Back 106

distance between image and music

Front 107

avant garde

Back 107

work that is innovative or inventive
pushes theknow boundaries of art

Front 108

surrealism

Back 108

movement for liberation of the mind
evolved from dadaism
1918-1935
luis buneul

Front 109

german expressionsim

Back 109

movement that emphasizes the expression of inner experience rather than realistic portrayal

large distored sets
camera angles that showed grotesque
editing is fragementary
influenced by ww1

Front 110

2 applications of autuear theory

Back 110

1.a judgement of the whole body based on style
2. a classification of great directors based on hierachy of directorial styles

Front 111

film school generation

Back 111

refers to older movies
male actors
endings were unsolved
1969-1972

Front 112

5 principals that make a movie an artform

Back 112

1.movies manipulate time and space better than art forms
2.depect the world convencingly
3.depend on light
4. provide an illusion of movement
5.generally result from a complex expensive and highly colabertive process

Front 113

sequence

Back 113

longer than a single scene

Front 114

scene

Back 114

series of pictures unifed by a different theme

Front 115

frames

Back 115

each individual photograph on the film

Front 116

sound speed in frames per second

Back 116

24 frames pers second

Front 117

persistence of vision

Back 117

human brain retains an image for a fraction of a second longer than the eye records it

Front 118

critical flicker fusion

Back 118

occurs when a single light flashes on and off so rapidly that the lights seem to fuse together

Front 119

3 phases of production

Back 119

1.pre-production
2.production
3.post-production

Front 120

what year george eastman began mass producing film

Back 120

1889

Front 121

form

Back 121

how a subject is being expressed

Front 122

context

Back 122

subject of a work of art

Front 123

narrative

Back 123

overall connection of events in a film

Front 124

progression

Back 124

process of moving from the begining through the middle to the end of a work of art

Front 125

story board

Back 125

a visual scene by scene shot by shot breakdown of the action

Front 126

story

Back 126

all explicited present events

Front 127

diegesis

Back 127

the total story world

Front 128

4 non diegetic elements

Back 128

1.credits
2.titles
3.voice over narration
4.background music

Front 129

plot

Back 129

structure for presenting what we see or hear in a film

Front 130

hubs

Back 130

major events tha cause a charter to choose paths

Front 131

satellites

Back 131

minor events that add texture but not essential

Front 132

story duration

Back 132

amount of implied story takes place

Front 133

plot duration

Back 133

amount of explicted story takes to occur

Front 134

5 types of narrative progression

Back 134

1.point of attack
2. climax
3.falling action
4.resoultion
5. exposition

Front 135

singing in the rain

Back 135

gene kelly 1952

Front 136

run lola run

Back 136

tom tyker 1998

Front 137

amadeus

Back 137

mios forman 1984

Front 138

raise the red lantern

Back 138

yimou zhang 1991

Front 139

psycho

Back 139

alfred hitchcock

Front 140

on the waterfront

Back 140

elia kazan 1954

Front 141

double indemnity

Back 141

billy wilder 1944

Front 142

star wars

Back 142

george lucas 1977

Front 143

un chien andclou

Back 143

luis chien andelou 1929

Front 144

meshes of afternoon

Back 144

maya deren 1943

Front 145

a clockwork orange

Back 145

stanley kubrick 1971

Front 146

easy rider

Back 146

dennis hopper 1969