Cinema Literacies

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Autere Theory

Back 1

critically analyzing the film based upon who the director of the film is

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1939

Back 2

Golden year of films

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Histiography

Back 3

analysis of the film based on the history of the film

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Fast Film Stock

Back 4

stock types that are sensitive to any light available; for dark lights or during nighttime scenes

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Slow Film Stock

Back 5

stock types that are not sensitive to light; for lighter times or scenes during daytime scenes

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Tracking Shot

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a shot in which the camera is propped up on a camera dolly; follows one subject within the frame such as a main character or moving vehicle

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Panning

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rotation on a horizontal line of a still camera; moves left-to-right

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Diagetic Space

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the film world; the setting of the story

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Formalist belief

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Purpose of the art is being aesthetic, renewing perception, making the reader/spectator feel the "stoniness of the stone"

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story (fabula)

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putative sequence of events in factual order and narration

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plot (discourse; sjuzet)

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the story as narrated within an artistic structure

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dominant

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process by which one element (ie. rhythm, plot, or character, etc) comes to regulate the artistic text or system; transforms, rules, and determines the remaining components

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automatization

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process by which one proposes to express the actual functioning of the thought

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techicism

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a preoccupation with the techne (the materials and devices) of the artist/artisan's craft

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Literateures

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"immanent" properties; not dependent on other orders of structures

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Literariness (literaturnost)

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that which makes a given text a work of literature; inhering in a differential relation between texts a.k.a defamiliarization a.k.a dialogism

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aesthetic autonomy

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two different functions - communicative and aesthetic ("prodical" and "poetical") - coexist within a text, but where aesthetic serves to isolate and "foreground"/"focus attention" on the object

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denaturalization

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revealing the socially coded aspect of what was taken to be natural, "ostrenanie" or "making strange."

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Functions

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minimal units of action

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Modernism

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cultural force-field with 3 coordinates:

1.) the official art of regimes still linked to the old aristocracies

2.)the impact of the new technologies of the second industrial revolution

3.) the hope of the social revolution

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synthetic criticism

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extracts intense, libidinal meanings from ordinary sequences

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Jump cut

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an editing transition that's confusing in terms of space and time

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Establishing shots

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shots that establish the context for a scene by showing the relationship between its important characters and objects

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Re-establishing shot

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a return to the opening long shot; expanding shots

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Stationary long shot

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the position of a close observer in the live theater

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Classical cutting

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the language of power and subtlety; editing for dramatic intensity and emotional emphasis rather than physical reasons

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Close-up

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allows the audience to see smaller details

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sequence shot

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a complex action photographed in a continuous take, without cuts

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arranged scenes

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narrative segments are connected by a fade-out, the next scene then fades in, often in a different location and at a different time, though usually with the same characters

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Reaction shot

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shot which cuts away from the main scene in order to show the reaction of a character in relation to what happened in that scene

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Two-shot

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in which the frame encompasses a view of two people who don't have to be next to each other; one can be in the foreground, the other in the background

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first cut

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sequence of shots representing the studio director's interpretation of the materials

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final cut

Back 33

sequence of radically different continuity of shots that represents the studio producer's interpretation of the materials

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cover shots

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general shots that can be used to reestablish a sequence if the other shots won't cut

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eyeline match

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if character A looks left, and the camera pans to character B, character B is assumed to be to character A's left so that means that the cutting of the shots should signify that

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matching action

Back 36

when a character looks to be performing an action and the following shot concludes said action

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mise en scene

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the overall structure of the scene; everything that appears before the camera and its arrangement - composition, set, props, actors, costumes, and lights, etc.

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Bird's eye angle

Back 38

shots taken directly above the scene to establish the landscape and the actors' relationship to it

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shot/ reverse angle shot technique

Back 39

used when a scene is broken down into cause and effect

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parallel editing

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switching of shots of one scene with another at a different location

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cross-cutting

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suggests speed and tension; conveys the idea of simultaneous time, reducing the duration of different shots as sequential climaxes

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screen time

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the physical length of the filmstrip containing the shot

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thematic editing

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connecting shots to connect with different time periods and locations on the basis of their thematic relationship

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thematic montage

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stresses association of ideas, irrespective of the continuity of time and space

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flashback

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sequence of shots representing a past event

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flash forward

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suggests predestination or where the story is going

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anticipatory setups

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reinforce senses or current characteristics of character; like showing destination while character is traveling there

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lyrical takes

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fluid takes that are slower and put emphasis on time

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Auteurism

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the expression of an existentialist (ie. the belief that philosophical thinking starts with humans) humanism inflected by phenomenology (an approach that focuses on studying consciousness and the objects of direct experience)

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auteurs

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enjoyed an artistic control over productions; impregnates the film with the personality of its directors

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metteurs-en-scene

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those who adhered to the dominant conventions and to the scripts given to them

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"genius of the system"

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the capacity of a well-finances and talent-filled industrial machine to turn out high quality films

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Impressionism

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a king of neuro-glandular response to films based solely on he critic's sensibilities and tasks

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Sociologism

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evaluative approach based on a reductive view of the perceived progressive or reactionary political thrust of the characters or storyline

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Sound

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1.) is not subordinate to image

2.) must be integral to all three phases of film production

3.) can be as expensive as image

4.) image and sound create different worlds

5.) image and sounds are co-expresible

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design

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craft of editing and mixing sounds

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recording

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digital format becoming the standard double system of recording

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editing

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processing of sound

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ADR

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automatic dialogue replacement

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mixing

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combines the different soundtracks

~production sound

~post production sound

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pitch

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level of sound from high to low frequency, or by speed or number of sound waves per second

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loudness

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volume or intensity, which depends on amplitude; the degree of motion of the air in the sound wave

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quality

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timbre, texture, or color - distinguish sounds that have the same pitch and loudness

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fidelity

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sound's faithfulness or unfaithfulness to its source

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diagetic

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originates from source within the fictitious world of the film

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nondiagetic

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comes from source outside world; from real world

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onscreen

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from source on the screen

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offscreen

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from source not seen; not on camera or even in the film's world

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simulatenous

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both diagetic and onscreen

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nonsimulatenous

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both nondiagetic and offscreen

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internal sound

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thoughts of characters

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external sound

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within the film world and the characters can hear it

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Types of Film Sound

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~Dialogue

~Narration

~Ambient

~Implied Sound

~Foley (mechanical)

~Sound effects (wild)

~Music

~Silence

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emphasis

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accentuate and strengthens visual image