Emb260 Writing For The Media -- Final Flashcards (Book Notes)

Front 1

When you write for a mass medium, you are writing for a _____. The nature of that audience must constantly be in the forefront of your mind and be the key to what you create.

Back 1

mass audience

Front 2

When writing for a mass medium, you are writing for a _____ but at the same time you are writing for _____, for a small number of people who have a lot in common, and for a large number of people who have little in common.

Back 2

mass audience; an individual

Front 3

Why is reaching an audience via television or the radio especially difficult?

Back 3

Because it is not a "captive" audience; unlike the theatre or movie audience, the television or radio audience can press a button to move to something else if it doesn't like what it sees or hears.

Front 4

Although some television viewers carefully select shows, most viewers tune in to particular _____ and to specified continuing series, including local and network newscasts, by force of habit.

Back 4

formats

Front 5

What does the wide variety of media mean for the writer?

Back 5

You must capture the attention of the audience as soon as possible and hold it.

Front 6

Because radio is localized and fractionalized, the audience for a given radio station is likely to be much more _____.

Back 6

homogeneous

Front 7

Because _____ rather than artistic or social considerations control programming decisions and content, the producers and advertisers try to reach and hold as large a segment of the viewing or listening population as possible.

Back 7

financial

Front 8

In television, the easiest and most effective way of reaching and holding as large a segment of the viewing population as possible is to find the _____, abbreviated _____.

Back 8

lowest common denominator; LCD

Front 9

programs oriented toward specialized audiences, reflecting the growing number of program and distribution sources such as multi network and multichannel cable systems

Back 9

narrowcasting

Front 10

Despite increasing _____ programming -- programs oriented toward specialized audiences, reflecting the growing number of program and distribution sources such as multi network and multichannel cable systems -- the primary aim of television producers too often still seems to be to present what kind of material?

Back 10

narrowcasting; material that will not offend anyone

Front 11

True or false? Controversy developed more quickly on television than it did on radio.

Back 11

false (controversy developed more slowly on television than it did on radio)

Front 12

Although _____ material is banned from the airways by law, _____ and profane material is permissible under certain circumstances.

Back 12

obscene; indecent

Front 13

Why are radio audiences not as diverse as television audiences?

Back 13

When network radio disappeared in the 1950s as television took over, to survive radio became fragmented into local audiences and individual stations developed formats that appealed to specifically targeted groups of listeners.

Front 14

The makeup of the potential audience for a given program or station is called _____.

Back 14

demographics

Front 15

The principal _____ are age, gender, and the given market's locale.

Back 15

demographics

Front 16

When the audience's beliefs, attitudes, and behavior are included -- such as political affiliation, religion, where the viewer or listener shops, and what brands he or she buys -- it is called _____.

Back 16

psychographics

Front 17

The demographics of radio audiences are even more _____ than those of television audiences.

Back 17

precise

Front 18

True or false? Cable audiences are fairly easily targeted.

Back 18

true (because most cable channels are narrow in content, with the given channel's viewers interested in that kind of programming)

Front 19

_____ writing dominates most television series.

Back 19

formula

Front 20

Several decades ago, after a study of competition and responsibility in network television broadcasting, the _____ stated, "By and large, episodes of television series are produced on the basis of '_____' -- approved in advance by the network corporation and often its mass advertisers -- which 'set' the characters, 'freeze' theme and action, and limited subject matter to 'tested' commercial patterns."

Back 20

Federal Communications Commission (FCC); formulas

Front 21

Although the formats themselves have remained relatively unchanged, the _____ the writer can use within any given format expand with each new technology.

Back 21

techniques

Front 22

Viewers may regard cable and satellite television as different from the broadcast television service, but the difference is principally in the means of _____.

Back 22

transmission

Front 23

True or false? Basic writing technique is likely to change appreciably as a result of all of the new technologies that are occurring in broadcasting.

Back 23

false (basic writing technique is NOT likely to change appreciably)

Front 24

Basic writing technique is not likely to change appreciably. _____ adaptations do occur.

Back 24

format

Front 25

Whether the show is being recorded on film or tape, using a film script or a one- or two-column television script, the basic camera movements and the terminology are essentially the same. The principal difference is in the style of shooting: _____, _____ takes for film, _____ and sometimes _____ action sequences for video.

Back 25

short; individual; longer; continuous

Front 26

More and more filmed shows tend toward _____, to facilitate instant editing not possible when one has to wait for the processing of the day's film shoot.

Back 26

videotape

Front 27

What are the four major areas of audience attention that can be changed via the camera?

Back 27

(1.) the distance between the audience and the subject, (2.) the amount of the subject the audience sees, (3.) the audience position in relation to the subject, (4.) the angle at which the viewer sees the subject

Front 28

The camera is mounted on a stand the permits smooth forward or backward movement. This movement to or away from the subject permits a change of orientation to the subject while retaining a continuity of action.

Back 28

dolly-in and dolly-out

Front 29

Used to accomplish more easily the same purpose as the dolly from mid- and long-distances; can narrow the angle of view and compress depth, making people or objects appear closer.

Back 29

zoom-in and zoom-out

Front 30

Some writers and directors believe that psychologically the _____ is more effective, moving the audience closer to or further from the subject, whereas the _____ gives the feeling of moving the subject closer to or further from the audience.

Back 30

dolly; zoom

Front 31

This means pointing the camera up or down, thus changing the view from the same position to a higher or lower part of the subject.

Back 31

tilt up and tilt down

Front 32

also called pan up and pan down

Back 32

tilt up and tilt down

Front 33

The camera moves right or left on its axis. This movement is used to follow a character or a particular action, or to direct the audience's attention to a particular subject.

Back 33

pan right and pan left

Front 34

also called the travel shot or the truck shot

Back 34

follow right and follow left

Front 35

The camera is set at a right angle to the subject and either follows alongside a moving subject or, if the subject is stationary, such as an advertising display, follows down the line of the subject. The audience, through the camera lens pointed sharply to the right or left, sees the items in the display.

Back 35

follow right and follow left

Front 36

A crane, usually attached to a moving dolly, enables the camera to _____ up or down from its basic position, at various angles -- usually high up -- to the subject.

Back 36

boom shot; boom

Front 37

also known as a crane shot

Back 37

boom shot

Front 38

when the video director inserts camera positions in a script it is known as a _____

Back 38

shooting script

Front 39

Though the _____ hasn't solved all camera movement and shot problems, it has given the writer and director more options.

Back 39

zoom

Front 40

Among the directions most frequently specified by the writer are the shots designating what?

Back 40

how much of the subject is to be seen

Front 41

Ordinary, shot designations are the director's choice, but in what instance would the writer include them?

Back 41

to capture a specific subject for the logical continuity of the script or for the proper psychological effect of the moment upon the audience

Front 42

When does the writer have the prerogative of adding specific shots into a script?

Back 42

when the specific shot required might not be obvious to the director within the context of the scene

Front 43

A _____ of a human subject usually consists of just the face, but can include some of the upper body.

Back 43

close-up (CU)

Front 44

The letters _____ and ____ (_____) usually mean the face alone.

Back 44

XCU; ECU; extreme close-up

Front 45

In the _____ (_____), the camera picks up a good part of the individual, group, or object, usually filling the screen (but not in its entirety), without showing too much of the physical environment.

Back 45

medium shot (MS)

Front 46

also known as the establishing shot or wide shot (WS)

Back 46

long shot (LS)

Front 47

used primarily to establish the entire setting or as much of it is necessary to orient the audience properly

Back 47

long shot (LS)

Front 48

In the _____ (_____), the subject is put on the screen in its entirety, as in when the audience sees a character from head to toe.

Back 48

full shot (FS)

Front 49

also known as FF for "full figure shot"

Back 49

full shot (FS)

Front 50

if two people in conversation are to be the focal point of the shot, the term _____ is appropriate.

Back 50

two-shot (2S)

Front 51

if two people are to fill the screen, _____ is appropriate.

Back 51

tight 2S

Front 52

brings the picture in from a black (or blank) screen

Back 52

fade-in

Front 53

takes the picture out until a black level is reached

Back 53

fade-out

Front 54

used primarily to indicate a passage of time, and in this function serves much like a curtain on the stage; can also be used to indicate a change of place

Back 54

fade

Front 55

True or false? The writer usually indicates the fade-in and fade-out on the script.

Back 55

true

Front 56

while one picture is being reduced in intensity, the other picture is being raised, one picture smoothly going into the next -- replacing or being replaced by the other

Back 56

dissolve

Front 57

used primarily to indicate a change of place, but sometimes to indicate a change of time

Back 57

dissolve

Front 58

when two similar or identical subjects are placed one over the other, with one fading in and the other fading out, showing a metamorphosis taking place

Back 58

matched dissolve

Front 59

True or false? In a dissolve, the screen goes to black.

Back 59

false (at no point in the dissolve does the screen go to black)

Front 60

True or false? The writer usually indicates the dissolve in the script.

Back 60

true

Front 61

the editing technique most commonly used

Back 61

cut

Front 62

switching instantaneously from one picture to another

Back 62

cut

Front 63

True or false? The television writer usually indicates the cut in the script.

Back 63

false (the television writer usually leaves the designation of cuts to the director)

Front 64

True or false? In a film script, especially when the transition from one sequence to the next is a sharp, instantaneous effect rather than a dissolve or fade, the writer may indicate "cut to ..."

Back 64

true

Front 65

the placing of one image over another

Back 65

super

Front 66

sometimes used in stream-of-conscious sequences when the memory being recalled is pictured on the screen along with the person doing the recalling

Back 66

super

Front 67

To obtain necessary contrast in a _____, one picture must have higher light intensity than the other.

Back 67

superimposition

Front 68

sometimes used for dramatic effects, such as placing a commercial name or product over a picture

Back 68

superimposition

Front 69

True or false? The writer usually indicates the superimposition.

Back 69

true

Front 70

Although the principles of the super continue to be used, the mechanical control room superimposition has been replaced, in almost all studios, by the more effective _____ or _____.

Back 70

key; matte

Front 71

a two-source special effect where a foreground image is cut into a background image and filled back in with itself

Back 71

key

Front 72

a technique similar to a key that can add color to the foreground image

Back 72

matte

Front 73

electronically cut letters into background pictures

Back 73

character generators (chyrons or vidifonts)

Front 74

an electronic effect that cuts a given color out of a picture and replaces it with another visual

Back 74

chroma key

Front 75

newscasts use this technique; the blue background behind the newscaster is replaced with a slide or taped sequence

Back 75

chroma key

Front 76

one picture taking another picture off the screen in the matter of a window shade being pulled over a window; can be from any direction -- horizontal, vertical, or diagonal

Back 76

wipe

Front 77

often designate a change of place or time

Back 77

wipe

Front 78

the picture on the air is divided, with the shots from two or more cameras or other sources occupying adjoining places on the screen

Back 78

split screen

Front 79

True or false? In the technical -- not the artistic -- sense, video and audio use sound in essentially the same ways, except for some differences.

Back 79

true

Front 80

The term _____ (_____) is used in the script for the character or sound heard but not seen.

Back 80

off-camera (OC)

Front 81

In television the _____ (_____) can be a narrator, announcer, or the prerecorded thoughts of the character

Back 81

voice-over (VO)

Front 82

In television, the sound or music does not _____ visual action but, rather, _____ or heightens it.

Back 82

replace; complements

Front 83

_____, _____, and _____ are the primary technical and production elements the radio writer should be aware of and should be able to indicate in the script.

Back 83

microphone use; sound effects; music

Front 84

What are the three primary technical and production elements the radio writer should be aware of and should be able to indicate in the script?

Back 84

(1.) microphone use, (2.) sound effects, (3.) music

Front 85

The basic element of radio broadcasting is the _____.

Back 85

microphone

Front 86

With regard to microphones, what is the writer's one important responsibility in the area?

Back 86

to indicate the performer's relationship to the microphone because this physical relationship determines the listener's orientation

Front 87

What are the five basic microphone positions?

Back 87

(1.) on mic, (2.) off mic, (3.) fading on, (4.) fading off, (5.) behind obstructions

Front 88

The five basic microphone positions are _____, _____, _____, _____, and _____.

Back 88

on mic; off mic; fading on; fading off; behind obstructions

Front 89

When writing radio the writer should indicate every position except _____, which is taken for granted when no position is designated next to the line of dialogue.

Back 89

on mic

Front 90

The performer speaks from a position right at the microphone. The listener is oriented to the imaginary setting in the same physical spot as the performer.

Back 90

on mic

Front 91

The performer is some distance away from the microphone. This conveys to the audience the impression that the sound or voice is at a proportionate distance away from the physical orientation point of the listener, which is usually the center of the scene.

Back 91

off mic

Front 92

The performer slowly moves toward the microphone. To the listener, the performer is approaching the physical center of the action.

Back 92

fading on

Front 93

The performer moves away from the microphone while speaking, thus moving away from the central orientation point.

Back 93

fading off

Front 94

The performer sounds as if there were a barrier between him or her and the focal point of the audience's orientation.

Back 94

behind obstructions

Front 95

The writer indicates that the performer is behind a door, outside a window, or perhaps under the bandstand.

Back 95

behind obstructions

Front 96

There are two major categories of sound effects: _____ and _____.

Back 96

recorded; manual

Front 97

For split-second incorporation of sound into the program's action, _____ or _____ effects sometimes are more effective.

Back 97

manual; live

Front 98

_____ effects are those emanating from their actual sources, such as the sound of walking where a microphone is held near the feet of a sound effects person.

Back 98

natural

Front 99

True or false? Sound effects should be used a lot.

Back 99

false (sound effect should be used only when necessary, and then only in relation to the principles that determine the listener's orientation)

Front 100

What are seven purposes sound effects can be used for?

Back 100

(1.) establish locale or setting, (2.) direct audience attention and emotion, (3.) establish time, (4.) establish mood, (5.) signify entrances and exits, (6.) serve as transition, and (7.) create nonrealistic effects

Front 101

Sound effects can be used for many purposes, such as establishing _____ or _____, directing audience _____ and _____, establishing _____, establishing _____, signifying _____ and _____, serving as a _____, and creating _____ effects.

Back 101

locale; setting; attention; emotion; time; mood; entrances; exits; transition; nonrealistic

Front 102

True or false? Emphasis on a distinctive sound can specifically orient the audience.

Back 102

true

Front 103

dissolving from one sound to another

Back 103

cross-fade

Front 104

a blending of a number of sounds

Back 104

montage

Front 105

Sometimes a _____, which is a belong of a number of sounds, can be especially effective when no single sound fits the specific situation.

Back 105

montage

Front 106

recorded (on record, tape, cartridge, and compact disc) music, played by disc jockeys, dominates radio programming

Back 106

content

Front 107

the generic term used to describe music used under or as backup of an announcer's sound tracks

Back 107

bedding (bed)

Front 108

pegs a specific event or particular personality; the action or performer is identifiable as soon as it is heard

Back 108

theme

Front 109

can be used for the opening, closing and commercial break transitions in a show

Back 109

theme

Front 110

the most commonly used device to create transitions in music

Back 110

bridge

Front 111

The most commonly used device to create transitions in music. Music lasting only a few notes or a few bars can be used to indicate the breaks between segments of the program. Can also be used to distinguish the commercial inserts from the rest of the programs.

Back 111

bridge

Front 112

In a dramatic sequence (in a commercial, for example), the music _____ frequently indicates a change of place or a passage of time.

Back 112

bridge

Front 113

When a bridge is very short, only a second or two, it is called a _____.

Back 113

stab

Front 114

the idea that some effects cannot be presented effectively except through music

Back 114

sound effect

Front 115

Music can heighten the content and mood of a sequence. The music must serve as a subtle aid, however; it must not be obvious or, sometimes, even evident.

Back 115

background or mood

Front 116

the smooth transition from one sound into the next

Back 116

segue

Front 117

particularly applies to transitions between musical numbers, when one number is faded out as the next number is faded in

Back 117

segue

Front 118

the dissolving from one sound into another

Back 118

cross-fade

Front 119

The dissolving from one sound into another, _____ sometimes is used interchangeably with _____, which is simply the immediate following of one sound by another.

Back 119

cross-fade; segue

Front 120

refers to two or more different sounds combined and going out over the air simultaneously; can include combinations of dialogue and music, dialogue and sound effects, sound effects and music, or all three

Back 120

blending

Front 121

the sudden cutting off of one sound and the immediate intrusion of another, is a jarring break, sometimes used for a special effect

Back 121

cutting (or switching)

Front 122

can simply designate a sharp change from one microphone to another or to a different sound source

Back 122

cutting (or switching)

Front 123

bringing up the volume or turning it down is a relatively simply operation that is frequently used to _____ the music under dialogue, as well as to bring music into and out of the program

Back 123

fade (fade-in and fade-out)

Front 124

The _____ is the center of operations, where all of the sound -- talk, music, effects -- are coordinated.

Back 124

control room

Front 125

a music base

Back 125

bed

Front 126

sound effects

Back 126

SFX

Front 127

cartridge, containing the prerecorded material to be played

Back 127

cart

Front 128

audio tape recorder, serving the same function as the cart, but less often

Back 128

ATR

Front 129

reel type

Back 129

RT

Front 130

A key addition of the Internet to the media mix is its ability to be _____ -- between the presenter (writer) and the receptor (the audience).

Back 130

interactive

Front 131

frequently associated with creating material -- writing -- for the Internet; refers to the ability to convey our thoughts closer to the way we think - many ideas, many viewpoints rushing through our minds almost simultaneously, rather than in the logical linear fashion that we put them down on paper after we have properly organized them to make them understandable through the linear mode of communication

Back 131

hypertext

Front 132

_____ constitute the principal financial base for the United States broadcasting system.

Back 132

commercials

Front 133

can be used to designate any short nonentertainment, nonnews presentation on the air, including a commercial

Back 133

announcement

Front 134

usually announcement refers to the noncommercial announcement, with the word _____ most often used to mean a commercial

Back 134

spot

Front 135

_____ have the same structure, form, and lengths as commercials.

Back 135

announcements

Front 136

Announcements are usually divided into two categories, _____ and _____.

Back 136

promos; PSAs

Front 137

designed to sell a product or service for a profit-making advertiser

Back 137

commercial

Front 138

most often advertises the station itself: an upcoming program or series, a station personality, a contest for listeners -- anything that induces the public to tune in or otherwise support the station

Back 138

promo

Front 139

similar to the commercial except that it does not sell a product or service for money, but is made on behalf of a nonprofit organization or activity and can include advancing an idea or policy

Back 139

public service announcement (PSA)

Front 140

principally, the _____ seeks support for activities of the non-profit group

Back 140

PSA

Front 141

In the area of _____, more than any other, you will be faced with hard ethical choices.

Back 141

commercial advertising

Front 142

Commercials are usually _____ or _____ seconds long.

Back 142

30; 60

Front 143

With the increasing cost of commercial time and production, the "_____" -- two 15-second commercials in a 30-second space -- became popular, as did later the 15-second stand-alone announcement.

Back 143

split-30

Front 144

not paid for but usually follow the same time lengths as commercials of 30 and 60 seconds

Back 144

public service announcements (PSAs)

Front 145

they take second place to paid commercials and are aired only when the station hasn't sold the complete available commercial time segments

Back 145

public service announcements (PSAs)

Front 146

Why are PSAs often sent to a station in several versions?

Back 146

for greater possibility of use as PSAs are aired only when the station hasn't sold the complete available commercial time segments

Front 147

consist of the call letters or logo, city, and sometimes an identifying or promotional phrase about a station

Back 147

station IDs (identifications)

Front 148

The station's _____, as required by the Federal Communications Commission, must contain the station's call letters and the originating city and, optionally, the name of a larger city that is the principal area of service.

Back 148

identification

Front 149

True or false? PSAs are frequently given as part of the ID.

Back 149

true

Front 150

If the commercial or PSA is to seem sincere, the performer must have material that is _____ and _____ within the context of the situation, so that the audience really believes what it sees and hears.

Back 150

conversational; informal

Front 151

True or false? There are essential differences between writing the commercial and the PSA.

Back 151

false (the audience analysis, familiarization with the product or service, appeals to the viewers' or listeners' needs and wants, effective organization, and format types are the same)

Front 152

The principal distinction to remember is that the commercial sells a _____ or _____ for money whereas the PSA usually sells _____ or _____.

Back 152

service; product; idea; action

Front 153

You should not try to make your commercial interesting but instead strive to make your _____ interesting.

Back 153

products

Front 154

Audience analysis is called _____, which may include such information as age, gender, economic level, political orientation, occupation, educational level, ethnic background, geographical concentration, and product knowledge.

Back 154

demographics

Front 155

_____, even more detailed audience analysis, includes such elements as lifestyles, primary interests, and attitudes and beliefs.

Back 155

psychographics

Front 156

Although writers attempt to appeal to the largest number of people expected to watch the program and the commercial, they should be careful not to what?

Back 156

Not to spread the message too thin

Front 157

Television audiences tuned to network programs tend to be _____ demographically.

Back 157

disunified

Front 158

Audience analysis is combined with specific _____ and _____ appeals within the commercial to make the most effective impact.

Back 158

needs; wants

Front 159

What are three important factors in preparing a commercial or PSA?

Back 159

(1.) audience analysis, (2.) familiarization with the product, (3.) appeals

Front 160

Three important factors in preparing a commercial or PSA are _____ analysis, _____ with the product, and _____.

Back 160

audience; familiarization; appeals

Front 161

The idea that all viewers and listeners are motivated by essential psychological and intellectual concerns some conscious, most subconscious, and that by playing on these motivations the copywriter can make almost any audience feel or believe almost anything and, in many cases, even persuade the audience to take some action.

Back 161

appeals

Front 162

Three basic appeals, applied through the ages and based on Aristotle's three key elements of persuasion -- _____, _____, and _____ -- translate today as _____, _____, and _____ appeals.

Back 162

ethos; logos; pathos; ethical; logical; emotional

Front 163

What are the three different kinds of appeals?

Back 163

(1.) ethical, (2.) logical, (3.) emotional

Front 164

The three kinds of appeals are _____, _____, and _____.

Back 164

(1.) ethical, (2.) logical, (3.) emotional

Front 165

Aristotle called persuasion by someone recognized as a "good person" as _____ appeal.

Back 165

ethical

Front 166

when a well-known or well-respected person tells us something, we tend to believe it more than if the same statement had come from a noncelebrity

Back 166

ethical appeal

Front 167

the testimonial is based on _____ appeal

Back 167

ethical

Front 168

when the persuasion is based on the facts, attempting to convince the potential buyer that the product or service fills a logical, practical need

Back 168

logical appeal

Front 169

Many commercials only appear to use logical appeals. Closer examination reveals the appeals are really _____ in content.

Back 169

emotional

Front 170

the most used and most effective type of appeal in advertising

Back 170

emotional

Front 171

_____ appeals are the most used and most effective type of appeal in advertising.

Back 171

emotional

Front 172

one that appeals to the nonlogical, nonintellectual aspects of the viewer's or listener's personality

Back 172

emotional appeal

Front 173

an appeal to the audience's basic needs or wants

Back 173

emotional appeal

Front 174

appeal to feelings rather than reason

Back 174

emotional appeal

Front 175

highly motivating ones include love of family, patriotism, good taste, reputation, religion, and loyalty to a group

Back 175

emotional appeal

Front 176

conformity to public opinion is effective used in advertisements for young people's clothes, an example of _____

Back 176

emotional appeal

Front 177

the appeal to _____ is perhaps the strongest emotional appeal of all

Back 177

self-preservation

Front 178

On television, _____ is paramount.

Back 178

picture

Front 179

Generally, you should keep any picture on the screen at least _____ to _____ seconds -- longer depending on its importance to the story; otherwise the audience gets more of a montage, an impression of a series of quick shots without a content focus.

Back 179

3; 5

Front 180

If you want to create a mood rather than to give information, then the _____ approach will work.

Back 180

montage

Front 181

True or false? You should use visuals for their own sake.

Back 181

false

Front 182

Visuals must be an _____ part of the story and in themselves be able to tell the story.

Back 182

integral

Front 183

_____ is important for the writer in news.

Back 183

timing

Front 184

Until the eighteenth century, with the exception of works by a few playwrights (notably Shakespeare), _____ or _____ was the dominant element in the play.

Back 184

plot; action

Front 185

Modern drama has emphasized _____ as most important.

Back 185

character

Front 186

What are the three major elements in the play structure?

Back 186

(1.) character, (2.) plot, and (3.) dialogue

Front 187

The coordination of the elements of _____, _____, and _____ in a consistent and clear theme toward a common end results in the unity of the piece, a unity of impression.

Back 187

character; plot; dialogue

Front 188

The character's actions and events must not be arbitrary. Prepare the audience for these actions and events in a logical and valid manner; this is called _____.

Back 188

preparation

Front 189

Give the audience the background of the situation and of the characters; this is the _____.

Back 189

exposition

Front 190

True or false? Dialogue is an approximation of real-life speech.

Back 190

false; it must be heightened and condensed from that of real life

Front 191

the point at which one of the forces in conflict wins out over the other

Back 191

climax

Front 192

The play reaches the climax through a series of _____, each, in itself, a small conflict and climax.

Back 192

complications

Front 193

A _____ interprets for the audience what we have written.

Back 193

medium

Front 194

Through careful construction and analysis of the _____, the writer can eliminate the bad points and strengthen the good points before the play is written.

Back 194

scenario

Front 195

Before writing a detailed scenario, a writer must have a knowledge of the concepts of _____ -- of the basic rules for the play regardless of the medium.

Back 195

dramaturgy

Front 196

The play's _____ is based on a complication arising from the individual's or group's relationship to some other force. This is the _____, the point when the two or more forces come into opposition.

Back 196

plot structure; conflict

Front 197

The _____ must be presented as soon as possible in the play, for the rest of the play structure follows and is built upon this element.

Back 197

conflict

Front 198

Next come a series of _____ or _____, each one creating further difficulty relating to the major conflict, and each building in a rising crescendo so that the entire play moves toward a final crisis or climax.

Back 198

complications; crises

Front 199

a final clarification of what happens, as a result of the climax, to the characters or forces involved

Back 199

resolution

Front 200

The short time allowed for most television plays requires that the plot contain only the _____ of the characters' experiences -- the heightened extremes of life.

Back 200

essence

Front 201

Why does the television play often open with the conflict?

Back 201

For time limitations and to get and hold the audience's attention

Front 202

Because of time and space restrictions (the small viewing screen), what kind of conflict is more effective on television?

Back 202

a conflict between individuals, or between an individual and himself or himself, usually is more effective than are conflicts between groups or any large bodies or forces

Front 203

True or false? Complications are not important in television plays.

Back 203

false; although the time length of a single episode limits the number of complications, you must have enough to validate and build the actions of the major characters

Front 204

The time limitation often forces television to dispense with the _____ entirely unless some doubt remains about some moral principle involved.

Back 204

resolution

Front 205

True or false? The radio play follows the same plot structure as the television play.

Back 205

true

Front 206

What is a major difference between radio and television plot lines?

Back 206

The radio writer must concentrate on one or two simple plot lines or conflicts, avoiding too many subplots. This is because the radio audience cannot see and differentiate among characters as easily as in the visual medium.

Front 207

The usual way to sell a program idea is through the _____.

Back 207

program pitch

Front 208

The idea's creator is allowed to present the idea in person to one or more program development executives representing the network or production company. The presentation is called a _____ or sometimes, within the television industry, _____.

Back 208

program pitch; spitballing

Front 209

Although you can submit your idea and request a program pitch on a freelance basis, you have a much better chance if you use an _____.

Back 209

agent

Front 210

What is the purpose of a program pitch?

Back 210

to convince the potential producer or distributor that the series going to attract a sufficient audience and make money for the company

Front 211

True or false? In a program pitch you must present more than just the program content.

Back 211

true

Front 212

In a program pitch, you try to present a _____ plan of production, distribution, and potential sales as well as a detailed program description.

Back 212

bottom-line

Front 213

True or false? You can copyright an idea.

Back 213

false

Front 214

True or false? Ideas for and titles of radio or television programs can be copyrighted.

Back 214

false

Front 215

True or false? Copyright will protect the literary or dramatic expression of an author's ideas, but not the ideas themselves.

Back 215

true

Front 216

If you want to copyright a script, it has to be more than an outline or synopsis. It should be ready for _____ so that a program could actually be produced from the script.

Back 216

performance

Front 217

Unpublished scripts in complete form or a group of related scripts for a series (may/may not) be copyrighted.

Back 217

may

Front 218

The Copyright office describes this class as including "published and unpublished works prepared for the purpose of being 'performed' directly before an audience or indirectly 'by means of any device or process'

Back 218

Class PA: Works of Performing Arts

Front 219

A copyright fee of _____ protects your work for the life of the author plus _____ years.

Back 219

$30; 70

Front 220

A second form of script protection other than copyright is the Script Registration Service of the _____, which is available to non-members as well as members. Members pay $10 for 10 years protection. Nonmembers pay a fee of $22 for a script of 150 pages or less; students pay only $17.

Back 220

Writer's Guild of America