Emb422 Advanced Digital Video Editing -- Chapter 2 Flashcards

Front 1

the art of manipulating movement: phrasing its time, space, and energy into affective forms and structures

Back 1

choreography

Front 2

although the word "rhythm" is commonly linked to ideas about music, the actual materials that editors shape in time are _____ and _____

Back 2

movement; energy

Front 3

the two materials that editors shape in time

Back 3

movement and energy

Front 4

the smallest expressive unit of the movement of time and energy

Back 4

pulse

Front 5

when using the musical metaphor, the processes of _____, _____, and _____ are often made analogous to the process of editing

Back 5

composing, orchestrating, conducting (COC)

Front 6

_____ is more like writing than editing; an editor doesn't make anything up (the screenwriter does), but editors do this in making rhythms in the sense that someone might make a flower arrangement (not making the flowers/shots, but instead choosing the selections, order, and duration of shots)

Back 6

composing

Front 7

comes from the idea that there are many different elements within shots (performance, composition, texture, color, shape, shot size, movement energy and direction, etc.), and between them, an editor coordinates

Back 7

orchestrating

Front 8

Eisenstein's definition for the different elements within shots and films that might attract the spectator's attention

Back 8

attractions

Front 9

editors are faced with the problem of synchronizing the various elements into a coherent rhythmic experience; to do so, the editors chooses one of the lines of movement, energy, or emphasis as an _____ an subordinates to this rhythm the other profilmic rhythms

Back 9

initiating rhythm

Front 10

when the editor decides on the pacing, timing, and emphasis presented in the final composition

Back 10

conducting

Front 11

facilitating the flow through of rhythm

Back 11

conducting

Front 12

the consistency of the time that runs through the shot, its intensity or "sloppiness"

Back 12

time pressure

Front 13

the art of shaping movement

Back 13

choreography

Front 14

the artistic and expressive medium of contemporary dance

Back 14

time

Front 15

how we understand the meaning of information, interchanges, and images in relation to one another

Back 15

rhythm

Front 16

_____ is part of the sensual experience of the film and a core means by which we interpret and understand what we see and hear

Back 16

rhythm

Front 17

how we understand the meaning of information, interchanges, and images in relation to one another; also part of the sensual experience of the film and a core means by which we interpret and understand what we see and hear

Back 17

rhythm

Front 18

the smallest unit of movement shaped by choreographers and editors into rhythm

Back 18

pulse

Front 19

the smallest, most constant, and perhaps most ineffable unit of rhythm in film

Back 19

pulse

Front 20

tends to stay within a certain range of speeds, organizes the perception of fast and slow, and keeps the film alive

Back 20

pulse

Front 21

defines and demarcates what Tarkovsky calls "the consistency of time" or the "time pressure" within shots

Back 21

pulse

Front 22

a single _____ is the extra effort placed on one part of a movement compared to the less intensively energetic other parts of the movement

Back 22

pulsation

Front 23

a continuous on/off of emphasis points, accents on words, gestures, camera moves, colors, or any other profilmic event

Back 23

pulse

Front 24

shaped by the energy or intention behind movement or speech and make that energy or intention perceptible to the spectator

Back 24

pulses

Front 25

true or false? the editor sets the pulse of a shot

Back 25

false (the director and actors do that)

Front 26

The choices an editor makes about sustaining, changing, and coordinating pulses into phrases are made through (1.) _____ and (2.) _____

Back 26

(1.) the selection of takes; (2.) the choice of cutting points

Front 27

pulses in movement are shaped by choreographers and editors into _____

Back 27

phrases

Front 28

in dance, and in film editing, the compositions of movement into perceptible and intentionally formed rhythmically expressive sequences

Back 28

movement phrases

Front 29

a _____ in the choreographic sense is distinct in that it may be of any length and may contain more than a single choreographic "thought"

Back 29

phrase

Front 30

a _____ is a series of related movements and grouped emphasis points

Back 30

choreographic phrase

Front 31

_____'s approach to rhythm considers time to be present in the shot and the editor's job to be to construct the film so that time flows effectively almost in spite of cuts

Back 31

Tarovsky

Front 32

_____'s approach states that the course of time is created in cutting; the editing process actively choreographs rhythms, i.e. editing connects bits of movement on film to create the passage of time

Back 32

Eisenstein (think Einstein created time)

Front 33

true or false? a movement phrase is not just a unit of rhythm in abstract movement

Back 33

true

Front 34

true or false? a naturalistic character's movement in narrative drama is not shaped choreographically in phrases

Back 34

false (it is)

Front 35

once it is phrased, the _____ becomes the emotional content in the context of the story

Back 35

movement

Front 36

a composition of movement into a perceptible and intentionally formed rhythmically expressive sequence

Back 36

phrase

Front 37

true or false? the editor's concern is with the choreographic composition of the joins of frames and the impact the material has when seen in a flow rather than as individual shots

Back 37

true

Front 38

true or false? in film editing, an editor is rarely simply making an experience of time, energy, and movement

Back 38

true

Front 39

in shaping the rhythm of the film, _____, ______, and _____ are the salient factors that shape the qualitative experience of the story and information.

Back 39

time; energy; movement

Front 40

What three factors shape the qualitative experience of the story and information?

Back 40

time, energy, and movement

Front 41

the core unit of movement, time, and energy that editors and choreographers manipulate has been described as a

Back 41

pulse

Front 42

the core unit of movement, time, and energy that editors and choreographers manipulate

Back 42

pulse

Front 43

a pulse is the core unit of _____, _____, and _____ that editors and choreographers manipulate

Back 43

movement, time, and energy

Front 44

the action or the image of time and energy

Back 44

movement

Front 45

the material the editor works with to make rhythm

Back 45

movement

Front 46

_____ is the material the editor works with to make rhythm

Back 46

movement

Front 47

the action or the image of time and energy; it is the material the editor works with to make rhythm

Back 47

movement

Front 48

editing involves the _____ of movement, or the aesthetic shaping of movement into that aspect of empathetic engagement with film that we call _____

Back 48

phrasing; rhythm