English Writing About Film Test 2

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Rhetoric:

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Rhetoric: The art of determining what will bepersuasive in every situation.

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Rhetorical analysis

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The project of analyzing a writer or filmmaker’s motivation, purpose, and rhetorical choices for persuading a targeted audience.

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Logos

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A mode of appealing to the reader’s logic or reason.

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Pathos

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A mode of appealing to the reader’s emotions.

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Ethos

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A mode of appealing to the reader’s sense of the writer’s credibility.

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Kairos

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A mode of effectively choosing the timing of the argument.

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Angle of vision

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The way that a piece of writing gets shaped by the underlying values, assumptions, and beliefs of the author so that the text reflects a certain perspective, worldview, or belief system.

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Degree of advocacy

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The extent to which an author unabashedly takes a persuasive stance on a contested position as opposed to adopting a more neutral, objective, or exploratory stance.

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Reliability

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The accuracy of factual data in a source as determined by external validation.

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Credibility

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Refers to the reader’s trust in the writer’s honesty, goodwill, and trustworthiness and is apparent in the writer’s tone, reasonableness, fairness in summarizing opposing views, and respect for different perspectives.

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Evidence

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All the verifiable information a writer might use as support for an argument, such as facts, observations, examples, cases, testimony, experimental findings, survey data, statistics, and so forth.

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STAR criteria

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Four criteria that may be used to evaluate the evidence in an argument, including sufficiency, typicality, accuracy, and relevance.

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Periodical

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Source that is published in issues that appear on a regular basis—quarterly, monthly, weekly, even daily.

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Scholarly article

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Article that is written by an expert in a particular field and must be reviewed by other experts in the same field.

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Article database

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The best place to find articles in scholarly journals and other periodicals.

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Literature review

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The discussion and analysis of relevant material on the topic by prior researchers or critics usually found near the beginning of a scholarly article

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Style

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Individuality of expression, achieved in writing through the selection and arrangement of words and punctuation.

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Syntax

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Sentence structure or word order; the relationship between words and among word groups in sentences.

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Diction

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Words chosen in writing or speaking.

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Denotation

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The literal dictionary definition of a word.

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Connotation

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The associations that attach themselves to a word, deeply affecting its literal meanings.

C

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oncrete imagery

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Imagery based on that which can be touched, seen, or tasted; not abstract.

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Metaphor

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A figure of speech that makes an imaginative comparison between two literally unlike things.

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Simile

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A verbal comparison in which a similarity is expressed directly, using like or as.

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Personification

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Giving human qualities to nonhuman things.

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Allusion

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An indirect reference to some character or event in literature, history, or mythology that enriches the meaning of the passage.

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Motif

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A pattern of identical or similar images recurring throughout a passage or an entire work.

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Tone

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The attitude a writer conveys towards his or her subject.

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Verbal irony

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A major discrepancy or difference between the literal meaning of a statement and its intended meaning.

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Production

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The industrial stages that contribute to the making of a finished movie, from the financing and scripting of a film to its final edit.

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Distribution

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The means through which movies are delivered to theatres, video stores, television and Internet networks, and other venues that make them available to consumers, or to educational and cultural institutions.

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Exhibition

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The part of the film industry that shows films to a paying public, usually in movie theatres.

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Art cinema

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Type of films produced primarily for aesthetic purposes rather than commercial or entertainment ones, whose intellectual or formal challenges are often attributed to the vision of an auteur.

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Independent cinema

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Films that are produced without initial studio financing, typically with much lower budgets.

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Auteur

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The individual credited with the creative vision defining a film; implies a director whose unique style is apparent across his or her body of work; from the French term for author.

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Documentary Film

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Documentary

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A non-fiction film or television text that aims to record subject matter based on factual or actual people and events.

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Expository mode

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Documentary mode in which a discourse of authority tells the viewer about the meaning and importance of the footage, with the implication that there is one objective true account of the subject matter and it is the job of the documentary to communicate or expose the facts.

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Observational mode

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Documentary mode in which the filmmaker records events much like a surveillance camera, without apparent intervention or interpretation of material for viewers.

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Participatory mode

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Mode of documentaries made by those who seek to represent their own direct encounter with their surrounding world and those who seek to represent broad social issues and historical perspectives through interviews and compilation footage.

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Reflexive mode

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Mode of documentaries that call the process of representation and the techniques of realism into question.

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Voice-of-God

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The commentary in a documentary made in the classical style which unifies the film; the speaker is apparently omniscient and remains offscreen.

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Direct cinema

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The specific name for the earliest movement of observational documentary filmmaking in the United States.

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Cinéma vérité

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The specific name for the earliest movement of participatory documentary filmmaking in France.

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Reality TV

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Programs which portray people who are not actors saying lines that are not scripted in situations drawn from real life and filmed in a manner designed to capture a sense of authenticity, immediacy, and realism.

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Mockumentary

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A documentary-style film or television program in which fictional events and individuals are depicted as though they are real, employing the conventions of documentary.

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Classical Hollywood realism

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An approach to realism whose stylistic choices usually include the use of continuity editing, three-point lighting, and a stable camera. The goal of this approach is the illusion of realism created by concealing the signs of production of a film.

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Naturalistic aesthetic

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An approach to realism whose stylistic choices may include the use of available light, unscripted dialogue, spontaneous actions, non-professional actors, handheld camera, and rough editing; typical of many documentary films but not limited to them.

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mise-en-scène

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Everything that is placed before the camera, in other words everything that the camera sees. Includes aspects such as lighting, decor/location, costume, make-up, acting style, composition, the use of space, and the use of color.

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studio shooting

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Film or video that is shot and produced within the highly controlled and constructed context of a studio or soundstage.

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location shooting

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Film or video that is shot in a real, physical place.

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high-key lighting

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Lighting which serves to provide the least amount of contrast between different areas of the image

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low-key lighting

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Lighting which accentuates the contrast between lighter and darker parts of the image. Writing about Film Test 2 Review p. 4/6

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deep space

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Composition in which there is a considerable distance between the plane closest to the camera and the one farthest away.

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shallow space

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Composition in which the action is staged in relatively few planes.

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cinematography

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Everything that the camera does, or in other words how the camera sees. Includes aspects such as camera distance, camera angle, camera movements, focus and depth of field.

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camera distance

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Is always described in relation to the human body.

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extreme close-up

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Shot giving close attention to a body part or detail, such as an eye or an earring.

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close-up

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Shot from the neck up

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medium shot

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Shot from the waist up

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long shot

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Shot which shows the entire body.

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extreme long shot

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Shot in which the body shown is small in relation to background or landscape

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high-angle shot

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Shot in which the camera is looking down on its object.

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low-angle shot

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Shot in which the camera is looking upwards at its object.

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eye-level shot

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Straight-on shot in which the camera is looking directly at its object.

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pan

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A camera movement from one side to the other on a stationary tripod.

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tilt

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A camera movement upwards or downwards on a stationary tripod.

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tracking shot/dolly shot

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A camera movement where the entire camera moves forwards or backwards, or from side to side.

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crane shot

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A camera movement with the greatest range of side-to-side, up-and-down and even diagonal movement resulting from attaching the camera to a crane.

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point of view shot

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Shot that places the camera in the position of the character’s eyes to show us what he or she would see.

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handheld camera

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Used to shoot the action in a flexible manner; tends to be less steady and jumpier than mounted cameras.

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deep focus

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Shot in which all the close and distant planes of the composition are in sharp focus.

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selective focus

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Shot that highlights one plane (foreground, midground, or background) and blurs others, thereby concentrating our attention on one detail rather than another.

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racking/pull focus

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Shot when the camera shifts the area of sharp focus from one plane to another during a shot. Writing about Film Test 2 Review p. 5/6

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zoom

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Lens that allows the filmmaker to alter focal length during a shot, either magnifying the object so that we appear to move closer to it or demagnifying it to move farther away from it.

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editing

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Film technique that concerns the transition from one shot to the next.

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cut

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Instantaneous transition made from one shot to the next.

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fade-in

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Transition in which a dark screen becomes brighter.

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fade-out

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Transition in which a shot darkens until the screen is black.

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dissolve

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Transition in which one image gradually disappears as another appears.

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wipe

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Transition in which a line goes across the screen, replacing one shot with another.

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graphic match

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Transition between two shots that share similar compositional elements.

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match on action

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Transition in which the same action is seen from two views.

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continuity editing

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System that has evolved to minimize the disruptive power of editing

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establishing shot

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An extreme long shot which defines the entire space in which the sequence is to take place.

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screen orientation

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The left-to-right organization of elements on the screen maintained by respecting the 180-degree rule while editing.

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180-degree rule

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The principle that between various shots that are edited together in a sequence, there must not be a difference in camera angles of more than 180 degrees.

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shot-reverse shot

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The most common editing sequence which puts the 180-degree rule to work.

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eyeline matching

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Sequence featuring an image with a character looking in one direction cuts to an image of another character looking in the opposite direction, back at that initial character.

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30-degree rule

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States that between two shots of the same subject the camera position should vary by at least 30°.

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jump cut

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An elliptical cut which adds to a sense of discontinuity by violating film conventions, notably the “30-Degree Rule” which says that between two shots of the same subject the camera position should vary by at least 30°.

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elliptical editing

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Kind of editing in which parts of an event are omitted.

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long take

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A shot that lasts for a long time without any cuts.

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montage sequence

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A series of rapidly edited together images, often with a voice-over or some other kind of sound or music providing continuity, which may signal an extensive passage of time.

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crosscutting

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The alternation of shots of two or more lines of action occurring in different places, usually simultaneously.

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sound bridge

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Technique in which the sound accompanying one scene continues on into the next, or in which the sound from the following scene is made audible before the image is visible.

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diegetic sound

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Sound which is connected with the world within the film, such as everything that the main character hears.

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non-diegetic sound

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Sound that comes from outside of the story-world which the characters in the film are unable to hear—such as a musical soundtrack.

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onscreen sound

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Sound for which the source is visible on the screen

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offscreen sound

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Sound for which we assume the source to be in the same space of the screen, but outside the visible area.

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internal sound

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Sound that we assume comes from the mind of a character in the story and that no one else in the story can hear it.

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external sound

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Sound that comes from a physical source so that we assume that all the characters in the scene can hear it.

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voice-over

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Narration by a voice whose source is neither visible in the frame nor implied to be offscreen.

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unrestricted narration

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Kind of storytelling (narration) in which our knowledge exceeds that of the characters.

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restricted narration

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Kind of storytelling (narration) in which we might only see events from the perspective of one of the characters.

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objective narration

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Kind of storytelling (narration) in which we only see characters from an external viewpoint.

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subjective narration

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Kind of storytelling (narration) in which various techniques are used to show a character’s subjective state, providing access to his innermost thoughts, dreams, motives and emotions.