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179 Cards in this Set
- Front
- Back
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Avant Garde
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- Represents a pushing of the boundaries of what is accepted as the norm or the status quo
- Seeks to break tradition and is intentionally politicalized to do so - Genres mixed, explored film language, redefined the representation of subjectivity - Attacked filmic narrative and spectator omniscience |
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Auteur
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An artist whose style and practice are distinctive
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Setting
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Fictional or real place where the film occurs
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Set
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The studio or scene that is being used to mimic the setting
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Prop
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Object or material that is part of the set, or is meant to be used by actors
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Stylized Acting
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When the actor adjusts their voice/body language in a way that suggests that they know they’re acting
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Natural Acting
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The actor fully takes on the role they are playing
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Leading Actors
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They are 2/3 actors that appear most in the film. They are also the focal point of the mise-en-scene
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Character Actors
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Actors that are usually associated with a certain role
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Supporting Actors
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Actors that play secondary characters in the film
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Blocking
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The arrangement and movement of actors in relation to each other within a single physical space of a mise-en-scene
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Social Blocking
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The arrangement of characters to accentuate relations among them
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Natural Lighting
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Light sources on the screen
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Shading
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The use of shadows to draw to viewer’s attention to certain things
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Naturalistic Mise-en-Scene
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Realistic and recognizable features to the viewers
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Theatrical Mise-en-Scene
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Locations and other elements of the mise-en-scene are denaturalized so that its features appear unfamiliar, exaggerated or artificial.
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Cinematography
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Motion picture photography
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Subjective POV
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Represents the perspective of the character through the camera
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Objective POV
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More impersonal perspective of the camera
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Framing
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Directs the POV within the borders of the rectangular frame
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Aspect Ratio
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Ratio of the width of the frame in relation to the height (e.g. 4:3, 16:9, etc.)
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Masks
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Attachments to the frame that cut off certain portions of the frame so the image is black
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Onscreen Space
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The space visible within the frame of the image
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Off-screen Space
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Implied space or world that exists outside the film frame
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Montage
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A style emphasizing the breaks and contrasts between the images joined by a cut
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Jump Cuts
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Edits that intentionally create gaps in the action
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Film Editing
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Process through which different images or shots are linked
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Verisimilitude
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The likeness to reality or truth
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Continuity Editing
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The film flows in a consistent, orderly, smooth and sequential manner
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Invisible Editing
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Minimizing the perception of breaks between shots
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Establishing Shot
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Generally an initial long shot that establishes the setting and orients the viewer in space to a clear view of the action
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Two-Shot
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Filming a conversation that presents a relatively close shot of both characters
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Insert
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a brief shot of something that points out a small detail
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Non-diegetic Insert
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Introduces an object from outside the film’s world. It also breaks the film’s continuity
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The 180-degree rule ensures:
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1. The relative position of the camera
2. That the eye line remains consistent 3. Consistent screen direction |
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30-Degree Rule
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The camera should move at least 30 degrees between shots of the same subject occurring in succession
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Shot-Reverse Shot
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One character is shown looking at another character, and then the other character is shown looking back at the first
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Eye Line Match
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The camera shows the character looking at something off screen, then cuts to the object they were looking at
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POV Shot
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The camera gives the view of the character’s vision
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Chronology
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The order to which the shots or scenes show the sequence of events
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Graphic Editing
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Linking or defining a series of shots
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Editing Through Movement
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Actions are linked with corresponding or contrasting movements in one or more other shots
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Rhythmic Editing
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Describes the organization of the editing according to different paces or tempos determined by how quickly cuts are made
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Wipe
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One shot replaces another by travelling from one side of the frame to another or with a special shape
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Deep Focus
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Large depth of field
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Long Take
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An uninterrupted shot that continues for a relatively long duration
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Depth of Field
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Describes the range or distance before and behind the main focus and within which objects remain relatively clear and sharp
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Rack Focus
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a rapid shift in focus from one object to another in a single shot
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Chronophotography
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Captures movement in several frames of print
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Semiotics
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Study of signs and sign processes
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Graphic Match
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The dominant shape or line in one shot provides a visual transition to a similar shape or line in the next shot
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Iris
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A black circle closes to end a scene
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Persistence of Vision
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The phenomenon of the eye by which an afterimage is thought to persist for approximately one twenty-fifth of a second on the retina
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Voyeurism
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The sexual interest in or practice of spying on people engaged in intimate behaviours
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Chiaroscuro
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The use of strong contrasts between light and dark
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Mimesis
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To imitate
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Sound Bridge
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When a sound carries over a visual transition in a film
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Direct Sound
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Sound which is captured and recorded during filming
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Narration
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The emotional, physical, or intellectual perspective through which the characters, events and actions of the plot appear
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Generic Expectations
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Describes the experience and knowledge that a viewer activates when watching a film, so that they anticipate the meaning of certain elements
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Reflected Sound
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Sound that bounces back from the walls and sets and thus creates a sense of space
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Plot
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Orders the events of the story according to particular temporal and spatial patterns, selecting some elements and omitting others
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Story
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The raw material of a narrative, the actions and events, usually perceived in terms of a beginning, middle and an end
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Omniscient
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All elements of the plot are presented from many or all possible angles
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Diegesis
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The world of the film’s story, including not only what is shown, but also what is implied to have taken place
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Reflexive Narration
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Calls attention to the act of telling a story in order to complicate narrative authority and often approaches its themes with an attitude of irony
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Realism
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The attempt to represent subject matter truthfully without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements.
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Surrealism
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Avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind
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Sound Perspective
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Apparent distance of a sound source
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Documentary
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A movie or a television or radio program that provides a factual record or report
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Cinema Verite
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a movie that shows ordinary people in actual activities without being controlled by a director
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Acousmatic Voice
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Disembodied voice; voice whose source we cannot see
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Third Cinema
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- Seeks to capture the living document and naked reality of society. Refers to a politically radical form of documentary filmmaking
- Refers to films made by countries of the so-called Third World – countries that do not belong to the developed industrial countries - Political stylistically and target their own nations mainstream cinema - Sets out to politicize cinema and to create new cinematic codes and conventions - Class struggle between the rich and the poor is at the core of this cinema - May be used as a means of identifying, naming and claiming a consciously transformative space for cinemas in parts of the world that would not be considered as being in the Third World |
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Second Cinema
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An art cinema and author’s cinema that sought out an alternative language of filmmaking
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World Cinema
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Includes blockbuster films, commercial films, feature films and genre filmmaking. Rarely synonymous with third cinema
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Nollywood
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Nigerian version of Hollywood (just after Bollywood)
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Bollywood
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Indian version of Hollywood (between Hollywood and Nollywood)
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Multiplex Cinemas
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Theatres with multiple screens
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Dominant Reading
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Accepts the worldview presented by the text entirely
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Negotiated Reading
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Accepts only parts of the “text” as true and rejects of modifies other aspects of the text/film
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Resistant Reading
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Rejects the text/film entirely
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Aberrant Reading
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Going against the grain
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Film Authorship
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Looks for an individual who is responsible for the style and meaning of a film
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First Wave Feminism
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Focused mainly on overturning legal obstacles to gender equality
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Second Wave Feminism
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Broadened to include sexuality, family, workplace, reproductive rights and official legal inequalities. Because of the second wave, rape crisis and battered women’s shelters were built, and changes in custody and divorce law were made
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Nuclear Family
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A family group consisting of a pair of adults and their children
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Freud’s Unconscious
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Motives behind our actions are mostly unconscious
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The three agencies governing our mind are:
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1. The “id”: irrational, unconscious
2. The “ego”: conscious, rational 3. The “superego”: moral prohibitions |
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Oedipus Complex
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Stands for the hostile and loving wishes a child harbours for his parents (e.g . desire for his mother and jealously and anger towards his father). It is seen as a key moment in human development and in the structuring of gender and sexuality.
The boy’s incestuous relationship ends when he discovers the mother does not have a penis (leading to the assumption that she had been “castrated” by the father). The boy fears the same punishment, and accepts the authority of the father. He knows one day he will be like the father The girl is expected to transfer her affections for the mother to the father upon discovering that the mother is lacking a penis. She has to transform her wish for a penis into a wish for a baby. If the transfer is successful, the girl becomes a woman |
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Scopophilia
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The pleasure of looking
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Mirror Phase
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Human identity is formed when the infant, who does not have clear sense of bodily boundaries, first sees himself/herself in a mirror and joyfully identifies with this image.
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Bullet Time
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When time slows down enough to show normally imperceptible and unfilmable events, such as bullets
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Camera Obscura
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“inverted world”
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Phantasmagoria
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A form of theatre which used a modified magic lantern to project frightening images such as skeletons, demons, and ghosts onto walls, smoke, or semi-transparent screens, frequently using rear projection
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Bourgeois
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Dominated by commercial and industrial interest. Of, relating to, or characteristic of the social middle class
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Rear Window
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Alfred Hitchcock (1955)
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All that Heaven Allows
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Douglas Sirk (1955)
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The Rules of the Game
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Jean Renoir (1939)
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M
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Fritz Lang (1931)
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The Birds
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Alfred Hitchcock (1963)
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Breathless
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Jean-Luc Godard (1960)
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Singing in the Rain
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Stanley Donen / Gene Kelly (1952)
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The Conversation
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Francis Ford Coppola (1974)
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Citizen Kane
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Orson Welles (1941)
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Stagecoach
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John Ford (1939)
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8 ½
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Frederico Fellini (1963)
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Un Chien Andalou
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Luis Buñuel / Salvador Dali (1928)
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Meshes of the Afternoon
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Maya Deren (1943)
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Nanook of the North
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Robert Flaherty (1922)
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Night and Fog
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Alain Resnais (1960)
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The Searchers
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John Ford (1956)
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Double Indemnity
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Billy Wilder (1944)
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Bicycle Thieves
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Vittorio de Sica (1948)
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Battleship Potemkin
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Sergei Eisenstein (1925)
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North By Northwest
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Alfred Hitchcock (1959)
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A Trip to the Moon
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Georges Méliès (1902)
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Great Train Robbery
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Edwin Porter (1903)
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Taxi Driver
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Martin Scorsese (1976)
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The Matrix
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Larray and Andy Wachowski (1990)
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Vertigo
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Alfred Hitchcock (1958)
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Thelma and Louise
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Ridley Scott (1991)
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The Battle of Algiers
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Gillo Pontecorvo (1966)
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Black Girl
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Ousmane Sembene (1966)
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The Host
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Bong Joon-ho (2006)
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Pontypool
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Bruce MacDonald (2008)
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Lonedale Operator
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D. W. Griffith (1911)
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Cinemascope
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Introduced early 1950s by American film industry in attempt to bring in more viewers. Gave space, suggested depth, location shooting and colour
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French Poetic Realism
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Strong emphasis on décor, setting and lighting. Recreated realism, studio-bound and stylized
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Melodrama
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A film characterized by exaggerated emotions, stereotypical characters, and interpersonal conflicts. Plays out forbidden longings, symptomatic illness and renunciation. Often highly stylized. Women’s main concern in life is love
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Thiller
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- Films of suspense; film noir, gangster, science fiction, horror film etc.
- Supposed to instill terror in the audience. It relies on intricacy of plot, plays on our own fears - Killer is most often psychotic, his madness is an explanation for his actions |
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Chronological Editing
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Follows the logic of a chronological narrative. One event follows naturally to another. Time/space are logically represented. Beginning and end are clear. Associated with classical Hollywood cinema
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Seamlessness
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A key effect of continuity and chronological editing. Used to refer to Hollywood film. The editing does not draw attention to itself. Spectator presented with a narrative. Mostly found in oppositional, main stream counter cinema
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Cross-Cutting Editing
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Linking up two sets of action that run concurrently and are interdependent with the narrative. Narrative economy and suspense. Commonly used in Westerns, thriller or gangster movies
aka Parallel Editing |
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Deep Focus Editing
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Less cutting within a sequence. Emphasis on stardom, cuts to the close-up are inevitable
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Soviet Montage
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Came out in the 1920s. Collision and conflict appeared in all films. A rapid alteration between sets of shots. Fast editing and unusual camera angles serve as denaturalized classical narrative cinema. Largely used in avante garde and art cinema, but also mainstream. Works towards deconstruction. Fast, jerky and abrupt
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Continuity Cuts
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Takes us seamlessly and logically from one sequence or scene to another. Serves to move the narrative along
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Match Cuts
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Two shots matched by an action, subject or subject matter. Exact opposite of a jump cut. There is spatial-visual logic between the shots
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Montage Cuts
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A rapid succession of cuts splicing different shots together
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Compilation Shots
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A series of shots spliced together to give a quick impression of a place or quick explanation of a situation or a characters impression of an event
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Cutaways
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Shots that take the spectator away from the main action or scene. Often used as a transition
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French New Wave
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- Came about in the late 1950s
- Films made by a new generation of French film makers - Low budget and went against the prevailing trends in 1950s cinema - Wanted films produced by new ones and wanted young actors - Location shooting, use of non-professional actors - Controversial or different in style it was also a radical and political cinema |
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Academy Ratio
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1:1.33
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Cinerama
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1:2.6
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Cinemascope
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1:2.35
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Panavision
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1:2.25
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Revised Aspect Ratio
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1:1.85
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Discontinuity
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- Disrupted/accidental violation of filming a scene
- Changing size of image, tone between shots, changing direction or changing before the viewer has time to recognize what is happening |
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Musical
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- MGM was the studio most associated with the musical
- Narratives inclined to simplicity - Extremely self-referential - Camera can mingle in with the dancers, follow them around or stay at a distance and follow the movement as would a spectator watching |
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Oedipal Trajectory
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- To enter successfully into the social conventions of patriarchy
- Male protagonist successfully/unsuccessfully fulfills the trajectory through the resolution of a crisis and movements towards social stability |
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Classical Hollywood Cinema
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- Excessively obvious cinema, serves to explain, not obscure the narrative
- Made up of motivated signs that lead the spectator through the story to its inevitable conclusion - Narrative must come to a completion - Lighting and colour must not draw attention to themselves anymore than editing, mise-en-scene or sound - Spectator must know where they are in the time and space and in relation to logic and chronology of narrative - Narrative is goal oriented and reality is ordered - Continuity is essential, long takes are common |
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Art Cinema
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- A certain type of European cinema that is experimental in technique and narrative
- Typically produces low budget, mid budget films - Associated with eroticism since 1920s “sex films” - Attracted middle class to cinema - Intentionally distances spectators to create a reflective space for them to assume their own space or subjectivity |
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Subjective Cinema
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Showing the interior life of a character
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Pure Cinema
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Signifying in and of itself through plasticity and rhythms
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Surrealist Cinema
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A collision of the first 2 stages with the intention of giving filmic representation to the rationality/irrationality of the unconscious and dream state
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List 5 qualities of a Western
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1) Westerns are American History
2) Setting is the American Frontier 3) Extreme Long Shots are common 4) Takes place in the mid/late 1800s 5) Confrontations between good and evil 6) Cowboy is the hero 7) Produced as a B movie 8) Women were either floozies, vulnerable or shot 9) Indians represented as killers, abductors and pyromaniacs, never individuals 10) Protagonist is motivated by revenge |
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List 5 qualities of a Film Noir
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1) Lots of oblique and vertical lines
2) Femme Fatal 3) Complex Narrative 4) On-location shooting 5) Low-key lighting 6) Deep Focus cinematography 7) Large contrast between black and white (chiaroscuro) 8) Lit for night 9) Obsession with water 10) Actors and setting are given equal importance 11) B movie 12) Influenced by war/post war disillusionment, post war realism, German influence and hard boiled literary traditions 13) Not sure if film noir is a genre, style, movement or cycle of films |
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Femme Fatale
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Active, intelligent, powerful, dominant, in charge of her own sexuality, but pays for it in the end. Dress like men or are in skimpy sequined dresses. Carry guns or smoke cigarettes
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Genre
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- A way of organizing films according to type
- Refers to the spectator expectation and hypothesis, role of specific institutional discourses that feed into and form generic structures |
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Seamless Realism
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Ideological function is to disguise the illusion of realism
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Aesthetically Motivated Realism
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Attempts to use the camera in non-manipulative fashion and considers the purpose of realism in its ability to convey a reading of reality
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List 5 qualities of a Italian Neo-Realism
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1) Small scale productions
2) On location shooting in the streets or countryside 3) Critical examination of recent history 4) Interest in everyday lives 5) Unresolved endings 6) Use of non-actors 7) Use of ellipsis 8) Should project a slice of life, should appear to enter and then leave everyday life. Should focus on social reality-poverty and unemployment 9) Dialogue and language should be natural 10) Shooting in natural light with handheld cameras using observation and analysis |
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List 5 qualities of Avante-Garde cinema
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1) Repetition
2) Superimposition 3) Slow Motion 4) Reverse Shorts 5) Black Footage (empty images) 6) Negative Footage 7) Split-Screen Imagery 8) Fragmented Images viewed through a prism or kaleidoscope 9) Fragmented Bodies 10) Out of focus shots 11) Scratching/Painting the film celluloid 12) Found Footage |
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Soviet Cinema
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- Cinema has an educational and propagandistic value, especially silent films
- Soviet film was to be a medium of communist enlightenment and committed to organizing the masses around social reconstruction - Montage cinema was popular - Montage is a political aesthetic - Used massive numbers, nonfactors to create a collecting proletarian hero, playing down individualism - Films aimed at catching life as it was |
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Vertical Integration
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A studio controls the modes of production, distribution and exhibition
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Hollywood Studio Management Style
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A production head to suspense the whole project, a division of labour and the mass production of films, shooting out of sequence to save money
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Economic Exigency
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Films had to follow certain criteria to guarantee box-office success
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Fox Film Corporation/20th Century Fox
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- Produced popular musicals
- After 1948, Fox turned to location shooting and extended its repertoire to include ‘realistic’ crime films, westerns, musicals and spectaculars |
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Paramount Pictures Corporation
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- Mainly produced comedy and light entertainment with occasional epics
- Produced 40-50 films a year, more than any other studio |
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Warner Brothers
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- Gangster films and backstage musicals were the genres to prevail after the Depression
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MGM
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- Stands for Metro-Goldwyn-Mayer
- Known for its musicals |
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Universal
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- 1930s specialized in horror movies primarily because they were relatively inexpensive to make
- Universal re-established a studio identity by specializing in thrillers, melodramas and Westerns |
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Postmodernism
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- Attempts to subvert the mainstream conventions of narrative structure, characterization and destroys (or, at least, toys with) the audience's suspension of disbelief.
- Typically, such films also break down the cultural divide between high and low art and often upend typical portrayals of gender, race, class, genre, and time with the goal of creating something different from traditional narrative expression. |
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Pro-Filmic Event
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The look of cinema, with behind it, the camera man
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Diegetic Gaze
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The man gazing at the woman, a gaze she may return but is not able to act upon
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Spectators Gaze
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Imitates pro-filmic event and diegetic gaze
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Road Movie
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- Protagonists are on the move
- Iconographically marked through such things as a car, the tracking shot, wide and wild open spaces - Goes from A to B in a finite and chronological time - Normally narration of a road movie follows an ordered sequence of events which lead to inexorably to a good or bad end - Typically a male and the purpose of the trajectory is to obtain self knowledge |
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***** Cinema
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- These films proposed renegotiated subjective; men looking at men, gazes exchanged, etc.
- Refer to a spate of films that re-examined and reviewed histories of the image of gays - A male homosexual cinema that focuses on the construction of male desire |
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***** Theory
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A desire to challenge and push further debates on gender and sexuality put in place by feminist theory and also as a critical response to AIDS and homosexuality
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Post Colonial Theory
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- Refers to theory, literature, cultural practices in general, to ways of reading these different cultural practices
- Used to analyze products made by the West – both during the colonialist era and in the postcolonial moment – which either directly or indirectly display their Eurocentrism - Postcolonial theory helps us to read films emanating from postcolonial countries as well as films from the diaspora - Seeks to expose this “natural” linking of Western knowledge with oppression and to re-think the very way in which knowledge has been constructed - Seeks to question and critique the historicism of the West which has posited Europe as its theoretical subject |
