Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
106 Cards in this Set
- Front
- Back
|
Aspect ratio
|
The relationship of the frames height and width
|
|
|
extreme long shot
|
a framing in which the scale of the object shown is very small, a buidlign, landscape, or crowd of people fills the screen
|
|
|
long shot
|
a framing in which the scale of the object shown is small; a standing human figure appears nearly the height of the screen
|
|
|
a framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically
|
medium long shot
|
|
|
medium shot
|
a framing in which the scale of the object shown is of moderat size
|
|
|
medium close up shot
|
a framing in which the scale of the object shown is of moderately large size
|
|
|
a framing in which the scale of the object shown is large; most commonly a head seen fromt the neck up
|
close up shot
|
|
|
a framing in which the scale of the object shown is very large
|
extreme close up
|
|
|
a framing in which two (or three) human figures, usually seen from the waist up, fill most of the screen
|
two/three shot
|
|
|
camera tilted downard at the object being filmed (high angle shot)
|
high/low angle shot
|
|
|
a view in which the frame is not level, either the right or left side is lower than the other, causing objects in the scene to appaer slanted out of an upright positon
|
canted framing
|
|
|
A use of the camera lens and lighting that keep both the close and distant planes being photographed in sharp foucs; a restricted depth of field that keeps only one plane in sharp focus
|
deep/selective focus shot
|
|
|
shifting the area of sharp foucus from one plane to another during a shot
|
racking focus shot
|
|
|
a change in the focal length of the lens during a shot. a change toward the telephot range enlarges the image and flattens its planes together, giving an impression of magnifying the scene's space, while a shift toward the wide-angle range does the opposite
|
zoom in, zoom out
|
|
|
the modern standard frame rate is 24 frames per second, shottoing more frames per second produces a slow-motion effect; shooting fewer frames per second produceds a fast-motion effect
|
slow/fast motion shot
|
|
|
composite process whereby fottage meant to appear as the background of a shot is projected from the front or rear onto a screen; figures in the foreground are filmed in front of the screen. in rear projection, foreground and background tend to look quite distinct
|
front/rear projection
|
|
|
Illumination directed into the scene from a postion newar the camera. can minimize shadows nd produce a relatively flat-looking image
|
front lighting
|
|
|
illumination coming from one side of the figures in the scene, usually in order to create a sense of volume, to bring out surface tensiions, or to fill a areas left shadowed by light from another source. also called crosslighting
|
sidelighting
|
|
|
illumination cast onto the figures in the scene from the side opposite the camera. this lighting can be positoned at many angles: high above the figures, at vaous angles off the side, pointing starigth at the camera, or below
|
backlighting
|
|
|
Illumination from a point below the figures in the scene. this lighting tends to distort features, it is often used to creat dramatic effects
|
underlighting
|
|
|
illumination coming from above the figures in the scene, usually in order to outline the upper areas of the figures or to separate them more clearly from the background
|
top lighting
|
|
|
In classical hollywood cinema, the brightest illumination (and casting the strongest shadows) in the scene is called _________. the lgith often coreesponds to the motivating light source in the setting.
|
key/fill light
|
|
|
a common arragement within classical hollywood cinema that uses three directions of illumination on the scene: from behind the subject, from one bright source, and from a less bright source balancing the keylight.
|
three-point lighting
|
|
|
illumination that creates comparatively little contrast between the light and dark areas of the shot, with fairly transparent shadows brightened by fill light
|
high/low key lighting
|
|
|
when a camera is pointed directly at a bright source of light the lens may "flare" or scatter the light, typically producing startbursts or circles of light across the image
|
lens flare
|
|
|
A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing which scans the space horizontally.
|
Pan Shot
|
|
|
An extremely fast movement of the camera from side to side, which briefly causes the image to blur into a set of indistinct horizontal streaks. Often a nearly imperceptible cut will join two whip pans to create a trick transition between scenes.
|
Whip Pan Shot
|
|
|
A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically.
|
Tilt Shot
|
|
|
A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction.
|
Crane Shot
|
|
|
A mobile framing that travels through space forward, backward, or laterally. In the example below, the shot begins as Rick and Stanley arrive at the studio and meet Cynthia, then follows Rick through the halls, then transfers to an assistant, then picks up Cynthia and Stanley, then transfers to Mary. This single, continuous shot takes a little over two minutes onscreen.
|
Tracking / Dolly Shot
|
|
|
A shot in which the camera dollies in while zooming out or the camera dollies out while zooming in. As a result the background of the shot appears to grow closer while the foreground remains the same size (or vice-versa).
|
Dolly zoom shot
|
|
|
A mobile framing that uses the camera operator’s body as a camera support, either holding it by hand or using a harness. In the clip below, the tight handheld shot on Benjamin's face evokes his anxiety and claustrophobia while he circulates through the party.
|
Handheld Shot
|
|
|
A dark screen that gradually brightens as a shot appears (fade in); a shot gradually disappears as the screen darkens (fade out). Occasionally, fade outs brighten to pure white or to a color.
|
Fade in / out
|
|
|
A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition.
|
Dissolve
|
|
|
A transition between shots in which a line passes across the screen, eliminating one shot as it goes and replacing it with the next one.
|
Wipe
|
|
|
A transition from one shot to another. Typically, straight cuts are perceived as instantaneous in terms of story time.
|
Cut
|
|
|
A round, moving mask that can close down to end a scene (iris out) or emphasize a detail, or that can open to begin a scene (iris in) or to reveal more space around a detail.
|
Iris in / out
|
|
|
A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene (establishing shot); a return to a view of an entire space after a series of closer shots (re-establishing shot).
|
Establishing / Re-establishing shot
|
|
|
Two or more shots edited together that alternate characters, typically in a conversation situation.
|
Shot / Reverse-shot
|
|
|
A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.
|
Match on action
|
|
|
A cut obeying the axis of action principle, in which the first shot shows a person looking in one direction and the second shows a nearby space containing what he or she sees. In neither shot are both looker and object present.
|
Eyeline match
|
|
|
In the continuity editing system, the imaginary line that passes from side to side through the main actors, defining the spatial relations of all the elements of the scene as being to the right or to the left.
|
Axis of action
|
|
|
In the continuity editing system, a cut that presents continuous time from shot to shot but that (intentionally) mismatches the positions of figures or objects.
|
Cheat cut
|
|
|
Two successive shots joined so as to create a strong similarity of compositional elements (e.g. color, shape).
|
Graphic Match
|
|
|
Shot transition between two shots of the same subject that are so similar in camera distance and/or angle that the image appears to 'jump' on the screen.
|
Jump Cut
|
|
|
An instantaneous shift from a distant framing to a closer view of some portion of the same space
|
Cut-in
|
|
|
A rapid transition from one shot to another. Typically, quick cuts are intended to increase tension and/or to be mildly disruptive to the narrative
|
Quick cut
|
|
|
Alternating shots of two or more lines of action occurring in different places, usually simultaneously.
|
Crosscutting
|
|
|
Plot shows past events and then returns to present (flashback); plot shows future events and then returns to present (flashforward
|
Flashback / forward
|
|
|
Shot transitions that omit parts of an event, causing an action to consume less time on the screen than it does in the story.
|
Elliptical Editing
|
|
|
Cuts that repeat part or all of an action in order to expand its viewing time and plot duration. Unlike repetitive editing, overlapping editing intends to expand the duration of action in an unobtrusive manner.
|
Overlapping Editing
|
|
|
Two shots that repeat, in part or in whole, a single story event.
|
Frequency / Repetitive Editing
|
|
|
A segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images. Frequently dissolves, fades, superimpositions, and wipes are used to link the images in a montage sequence.
|
Montage Sequence
|
|
|
Any sound presented as originating from a source within the world of the story (diegetic sound); any sound presented as originating from outside the space of the world of the story (nondiegetic sound).
|
Diegetic / nondiegetic sound
|
|
|
Sound that comes from the mind of a character within the story that we assume other characters in the scene cannot hear (internal diegetic sound);
|
Internal / external diegetic sound
|
|
|
Sound that is matched temporally with the movements occuring in the images (synchronous sound); sound that is not matched temporally with movements occuring in the images (asynchronous sound).
|
Synchronous / asynchronous sound
|
|
|
Diegetic sound that occurs at the same time in the story as the image it accompanies; diegetic sound that comes from a source in time earlier or later than the image it accompanies
|
Simultaneous / nonsimultaneous sound
|
|
|
At the beginning of one scene, sound from the previous scene carries over briefly before sound from the new scene begins; at the end of one scene, sound from the next scene is heard, leading into that scene.
|
Sound bridge
|
|
|
Why does General Sternwood like to watch other people drink?
|
He can’t drink himself anymore
|
|
|
Who kills Geiger?
|
Owen Taylor (the chauffeur)
|
|
|
Who kills Joe Brody?
|
Carol Lundgren
|
|
|
After the scene in the gambling hall, how much money does Marlowe think Vivian has in her purse?
|
None
|
|
|
Who is being described? “I think he’s a blackmailer, a hot car broker, a killer by remote control.”
|
Eddie Mars
|
|
|
What is Marlowe’s response when Vivian says, “We could’ve had a lot of fun if you weren’t a detective”?
|
We still can.”
|
|
|
Why was Marlowe fired from the DA’s office?
|
Insubordination
|
|
|
Who kills Owen Taylor (the chauffeur)?
|
Joe Brody
|
|
|
What does Eddie Mars have on Vivian?
|
Carmen committed murder
|
|
|
Who kills Sean Regan?
|
Carmen Sternwood
|
|
|
According to Lisa, at what moment does she fall in love with Stefan?
|
When he thanks her for opening the door
|
|
|
What lie does Lisa tell Leopold?
|
She’s engaged
|
|
|
What does Lisa bring to Stefan’s apartment when she visits him the night after the opera?
|
Flowers
|
|
|
Complete the quote [Johann to Lisa]: “There are such things as _________.... You talk as though it’s out of your hands. It’s not, Lisa.”
|
honor and decency
|
|
|
Within one year, how old is Lisa in each of the three sections of her narration?
|
14, 18, 27
|
|
|
The quotation below is an example of which of Bordwell/Thompson’s four types of meaning?
“A girl dreams of leaving home to escape her troubles. Only after she leaves does she realize she loves her family and friends.” |
explicit
|
|
|
The quotation below is an example of which of Bordwell/Thompson’s four types of meaning?
“In the Depression, a tornado takes a girl from her family’s Kansas farm to the mythical land of Oz.” |
referential
|
|
|
Which of the following is NOT a motif in Letter from an Unknown Woman?
|
Cards
|
|
|
Which of the following is NOT one of Bordwell/Thompson’s five general principles of film form?
|
Concision
|
|
|
Why does Donnie want braces?
|
to get Brad’s attention
|
|
|
Complete the quote: “The book says, ‘We may be through with the past, but ____________.’”
|
the past ain’t through with us
|
|
|
According to Earl, what is the biggest regret of his life?
|
I let my love go”
|
|
|
Why does Linda want to change the will?
|
she cheated on Earl
|
|
|
Which of the following is the BEST example of an element of disunity in Magnolia?
|
the Worm
|
|
|
Who speaks the following line?
“Facing the past is an important way of not making progress.” |
Frank Mackey
|
|
|
Which of the following characters in Magnolia does NOT have a parent who appears onscreen?
|
Phil Parma
|
|
|
According to Bordwell and Thompson, which of the following is MOST characteristic of
classical Hollywood cinema |
individual characters as causal agents
|
|
|
According to Bordwell and Thompson, which of the following would NOT be part of Magnolia’s plot?
|
Earl cheats on Lily
|
|
|
According to Bordwell and Thompson, which of the following would NOT be part of Magnolia’s story?
|
The voiceover narration
|
|
|
Who is Speaker B?
Speaker A: "There isn't much money in this business if you're honest." Speaker B: "Are you honest?" |
Vivian Rutledge
|
|
|
the film refers to things or places already invested with significance
|
referential
|
|
|
things you already know
|
referential
|
|
|
literal meaning of the film
|
explicit
|
|
|
implied, interpretation meaning
|
implicit
|
|
|
looking at the meaning of a film in regrard to the large tihngs like society
|
symptomatic
|
|
|
function
|
assume that everything we see serves a purpose
|
|
|
similarity/repetitons (motif)
|
repeat of somehting
|
|
|
development
|
progression from beginning to middle to end
|
|
|
unity/disunity
|
every fit together-unity
|
|
|
Wise Up, diegetic, non diegetic?
|
nondiegetic
|
|
|
Three aspects of narrative:
|
causality, time and space
|
|
|
plot
|
everything visibly andn audibly present in the film
|
|
|
story
|
the set of all the events in a narrative, both the ones explicitly presented an dthose the viewer infers
|
|
|
who kils harry jones
|
canino
|
|
|
who kills caninoq
|
marlow kills canino
|
|
|
who kills eddie mars
|
his own boys
|
|
|
diegesis
|
recounted story
|
|
|
across a whole film, narration is never completely __________
|
unrestricted
|
