Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key


Play button


Play button




Click to flip

26 Cards in this Set

  • Front
  • Back
'A' film
An American studio era term, signifying a major production, usually with important stars and a generous budget.
Back lot
During the studio era in the U.S., standing exterior sets of such common locales as a frontier town, a turn-of-the-century city block, a European village, and so on.
'B' film
A low budget movie usually shown as a second feature during the big studio era in America. b films rarely included important stars and took the form of popular genres, like thrillers, westerns, horror films, etc. The major studios used them as testing grounds for the raw talent under contract and as their filler product.
Blind Booking
A marketing strategy, common in the big studio era, in which theater owners were required to rent studio movies before they were produced. Generally these promised pictures were identified by genre or by star.
Block Booking
A marketing strategy, common in the American studio era, in which a production company?s movies were rented as a package rather than individually. This practice was declared illegal in the late 1940s.
Classical Cinema
Vague but convenient term used to designate the mainstream of fiction films produced in America, roughly from the maturity of Griffith in the mid-1910?s to the late 1960s. The classical paradigm is a movie strong in story, star, and production values, with a high level of technical achievement and edited according to the conventions of classical cutting. The visual style is functional and rarely detracts from the characters in action. Movies in this style are structured narratively, with a clearly defined conflict, complications that intensify to a rising climax, & a resolution that emphasizes formal closure.
Classical Cutting
A style of editing developed by Griffith, in which a sequence of shots is determined by a scene's dramatic and emotional emphases rather than by its physical action alone. The sequence of shots represents the breakdown of the event into its psychological as well as logical components..
Creative Producer
A producer who supervises the making of a movie in such detail that he or she is virtually its artistic creator. During the studio era in America, the most famous creative producers were David O. Selznick and Walt Disney.
First Run
A film's initial release pattern, in which most of its profits are earned. After its first run, the movie is rented to second-run 'neighborhood' theaters, television, cable, etc.
A recognizable type of movie, characterized by certain preestablished conventions. Some common American genres are westerns, musicals, thrillers, comedies.
High key
A style of lighting emphasizing bright, even illumination, with few conspicuous shadows. Used generally in comedies, musicals and light entertainment films.
The use of a well-known culture symbol or complex of symbols in an artistic representation. In movies, iconography can involve a star's persona, the preestablished conventions of a genre, the use of archetypal characters and situations and such stylistic features as lighting, settings, costuming, props and so on.
The principal production studios of a given era.
Mise en scene (refer to early vocab sht)
1.the process of setting a stage, with regard to placement of actors, scenery, properties, etc.
2.the stage setting or scenery of a play.
3.surroundings; environment.
Persona (refer to early vocab sht)
a person's perceived or evident personality, as that of a well-known official, actor, or celebrity; personal image; public role
Point of view shot (pov shot), first person camera
any shot that is taken from the vantage point of a character in the film; what he or she sees.
An ambiguous term referring to the individual or company that controls the financing of a film and often the way it is made. The producer can be concerned solely with business matters or with putting together the package deal (script, stars etc.) or function as an expeditor, smoothing over problems during production.
A filmmaker who finances projects independently to allow maximum creative freedom.
Production Values
The box office appeal of the physical mounting of a film, such as sets, costumes, and special effects. Spectacle pictures are generally the most lavish in their production values.
Program films (see 'B' films)
B films?..
The latter phase of a genre's evolution in which many of its values and conventions are challenged or subjected to skeptical scrutiny.
A now extinct genre, used as a prelude to the main feature. Serials were installments of a continuous story (usually a melodrama or fantasy), strung out for twelve or fifteen weeks, one chapter (20 minutes) per week. Each chapter concluded with a cliff-hanger ending.
Those images that are recorded continuously from the time the camera starts until the time it stops. That is, an unedited strip of film.
A film actor or actress of great popularity. A personality star tends to play only those roles that fit a preconceived public image, which constitutes his or her persona. An actor-star can play roles of greater range and variety. Barbra Streisand is a personality star; Robert DeNiro is an actor-star.
Star System
The technique of exploiting the charisma of popular players to enhance the box office appeal of films.
Vertical integration
A system in which the production, distribution, and exhibition of movies are all controlled by the same corporation. Vertical integration was declared illegal in the late 1940s.
ex: a movie studio which also owns movie theaters