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

60 Cards in this Set

  • Front
  • Back
Michael mann
Dante Spinott
Mel Bourne
Colleen atwood
oh brother where art thou?
J&E coen
Roger deakens
Dennis Gassner
Mary Zophres
Orson Wells
Citizen Kane
Walt Disney
Raising Arizona
Coen bros
Big Lebowski
Coen Bros
Coen Bros
Stage Coach
John Ford
John Wayne
High Noon
Fred zinneman
Peter Hyams
Blazing Saddles
Mel Brooks
Hands on a hard body
S.R. Bindler
Nanook of the North
Robert Flaherty
Robert Drew
The Private life of Plants
Neil Lucas
Snow White
Dave Fleisher
Snow White
Walt Disney
Boogie Doodle
Norman Mclaren
Death of Stalinism in Bohemia
Jan Svankmajor
Akira Kurosawa
Scrub me momma to a boogie beat
Walter Lantz
Gordon Parks
Ivan Reitman
The Shawshank Redemption
Frank Darabont
Ousmane Sembene
Third World Cop
Chris Browne
Why has bodidharma left for the east
Bae Yong-Kyon
Wolf cub with people
Talgat Temenov
Package Unit System
Every film is a stand alone project, agents put together projects
cahiers du cinema
first film critics
auteur theory
film can have an author but not all films do. author is always the director - Francois Trufeaux
techinical competence - lowest tier in art terms
tech competence - distinctive visual style
tech comp - visual style - shared thematic concerns and aesthetic
miracle decision
1st ammendment rights extended to film 1952
conventions of narrative
done over and over again so eventually they become unwritten rules
single image that invokes in you the entire map of the movie

elements of form that are closely linked to a genre
fixed elements
genre standards - adverse to change
dynamic elements
genre standards - change easily
non fiction film focused on truth and objectivity
pro-filmic reality
before the film camera deals w/ stuff that really happened
categorical form
any documentary about a certain topic (civil war)
rhetorical form
has a point to make argumentative to support a claim
categorica form v. rhetorical form
this system doesnt really work because a film maker always has an agenda
interactive mode
interview as a mechanism openly acknowledge camera
observational aproach
erase the camera from the event
expository form
like a lecture. science films are usually like this
synthetic cinema
no happening. did not actually occur. animation
graphic animation
form defined by lines morphic movement. not considered art
maleable form - paints - fine arts
animation that mimics recorded cinema
associational aproach
obscures itself. the set of forces that make the status quo normal. tells us how things became the way they are
first cinemas
also Dominant cinemas
high cost; high risk; high return
transnational cinema - circulation in high volume of countries
generic categories are more of the text than ideologies
second cinemas
emerging cinemas
national instead of translational
cost risk and return are lower
third cinemas
marginal cinemas
lie outside of priviledge and affluence
dont always have the best technology available
john cassavetes
scent of green papaya
anh hung tran
prospero's books
peter greenaway
gi jane
ridley scott