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69 Cards in this Set
- Front
- Back
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Producer |
In charge of logistics and money. |
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Director |
Oversees creative side. Vision and style. |
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Screenwriter |
Writes script |
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Cinematographer |
What you see when camera starts. What you view. |
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Production designer |
Before camera starts. Set, costumes, etc. |
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Editor |
What is included in film. Edits. |
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Composer |
Music. Duh. |
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Frame |
What you see when you pause the screen. One pictures. |
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Shot. |
Succession of frames. |
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Scene |
Succession of shots |
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Sequence |
Building scenes |
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IMR |
Institutional mode of representations. Techniques to manipulate viewers to feel a certain way. |
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Establishing shot |
Establishes where you are, setting, city, place |
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Long shot |
Far away to see multiple things |
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Medium shot |
Full body shot. |
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Close up shot |
Mostly face. Focuses attention. |
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Low angle |
Camera placed low and is pointing up. Emphasizes whatever you are looking at. |
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High angle |
Camera up high pointing low. Makes character appear vulnerable |
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Point of view shot |
From character’s perspective. Gets us in their head. Focus on what they want us to see. |
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Tracking shot |
Camera moves on a track and follows something. |
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Pan shot |
Moves from left to right, right to left, up and down (tilt). Adds energy. |
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Jump cut |
Very jarring and rare |
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Straight cut |
One scene to the next. Most common. Not worried about previous scene because you know you’ll come back. |
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Cross cut |
What is happening in two settings at the same time. Cut back and forth. Builds drama. |
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Match cut |
Overlap composition of two frames and have metaphorical connection. |
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Fade in/out |
To or from a black screen. Slows time. |
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Dissolve transition |
From one image to next. Small overlap between them. Slows time. |
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Wipe transition |
Line wiping across the screen to bring in another shot. Draw attention. Comedy or fantasy. |
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Iris transition |
Going into a circle. Draw attention. Comedy or fantasy. |
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Zoom |
Zoom in and out to direct where we should look |
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Rack focus |
Change between deep and shallow focus |
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Shallow focus |
Focus on one part |
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Deep focus |
Broader focus on things. See everything. |
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Freeze frame |
Literally frozen picture |
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Handheld |
Camera is shaking. Documentary or action. |
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Birth of a Nation |
Silent film. Lots of use of Iris to command our focus. Long shot and close ups. American filmmaker. Problems: black face, look like animals, protest. 2016 film made in response. |
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Battleship Potemkin |
Silent film. Very influential on IMR techniques. Used as propaganda. Fugitives good. Close ups add drama of vulnerable and women and children. Don’t see faces of soldiers. Tracking shot following infant. |
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Wizard of Oz |
Hollywood studios. Most watched film ever. Big stars, technicolor, music, large studio backing. Studio controlled contracts. |
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Bicycle thieves |
Italian neorealism. Right after WWII. Everyday people star in film. No big stars. Stories of regular people that struggle. Filmed in black and white. Shot on location. No sets No happy ending |
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Breathless |
French new wave. Directors wanted their own unique style and trademark. La camera-Stylo Auteur—the camera is the pen. Making things up as you go along. Breaks fourth wall Jump cuts Black and white |
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Blockbuster |
Everything is big. Many are action. Comic books, dominant hero. Big soundtracks Lots of promotion Bonus scenes and big sequels Re-earn budget quickly |
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Impact of film |
Very accessible. Impact masses. Cheaper. Combines many art forms. |
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Middle Ages dance |
Earliest dance instruction book written. |
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Early renaissance dance |
Balletti invented. Medici family had parties where aristocrats came to dance. Became elitist thing. |
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Catherine de Medici |
Took ballet to France. Great granddaughter of Lorenzo de Medici. Only for men. No women dancing. |
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Louis XIV |
Started royal academy of dance. Codified steps. French terms. Five positions. |
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Sergei Diaghilev |
Established ballet russes. In France because that’s where you could be avante guarde |
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Vaslav Nijinsky |
Choreographed Rite of Spring Very shocking to the people. Emphasis on fertility. |
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Igor Stravinsky |
Composed music for Rite of Spring. Dissonant music. Left mid scene because he was appalled by negative reaction. |
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George Balanchine |
Danced for ballet russes Started New York City ballet. Wanted to modernize ballet and emphasize body. Pushed body further. Choreographed Apollo. |
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Mikhail Baryshnikov |
Grew up in Soviet Union, moved to Canada. Directed American Ballet theater. In white nights. Bridges gap between ballet and modern dance. |
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Misty Copeland |
First African American principal dancer for NYC. 12 when started. Short. Danced pro after one year. |
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Paradox of dance |
Total freedom and total control |
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What to look for in ballet |
Alignment Turnout Extension |
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Isadora Duncan |
Dance as art of liberation. Would dance barefoot and loose clothing. Natural gesture and movement. Personal emotional expression. |
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Martha Graham |
Still free, but sharper Rigid and spastic movements Give into gravity Movement never lies Puritan vs. Sensual Choreographed Lamentation and Appalachian Spring |
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What to look for in modern dance |
Expression Contraction Working with gravity |
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How to approach modern dance |
No expectations Judge after performance Keep going |
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Western folk |
Large sweeping movements Moving around a large space Fast rhythmic footwork Make and female partnering often Torso unarticulated (hips don’t move) |
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Eastern folk dance |
Concentrated movements, precise Articulated torso Complex hand and finger movements Less likely to focus on couples More likely to retain religious elements
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What to look for in folk dance |
Rhythm Styling Posture Nationality Costume Body control |
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Humiliation of the word |
Written alphabet Printing press Electronic media |
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Types of poems |
Classical: epic (very long), lyric (traditionally set to music), dramatic (intended for theater) Ballad (iambic meter, 4 lines) Sonnet (14 lines. Abab cdcd efef gg) first 8 likes present problem, last lines solve it. Odes (often longer and written to inanimate objects) Free verse (doesn’t need meter or rhyme scheme) Concrete poetry (words look like what poem is discussing) |
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Seven skills and aspects of poetry |
1. Read poems out loud 2. Play word association (dennotation and connotation) 3. See matter transform 4. Slip under the surface 5. Experience sensory overload 6. Note the unexpected 7. Revel in rhythm |
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Aspects of reading poem out loud |
Euphony (smooth sounds) Cacophony (harsh sounds) Alliteration Onomatopoeia Rhyme |
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Aspects of matter transforms |
Metaphor Similie using like and Personification Irony Understatement Hyperbole |
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Aspects of slip under the surface |
Allusion Organization is very deliberate |
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Aspects of sensory overload |
Visual Auditory Taste-smell Touch-motor Helps make the poem come alive for us |
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Aspects of revel in rhythm |
Iambic (unstressed stressed da DAH) Trochaic ( stressed unstressed DAH da) Anapestic (unstressed unstressed stressed da da DAH) Dactylic (stressed unstressed unstressed DAH da da) Spondaic (all stressed DAH DAH)
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