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64 Cards in this Set
- Front
- Back
Narration: What is a Three Act Structure? |
Equilibrium: Peace, Stability, Setup Disequilibrium: Conflict Equilibrium: Back to stability, but something has changed. |
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Narration: What are the aspects of Temporality? |
Temporal Order: How the filmmaker choses to present the events Frequency: How often a single event takes place or is presented. Duration: 1. Story Duration: (2 yrs-78 yrs) 2. Plot Duration: The slices of the story presented. 3. Screen Duration: Running time |
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Narration: What is The Range of Knowledge? |
Who Knows What When? Restricted: We get info from a limited source. Used to create curiosity, surprise, and suspense. Unrestricted: Omniscent, all-knowing. Viewer knows more than characters. We can anticipate what a character cannot. |
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What is Form? |
It depends on expectations. It's the overall set of relationships among a film's parts. A filmic convention is a dominant style or form. |
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Narration: Story, Plot, and Diegesis. |
Story: Chain of Events in Chronological Order Plot: how the story is rendered and presented. Diegesis: The story world |
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Form: What are the different types of meaning that form creates? |
Referential: Plot Summary. Simple meaning that a viewer will understand using basic knowledge Explicit: The point of the film, and the obvious message that it conveys "There's no place like home". Moral of the story that is told. Implicit: Interpretation. These may be obvious, but they are not concrete or explicitly stated. They are debatable. |
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Form: What are the 5 principles? |
Function: How elements produce meaning Similarity/Repetition: Elements are repeated to create patterns like motifs and parallelism Difference/Variation: Changes in form pattern. They defy expectations Development: A progression moving from beginning, through the middle, to the end Unity/DisUnity: Whether it is "tight", or there are holes in the plot. Cliffhangers create disunity. |
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What is Narrative? |
A chain of events linked by cause and effect and occurring in time and space. |
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Narration: Describe Depth of Knowledge |
Objective: The plot confines the viewer only to information about what the characters say and do Subjective: Perceptual. POV Shots. We see what a character sees and hears. Mental: Character's thoughts, dreams, and hallucinations. |
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Mise-en-Scene: Hard vs. Soft Lighting |
Hard: Clearly defined shadows, crisp texture, sharp edges Soft: Diffused illumination. Like an overcast sky |
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Mise-en-Scene: 3-Point Lighting |
Key: Primary source. brightest, strongest shadows. may suggest a light source within the setting. Fill: Softens or eliminates shadows. 3-Point: Uses key, fill, and back light. Soft, balanced, and romantic. |
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Mise-en-Scene: High-Key and Low-Key Lighting |
High key: Fill+Backlight create lower contrast between light and dark areas. Soft. Transparent shadows. Low Key: Stronger Contrast, Dark, Sharp shadows. little to no fill light. Chiaroscuro: Extremely light and dark regions within the image. |
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Mise-En-Scene: Principles of Acting |
A Unique Character who is neither exaggerated or underplayed Stylization: Attitudes, skills, habits, tastes, psychological drives, and other qualities that distinguish the character. Individualization: 3-D characters: A character has several varying traits, some at odds with others. Well developed. |
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Openings |
Openings: Provides a basis of what is to come and initiates the narrative. Setup: First quarter of the film Media Res: "In the middle of things" The film opens in the middle of a series of actions. Backstory: Actions that took place before the story started Exposition: The presentation of backstory, sometimes given in the beginning, sometimes broken up and placed throughout the screen duration. |
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Development Sections |
Cause, effect, and change create patterns of development. Patterns of Development encourage the viewer to have certain expectations that can be delayed, cheated, or gratified. Change in Knowledge: Common pattern for turning plot Goal-Oriented Plot: Character takes steps to achieve an object or condition. (Searches, Journeys) Deadline: Specific duration for plot action. Common in goal-oriented plots. |
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Self- Conscious Narration |
Pertains to how the narration announces its address to the audience. Does the film directly speak to the audience? NARRATION |
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Self Inflictive: |
Breaking the fourth wall, interacting with the audience through STYLE. (Music, Technicolour) |
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Elements of Mise-en-Scene |
Lighting Performance Costume Setting Staging Colour |
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Mise-en-Scene: Colour |
Colour creates mood. Filters, weather, highlighting. |
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Cinematography: Range of Tonalities |
Contrast: Comparative difference between the lightest and darkest areas. Exposure: regulated how much light passes through the camera lens. Filters: Slices of glass or gelatine that reduce certain frequencies of light reaching the film. |
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Cinematography: Post-Production Tonality |
Tinting: Dipping film in dye Toning: Dye is added before development Graders and Timers |
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Cinematography: Motion Speed |
The rate at which the film was show, and the rate of projection. The standard shooting range is 24, 25, or 30 fps. Fast Motion: Projected at more fps than filmed Slow Motion: Projected at less fps than filmed. Ramping: Varying the frame rate during shooting. Time-Lapse: Fast Motion. Low shooting speed. High Speed: Extreme slow motion, thousands of fps. |
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Cinematography: Focal Length |
Lenses Wide Angle (Short): Wide field of view. Lines bulge on edges. Exaggerates depth. Normal: Avoids perspective and depth distortion Telephoto (Long): Flattens image. Depth and volume are reduced. Zoom: Enlarges some part of the shot. |
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What does editing do? |
It is additive and Subtractive. It strings diverse shots together, and allows each shot to replace its predecessor. Influences material structure, forges a link between images |
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Editing: Types of transitions |
The Straight Cut: Sense of particular setting, time and space Fade in/out: Image Brightens from darkness or darkens to black Wipe Dissolve: A fade out to another shot Iris In/Out |
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Editing Dimensions: Graphically |
Graphically: Pictorial qualities like shape, size, composition, Colour and lines can be mirrored or juxtaposed. Graphic Match: Emphasizes graphic relationship between shots. (Prominent aspect of shot one is matched in shot 2) |
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Editing Dimensions: Rhymically |
Rhythmically: Duration of shots: A film's tempo and pacing. How quickly it moves. Accelerated editing: Short takes. Quick, intense action caused by quick cuts. |
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Editing Dimensions: Spatially |
Editing allows us to believe things that are not really there. that characters exist in the same space, or that a character is looking at something. We can create a reality by alluding to offscreen things that aren't really there. Analytical breakdown: Establishes a spacial whole, that follows with a closer look at a part of the space Intraframe: Combines parts of different shots into a single shot. |
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Editing: What are the dimensions? |
Graphically Spatially Rhythmically Temporally |
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What's the Kuleshov Effect? |
The idea that the juxtaposition of shots creates meaning that wouldn't be there otherwise. Depending on how images are assembled, the audience will attach different meanings and emotions. Two shots have more meaning than a shot in isolation. |
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Editing: Constructive Editing |
Avoids an establishing shot until later in the scene, smaller parts of the setting are pieced together to make a whole. |
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Editing Dimensions: Temporality |
Time and Chronology. To see the events in a cause and effect order. Elliptical Editing: Presents an action in such a way that it consumes less time on screen than it does in the story. Montages: A series of short shots condense space, time, and information. Jump Cut: Joins two shots that are extremely similar in subject and composition. Overlapping Editing: Extends the duration of something longer than the time it takes to complete the action Cross Cutting/Parallel Editing: When there is an action in one scene. which cuts to an action in the other scene, implying that they are happening simultaneously. |
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Editing: What is Continuity Editing? |
Models itself after out most habitual ways of looking at the world. ensures that spectators are given all the information they need to comfortable orient themselves in the diegesis. Privileging a film's chain of cause and effect over any of its other aspects. |
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Editing: Ensuring continuity through editing dimensions |
Graphically: Keep shots looking consistent. (Colour, tonality, exposure) Rhymically: Consistent shot lengths that set the pace and rhythmic pattern. Lengthening shots elongate rhythm, quick shots shorten it. Correlate shot scale with shot duration. Spatially: Create spaces that are coherent and consistent. Temporal Relations: Minimize manipulation of order, duration, frequency, and signal clearly when manipulation does occur. |
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Rules of Continuity Editing |
180 Degree Rule Establishing/Reestablishing Shots Eyeline Matching Match on Action Shot/Reverse Shot POV Shot |
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What is Sound Mixing |
The Selection, Alteration, and Combination of sounds. |
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Sound: Perceptual Properties |
Loudness: The audible volume Pitch: The degree of "Highness" or "Lowness" of a sound Timbre: The tonal quality or feel of a sound |
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Sound: Dimensions of Film Sound |
Rhythm: Beats and Accents in speech and sound effects Fidelity: Whether or not it matches the visual source Spatiality: Diegetic/NonDiegetic Onscreen/Offscreen (Is the source visible?) Internal/External (Is it in the character's mind?) Temporality |
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Sound: Temporality |
Simultaneous Sound: The image and sound function at the same time Non-Simultaneous Sound: When the sound occurs at a different time than the image. (A sound bridge) Synchronous Sound: Filmmaker decides that we hear the sound at the same time as we see what makes it. Related to the viewing time and screen duration. If the sound is synchronous, it matches the visuals onscreen. |
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Functions of Film Sound |
Directs the spectator's attention Shapes how images are interpreted Sets a mood Creates motifs Defines onscreen space Creates offscreen space Masks a cut Enables silence to signify |
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Sound: What's a sound bridge? |
When the sound is carried over from one scene to another. Diegetically, this doesn't make sense, but it implicitly tells the viewer that there is a connection between the two scenes. |
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Sound: What's a dialogue overlap? |
Occurs when sound carries across a cut within the same scene, usually in dialogue scenes. |
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Cinematography: Framing |
Aspect ratio: The ratio of width to height Masking: the simplest way to create a widescreen image. Masks block the passage of light to certain areas of the image. Anamorphic Process: Method of creating a widescreen image using a special lens to squeeze the image horizontally Multiple Frame/Split Screen: Two or more image with their own framing dimensions appear together within a larger frame. Every act of framing creates relationships among the things we see. |
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Cinematography: Camera Position |
Angle: Straight on, High, Low Level: Parallel to the horizon or not. Canting: The camera is not level Height: The vertical height of the camera, adjusted by crouching or craning. Distance: The framing of the image stations us far away or relatively close to the subject. (extreme long shot to extreme close up) |
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Cinematography: Functions in Framing |
May create motifs or standout due to rarity. They are not restricted to cliches about framing meaning. (Low angle= power) |
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Cinematography: Types of Mobile Framing |
Pan: Movement swivels the camera on a vertical axis. New areas are visible Tilt: Movement rotates the camera on a horizontal axis. New areas are visible Tracking/Dolly: Camera travels in any direction, level to the ground. Changing perspective. Crane: Camera travels in any direction vertically, changing perspective Handheld: Intentionally creating a bumpy, POV style image. Zoom: Reduce or blow up some portion of the image. Reframing: If a character moves in relation to another, often the frame will slightly adjust with a pan or tilt. |
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Cinematography: The Function of Mobile Framing |
When the camera moves, we sense our own movement through space. It creates an interplay between onscreen and offscreen space. Sense of duration and rhythm is also affected by the mobile frame. Since a camera movement consumes time on screen, it can create an arc of expectation and fulfillment. |
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Cinematography: Shot Duration |
Still photography doesn't move, but film deals with temporal form. Real time: The shot is recording in actual duration Long take: One long recording of a single shot. When an entire scene is rendered in one shot, we call it a sequence. |
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Cinematography: Photographic Qualities: How the camera renders and captures the objects before it. These qualities depend on the tools that the director of photography has at his/her disposal like film stocks, lenses, processing, filters, colour grading. |
Range of Tonality: How finely detailed? Vibrant or Muted Colour? Contrast? Saturation? Film Stock Used? Rate of Exposure? Filters (expressive qualities)? Speed of Motion: Speed of which the film is shot or projected. Slow Motion tends to lend the event a degree of importance or focus. It can also be used for a supernatural effect. Fast motion can be used for time passing. Perspective: Renaissance Perspective is representing 3D space on a 2D medium. Creates an illusion of depth by having all lines converge at a central point in the distance. This is why most camera lenses are round. Vanishing Point. Wide Angle lenses have shorter focal lengths. Creates an exaggerated sense of depth. Telephoto lenses have a longer length. Magnifies objects at a distance. Crushes planes of space. Zoom is a manipulation of the lenses, creates an optical effect that seems like movement. Depth of field: Deep or selective focus. Framing: The choice to of what to capture, and what to leave out of the image. Implications include Size, Shape, Onscreen and Offscreen Space, Vantage Point (Distance, Angle, Height) and the movement of framing. |
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Music: Claudia Gorbman's Seven Principles of Classical Film Music |
Invisibility: The technical apparatus of non-diegetic music must not be visible (orchestra) Inaudibility: Music should not be heard consciously. It must be transparent, and not take focus away from the story. Signifier of Emotion: Soundtrack music may set specific moods and emphasize particular emotion suggested in the narrative or creates the emotion itself Narrative Cueing: Music gives referential and narrative cues, as well as interprets and illustrates narrative events. The meaning-making part of narrative music. Continuity: Music provides rhythmic continuity between shots and scenes by filling in the gaps. Creates seamlessness within a sequence. Unity: Repetition and variation of musical material and instrumentation, music aids in the construction of formal and narrative unity. |
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Music: Subordination |
Composers must subordinate musical action to the demands of the narrative. Transparency Clarity Coherence Subordination |
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Music: Parallel or Counterpoint? |
Parallelism: Image and sound are working together to create unity (Mickey-mousing) Counterpoint: Image and sound contradict each other Mutual Implication: Music and Image work together or separately to convey narrative information. It is dependant on the audience making connections. |
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Music: Erno Rappee |
The encyclopedia of music for pictures A table of contents for music for different types of situations |
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Music: Richard Wagner: The Leitmotif |
A musical phrase, either a complex melody or brief series of notes, which, through repetition, become identified with a character, situation, or idea. |
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Music: Meta Diagetic Music: |
Sounds/Music that has mutual implication but incorporates sound that drops cues and clues to pick up on onscreen activity. |
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Documentary: Types |
Expository: Emphasizes verbal commentary and an argumentative logic. God-Like narrator features explanatory commentary and reality effects like statistics and charts makes the material seem truthful and non-fiction. Observational: An unobtrusive camera observes the action as a fly-on-the-wall. Shots and editing direct the audience's experience, as there is no commentary. Participatory: Emphasizes the interaction between filmmaker and subject. The filmmaker is part of the narrative and the subject matter. The film has a thesis that is explicitly stated and is edited to support the argument. Reflexive: Self-reflective in the documentary form. Calls attention to the assumptions and conventions that govern documentary filmmaking. Increases our awareness of the constructedness of the film's representation of reality. |
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Documentary: Forms |
Abstract: A film that is patterned by pictorial qualities (line, shape, tonality, movement) Categorical: Non-narrative. About a specific subject matter. Rhetorical: Makes an argument and tries to convince the viewer of the thesis Associational: The presentation and arrangement of material created by combining images and sounds together that are rendered to create meaning and connection |
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What is Documentary? John Grierson |
The creative treatment of actuality. |
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What is different about Avant Garde Film? |
-An artisinal mode of production -Distribution and exhibition outside of commercial contexts -A small, specialized audience They are communicating a personal vision. Their primary goal is to have creative control. Film is often only a part of a larger aesthetic agenda. They have a shared goal of rejecting established cinematic conventions in order to expand the possibilities of film. Avante garde means "Before the front line". They push boundaries and take risks. |
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Avante Garde: Forms |
Abstract: The arrangement of material is dictated by visual and oral qualities. What is of concern is not meaning, but what it looks and sounds like. How Image and sound draw attention to colour, line, texture, tone, rhythm, etc. Attention to FORM. Associational: Through montage, cutting, etc. create meaning. Images and sounds are rendered and combined to create connections that are not necessarily formal. Patterns and repeating images create meaning. They systematically explore the formal potential of the medium (Film stocks, editing) Narrative: Film tells a story, but does it in a non-conventional way. “Explodes” the idea of narrative. (e.g. scrambled order). |
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AWhat is unique about animation? |
It can take any forms, but what distinguishes it is the conditions of production 1. The presentation of imagery that has no real world status beyond the filmic universe 2. The creation of movement through a succession of individual static images. |
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Animation: Methods |
Photographic: -Drawn (Cell) Animation -Cut-Out Animation Non-Photographic: -Computer Animation -Direct Animation (Drawing on Film) -Claymation |
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Animation: Live Action |
Initial movement gets broken down into successive stages as it is photographed. |
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Animation: Pixillation |
The process by which three-dimensional objects are made to appear to move through stop-motion style. |