Film Vocab From Chs. 7-12 In Film Art

Front 1

volume

Back 1

loudness, related to perceived distance: louder the sound, closer the shot

Front 2

pitch

Back 2

perceived highness or lowness of the sound, used in delivery of sound to make a joke or suggest a certain intonation to the statement

Front 3

timbre

Back 3

harmonic components of sound give it a certain color or tone quality (nasal sound or mellow tone)

Front 4

mixing

Back 4

the combination of different sounds in film to create a stream of auditory information

Front 5

dialogue overlap

Back 5

the continuation of a line of dialogue across a cut, distracts from shot changes

Front 6

diegetic sound

Back 6

sound that has a source only in the film world

Front 7

nondiegetic sound

Back 7

sound represented as coming from a source outside the story world, music added to enhance the film's action is the most common type

Front 8

external diegetic sound

Back 8

sound that which spectators take to have a physical source in the scene

Front 9

internal diegetic sound

Back 9

sound that which comes from inside the mind of a character, subjective

Front 10

sound over

Back 10

sounds that do not come from the real space of the scene (internal and external diegetic sound)

Front 11

sound perspective

Back 11

the sense of spatial distance and location analogous to the cues for visual depth and volume, similar to visual perspective

Front 12

synchronous sound

Back 12

the matching of sound with image projection

Front 13

asynchronous sound

Back 13

out-of-sync sound

Front 14

simultaneous sound

Back 14

when the sound takes place at the same time as the image in terms of the story events

Front 15

nonsimultaneous

Back 15

when the sound occurs earlier or later in the story than the events we see in the image

Front 16

sound bridge

Back 16

when the sound from one scene lingers briefly while the image is already presenting the next scene

Front 17

categorical form

Back 17

when a film intends to convey information in a simple fashion

Front 18

rhetorical form

Back 18

when a film is made to convince the spectator of an argument

Front 19

arguments from source

Back 19

film arguments that rely on reliable sources of information

Front 20

subject-centered arguments

Back 20

arguments that are based around a certain subject, sometimes appeal to beliefs common at the time in a given culture

Front 21

viewer-centered arguments

Back 21

film makes an argument that appeals to the emotions of the viewer (eg. politician that poses with a flag)

Front 22

abstract form

Back 22

the whole film's system is determined by abstract qualities (rather than just containing these qualities)

Front 23

associational form

Back 23

suggests ideas and expressive qualities by grouping images that may not have any immediate logical connection

Front 24

pixillation

Back 24

fame-by-frame movement of people and ordinary objects

Front 25

rotoscoping

Back 25

when a rotoscope is used to project live-action footage, frame-by-frame, onto a drawing board, so the animator can trace the outlines of the figures (character's movement is more smooth and lifelike when traced from a model)

Front 26

auteur

Back 26

french term for the person responsible for a film (directly: the author)

Front 27

fidelity

Back 27

faithfulness of sound to a scene

Front 28

The Western

Back 28

grapples with lost purity of nature and the rape of virgin land, regrets and tries to recover the importance of the individual against modern society, individual creates a society that he cannot enter

Front 29

Melodrama

Back 29

the mobile, fragmented family after WWII which is regretted, only traditional frontier values will save us

Front 30

screwball comedy

Back 30

money replaces the family and other homespun values, must be refound with rediscovered old fashioned values

Front 31

detective

Back 31

the fall from communal security into the individuality and impersonality of the city, only the detective can redeem himself and society

Front 32

film noir

Back 32

the fallen state cannot be redeemed

Front 33

the War Movie

Back 33

men are redeemed by serving their tribal fighting unit and thus society

Front 34

musical

Back 34

does this in the folk musical and even in the fairytale and the backstager, where love redeems values lost or forgotten

Front 35

Agon

Back 35

gunfight in a western

Front 36

fake courage

Back 36

honor, experience, spiritual anger, hope, ignorance

Front 37

early cinema

Back 37

1893-1903

Front 38

classical hollywood

Back 38

1908-1927

Front 39

Birth of a Nation

Back 39

1915

Front 40

match action, shot/reverse shot

Back 40

1916

Front 41

german expressionism

Back 41

1919-1926

Front 42

Cabinet of Dr. Caligari

Back 42

1920

Front 43

Metropolis

Back 43

1926

Front 44

French impressionism and surrealism

Back 44

1918-1930

Front 45

Napolean by Abel Gance

Back 45

impressionist, 1927

Front 46

Un Chien Andalou by Dali and Bunuel

Back 46

surrealism, 1928

Front 47

Soviet montage

Back 47

1924-1930, Vartov, Kuleshov, Pridovkin, and Eisenstein

Front 48

classical hollwood after sound

Back 48

1927-The Jazz Singer

Front 49

italian neo realism

Back 49

1942-1951

Front 50

Open City

Back 50

1945

Front 51

Poison, Bicycle Theif

Back 51

1946

Front 52

Umberto D

Back 52

1951

Front 53

French New Wave

Back 53

1959-1964

Front 54

Breathless, 400 Blows

Back 54

1959

Front 55

1910-1920

Back 55

film studios began to form, Paramount, Fox, Warner Brothers, MGM and Universal

Front 56

match on action

Back 56

cut on the action (eg. throw a piece of chalk, cut to close-up, see character catch the chalk)

Front 57

shot/reverse shot

Back 57

shot shows a character looking, next shot shows what character sees

Front 58

axis of action

Back 58

180 degree rule