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215 Cards in this Set
- Front
- Back
Phi Phenomenon |
Perceiving a series of still images as continuous motion |
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Persistence of Vision |
Optical illusion where the perception of an object doesn’t cease after rays of light preceding it stop entering the eye |
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Eadweard Muybridge |
English photographer. Pioneer of motion pictures. Stop motion stills of horse. |
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Jean-Etienne Marey |
1882 Chronophotographic gun taking pictures of birds in flight |
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Lumiere Brothers |
Inventors of the cinematograph. Pioneers of documentary film. |
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Nickelodeons |
Early motion picture theatre where admissions only cost a nickel. Offered continuous showings of 1 and 2 reel films accompanied by piano. |
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George Melies- |
French illusionist and film director. Pioneered special effects in films. A Trip to the Moon |
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The Studio System |
Companies owned the studio, theatres, etc |
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Big Five |
MGM, Paramount, Warner Bros, RKO, and Fox |
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Little Three |
Universal, Columbia, United Artists |
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The Star System |
1890s-1900 no credits for performers |
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Mise en Scene |
Director’s staging of a play |
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Setting |
Where, reveals story and characters |
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Realistic (setting) |
On location/imitates reality |
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Non-realistic (setting) |
Movie set |
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Limbo (setting) |
Non-existent |
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Subjects |
Who, what they are doing |
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Composition |
How things are on the screen, arrangement |
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Deep Focus |
Everything in focus |
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Shallow Focus |
Subject in focus, bg not in focus |
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Masking |
the techniques and materials used to control the development of a work of art by protecting a desired area from change |
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Color (history and use) |
1910-1920s– Black and white film with some painted color frames, tinted frames for specific sequences 1916- 1st version of Technicolor created. Records red and green sensitive negative to black 1922-1952- Color popularity Singing in the Rain, Wizard of Oz, etc Can be used as a mise en scene tool to describe the characters and environment |
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Aspect Ratio |
1:33:1, 1:78:1, 2:35:1 |
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Costumes |
Display character’s personality; time period; good guy vs villain; etc. |
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Framing (tight vs loose) |
Tight - Usually in close shots. The mise-en-scène is so carefully balanced and harmonized that the subject photographed has little or no freedom of movement. Loose - Usually in longer shots. The mise-en-scène is so spaciously distributed that the subject photographed has considerable latitude of movement. |
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Film Stock |
unexposed and unprocessed motion-picture film |
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Clear Base (film) |
Cellulose Nitrate, Cellulose Triacetate, Polyester |
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Slow (film) |
More light needed |
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Fast (film) |
Less light needed |
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Size (film) |
35mm (Features), 16mm (Independent), 8mm (Amateur) |
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Grain |
Optical texture of developed film |
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Mood |
The atmosphere of a piece/ the emotions the piece creates in a viewer. |
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Tone |
The director’s attitude toward a subject. |
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Saturation |
The intensity of the color/light within an image |
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Contrast |
The balance between the highlights and lowlights within an image. |
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Metaphors |
The representation of a person, place, thing, or idea by using an image that suggest an association or point of similarity. |
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Symbols |
A physical representation that stands in for another object or idea. |
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Soft Lighting (High Key) |
Evenly lit, hardly any shadows |
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Harsh Lighting (Low Key) |
Uneven lighting, heavy shadows |
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Depth of Field |
distances in front of camera in which all objects are in focus |
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Telephoto lens (depth of field) |
shallow focus |
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Wide Angle (depth of field) |
deep focus |
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Frames |
1 image (30 fps, 24 fps, etc) |
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Shots |
One uninterrupted image series of frames |
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Takes |
Different versions of a shot |
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Scenes |
A series of shots connected to part of a film |
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Sequences |
A grouping of scenes in a film (similar to an act) |
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Master Shot |
a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. |
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Cutaway Shot |
the interruption of a continuously filmed action by inserting a view of something else. |
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Reaction Shot |
a portrayal of a person's response to an event or to a statement made by another. |
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Dailies |
Footage from a day of production |
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Rough Cut |
Editor’s first pass at the film |
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Final Cut |
Editor’s final pass of the film, completed and locked |
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Eyeline Match |
a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. |
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180 Degree Rule |
two characters in a scene should maintain the same left/right relationship to one another. (invisible axis must not be crossed) |
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Shot/Reverse Shot |
one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. |
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Parallel Editing |
Shifting between two or more actions that are occurring simultaneously Sometimes different locations Builds suspense Compare and contrast |
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Seven Characteristics of Hollywood Classical Cinema |
1. Story set in the present 2. Focuses on 1 character or a few distinct individuals 3. Main character(s) have a goal 4. Protagonist overcomes antagonist/obstacles 5. Clear emphasis on causes and effects with little ambiguity 6. Film has closure 7. Unobtrusive filmmaking techniques |
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Film Genres |
Categories of composition characterized by similarities in subject matter. (Romance, Comedy, Horror, Western, Action, Thriller, Adventure, Animation) |
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Types of Actors |
Stars, Method Actors, Character Actors, Non-professional Actors |
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Rule of Thirds |
aligning a subject with the guidelines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section. |
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Frame within a Frame |
Subject is framed within the shot by another frame (ex: door, window, picture frame, television, etc) |
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Slow Film Stock vs. Fast Film Stock |
Slow stock needs more light to get correct exposure, fast film stock needs less light. |
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Digital Media vs. Film |
Digital- Cheap, flexible, convenient; files are corruptible Film- Authentic look, tangible; Expensive, hard to travel with |
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Three Point Lighting Setup |
Key Light - main light on subject Fill Light - light to fill in shadows created by key light, preventing them from being too dark Back Light - used to separate the subject from the background |
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Wide Angle Lens |
a lens whose focal length is substantially smaller than the focal length of a normal lens. |
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Telephoto Lens |
a lens with a longer focal length than standard, giving a narrow field of view and a magnified image. |
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Types of Camera Shots |
Close-up long shot medium shot establishing shot point-of-view shot |
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Shot Angles |
Dutch angle (camera frames subject at an angle/skew) NOT A TILT high-angle (camera looking down on subject) low-angle (camera looking up at subject) |
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Post-Production |
All editing done to the film after it is shot. |
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Color correction (color grading) |
process of altering and enhancing thecolor of a motion picture, video image, or still image either electronically, photo-chemically or digitally. |
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The Kuleshov Effect |
Developed by Lev Kuleshov, Juxtaposed images, Different meanings arose |
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Eisenstein’s Montage Theory |
Sergei Eisenstein, use of contrasting shots to create meaning |
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Fades (transition) |
Introduces or ends scene |
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Dissolves (transition) |
a gradual transition from one image to another. |
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Jump Cuts (transition) |
an abrupt transition from one scene to another. |
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Match Cuts (transition) |
from one shot to another where the two shots are matched by the action or subject and subject matter. |
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Wipes (transition) |
Pushing one image to the next. |
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Irises (transition) |
in/out, like the opening or closing of the iris around the image |
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Master Shot Technique |
eyeline, 180 degree rule, shot/reverse shot |
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Fast Cutting vs. Slow Cutting |
Lots of energy, short average shot length vs Longer ASL, long takes |
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ASL (Average Shot Length) |
cinemetrical measure of the average shot length in a film |
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Running Time |
Length of the actual film |
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Story Time |
The canon timeline of the story |
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Motion (Fast & Slow) |
Slow motion, time-lapse/fast action |
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Silent Films |
A film without dialogue, sometimes with live music |
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The Jazz Singer (1927) |
First film with synchronized sound |
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Music Videos |
Films supporting music |
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Sound |
Noises in the film (dialogue, music, background noises, sound effects, etc) |
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Narration |
(voiceover) Provide background and set the tone of the film, Reveal character insight and development |
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Dialogue |
Drives the story, character development |
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Music |
Instrumentals, vocals, cinematic music, musical numbers, intertextuality |
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Silence |
lack of sound in a scene or film |
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Sound Effects |
Sound made by objects (eg. Glass falls off table and breaks), Sounds made by people (eg. High heels on concrete) |
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Ambient Sound |
Trees blowing in the wind, HVAC system in a house, cityscape noise |
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Foley |
Recreating sound effects for films |
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Sound Motif |
A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film |
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Leitmotif |
A sound motif that refers to the musical score or composition |
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Hyper-real Sound |
Exaggerated sounds (usually sound effects) to achieve a certain effect |
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Contrapuntal Sound |
Music that contrasts with the content of a scene (eg. Dancing during torture scene in Reservoir Dogs (1992)) |
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Pitch |
Based on frequency, pitch can change the tone or mood of a scene |
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Diegetic vs. Non-Diegetic Sound |
Diegetic: Sound with a visible or implied source in the scene Non-Diegetic: Sound without a visible or implied source in the scene |
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Synchronous vs. Asynchronous Sound: |
Synchronous: Sound matching visuals Asynchronous: Sound does not match visuals |
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Straight Cut (sound) |
Most common for cutting between scenes, sometimes used in a jump-cut |
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Sound Dissolve |
Similar to cross-fade, one sound fading to the next |
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Sound Fades |
Commonly used in music |
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L Cut or J Cut |
Sound bridge used for transitions |
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Documentaries |
a film or video representation of actual (not imaginary) subjects. |
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“Mediated Reality” |
The film acts as an intermediary between the subject and the audience |
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Expository Documentaries |
Proposing a strong argument and point of view to the viewer. Often shown with narration. |
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Observational Documentaries |
Simply and spontaneously observe life with a minimum of intervention. Fly on the wall. |
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Poetic Documentaries |
Experimental editing and filming techniques tell a story that surpasses objective reality |
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Participatory Documentaries |
Filmmaker is a part of the world. Emphasizes the interactions between filmmaker and subjects. |
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Reflexive Documentaries |
Draw attention to their own constructiveness, and the fact that they are representations. (Example: Mockumentaries) |
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Performative Documentaries |
Stress subjective experience and emotional response to the world from the filmmaker. |
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Character Driven Documentaries |
Uses the individual's story as a means to explore broader abstract/social stakes (ex: Grizzly Man) |
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Subject Driven Documentaries |
Not following a character, following a general subject. |
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Nanook of the North (1922) |
Silent documentary on Eskimos from Northern Quebec. Filmed twice because of lost footage. The second time it was filmed, a lot of the “real life” scenes were staged (ex: Eskimos no longer hunted with spears, but they did in this film) causing an uproar. |
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Man with a Movie Camera (1929) |
1929 Silent Experimental Feature Film by Dziga Vertov about Russia from day to night. Shows the filmmaking process. |
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Traditional “Documentary Style” |
Handheld (shaky), on location (no sets), natural lighting, zoom (Telephoto lens), grainy (if shot on film) |
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Talking Heads |
an interview where only the person's head and shoulders are visible to the camera |
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Action Interviews |
the interview plays over the footage without the person directly talking to the camera. |
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B-Roll |
visuals played over top of interview footage |
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Reenactments |
staged events using actors to reenact a moment of time |
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Archival Footage |
film or video footage that is archived so it can be used again in other films. |
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Narrative |
A representation of unified events (happenings and actions) situated in one or more settings. A story or account of events, experiences, or the like, whether true or fictitious. |
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Plotlines |
different stories within a complex narrative |
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Narrative Types |
Human vs. Human Human vs. Himself/Herself Human vs. Nature Human vs. Society Human vs. God Human vs. Machine |
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Exposition |
information that sets up the beginning of the plot |
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Rising Action |
series of incidents leading to the climax |
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Climax |
the peak of action in a film (the “showdown,” or “turning point”) |
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Falling Action |
conflict and tension unravel |
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Denouement |
the events at the end of the film – the conclusion |
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Closure |
clear consequences of events and ending |
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Present |
Current or normal time |
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Flashback |
Jumping back in time |
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Flash-forward |
Jumping forwards in time |
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Chronological Time |
Starting with the earliest and following the order in which they occurred |
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Non-Chronological Time |
Shots/scenes are placed in a different arrangement than the order they occurred in |
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Fabula |
Putting non-chronological events into a chronological sequence |
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Satire (narrative style) |
Use comedy to chide, inform or reform |
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Parody (narrative style) |
A comedy based on a serious film |
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Black Comedy(narrative style) |
A comedy that deals with dark subjects, like death |
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Magical Realism(narrative style) |
Using unrealistic events or happenings in an otherwise realistic story |
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Realism (narrative style) |
Realistic story/setting with either unobtrusive or documentary style camera work |
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Surrealism (narrative style) |
Surrealist cinema is characterized by juxtapositions, the rejection of dramatic psychology, and a frequent use of shocking imagery. (ex: Salvador Dali film) |
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Experimental Cinema |
Rejects conventions used in mainstream cinema, explores the possibilities of the film medium, ahead of its time, relies heavily on self-expression, remains largely or entirely free of the limitations placed on commercial films |
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Un Chien Andalou (1929) |
A 1929 silent surrealist short film by the Spanish director Luis Buñuel and artist Salvador Dalí. (match-cutting with the moon and the woman’s eye, man on the street, crowd of people) |
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Meshes of the Afternoon (1943) |
1943 silent film directed by Maya Deren, music added later by husband Teiji Ito. (woman with the flower and knife, surreal) Deren is the early pioneer of screendance. |
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Persona (Intro, 1966) |
1966 feature film, directed by Ingmar Bergman. (Hybrid film, found footage) |
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Screendance |
a merging of film and dance where the camera and movement work together to evoke a kinesthetic response |
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SHUNPO (2013) |
Screendance film about a woman in an office, when she dances she escapes |
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Installation Art |
Works of art that usually consist of multiple components exhibited in a carefully chosen space in an arrangement specified by the artist. |
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Hybrid Films |
A film that incorporates both traditional narrative elements & experimental elements |
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Non-Commercial Films |
Films not made to sell or promote something. (story, theme message, idea) |
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Short Narrative |
fiction film that tells a story |
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Short Animation |
short, animated film |
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Mini-Docs |
short documentary |
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Commercial Films |
Films made to sell or promote something |
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Advertisements |
Made to sell a product (ex: Adidas commercial) |
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Trailers |
Promote a new film coming out |
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Fashion Films |
Promote a new fashion line or brand |
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Animation |
not a genre…it is a filmmaking technique |
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2D animation |
“Traditional Animation,” hand-drawn, computer assisted |
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3D animation |
“Computer Animation,” CGI: Computer Generated Images |
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Stop-Motion (Different Types) |
Claymation (Wallace & Gromit), Puppet Animation (Corpse Bride), Cutout Animation (South Park), Model Animation (King Kong) |
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Cel Animation |
Overlaying transparent sheets, or “cels,” with images on them in order to avoid constantly re-drawing images (Character Cel, Background Cel) |
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Rotoscoping |
Animators trace live-action movement frame by frame (e.g. Waking Life) |
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Magic Lantern |
a device having an enclosed lamp and a lenslike opening, formerlyused for projecting and magnifying images mounted on slides orfilms. |
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Motion Capture |
Record motion data → Animation |
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Hayao Miyazaki |
Japanese Film Director/Animator, Recurring Themes: Strong Young Women; An Interest in Nature (and Flying); Contempt for War; Complex, Interesting Villains |
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Ma |
Importance of intervals, gaps, spaces, silence Yasujiro Ozu - trains, ships, laundry in the wind… The gaps make the meaning |
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Independent Film |
feature film that is produced mostly or completely outside of the major film studio system, including producing and distribution with a low production budget. |
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Easy Rider (1969) |
1969, co-written, directed and starred Dennis Hopper. Two Harley riding Hippies, traveling cross-country to search for spiritual truth. First film to feature hippie culture and explicit drug use in America during the time Groundbreaking soundtrack featuring rock music as well as original songs made for the film Experimental/avant-garde editing for its time |
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The Puffy Chair (2005) |
2005, written and directed by Mark and Jay Duplass. A musician wins a vintage recliner on Ebay, who drives from NYC to Atlanta with his girlfriend and brother to pick up chair and runs into problems on the journey. Early mumblecore film featuring non-professional actors Mark Duplass, his wife, Katie Aselton, and Rhett WilkinsCharacters lack to develop throughout the storyOne of the first and early feature films recorded on digital rather than film with a docu-style presence |
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Tangerine (2015) |
2015, directed and written by Sean S. Baker. Comedy-drama following a transgender sex worker who discovers her boyfriend and pimp has been cheating on her.The film was entirely shot on 3 iPhone 5S smartphones Lead actors, Kitana Kiki Rodriguez and Mya Taylor had no major acting experienceOne of the few films focusing on the sex trade subculture in LA |
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Indie Film |
Indie is the genre, and independent is the film itself |
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Themes/Characteristics |
(Mostly) Character development rather than story development; Ensemble cast v. Central character; Exploring Race, Gender, Identity; Experiencing personal or social issues; Writing Style; Indie Music |
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Style |
Heavily coordinated color palette; Use of expressive &/or experimental camera angles; Documentary-style elements; B or C-List Celebrities, Non-professional actors, Up and coming actors |
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Mumblecore |
a style of low-budget film typically characterized by the use of nonprofessional actors and naturalistic or improvised performances |
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Sundance Film Festival |
1978, known as the Utah/US Film Festival to attract filmmakers to Utah, Most renowned film festival in the world, Allows Hollywood executives to explore fresh and new titles for larger audiences, Creates crossovers for the Academy Awards |
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Sofia Coppola |
dir. of Lost in Translation |
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David Lynch |
dir. of Lost Highway |
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Sophia Coppola style |
Style: Highly prone to pastel color palettes, Use of empty/loose framing, Camera gaze & subjective camera, Similar to Wong Kar-Wai: Equal parts image, equal parts music, Use of lack of dialogue |
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Sophia Coppola Characters and Actors |
Actors/Characters: Mostly works with the same actors within an ensemble cast, Main characters are usually lost in a world suffering from an existential crisis, Search for identity |
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David Lynch Style |
Soundscapes - Takes his time on setting a mood journey rather than rushing through the story, Creating aural depth to scenes with subtleties, Use of silence, Highly reliant of ambient soundscapes within nighttime sceneries. Music - Makes music within the experimental rock, ambient soundscapes, and electropop genres (Chrysta Bell), Created music for most of his own productions, Collaborated often with electronic-synth musicians Angelo Badalamenti & Julee Cruise for films & studio albums |
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David Lynch Themes |
Dream-like/Surreal narrative plotlines, subconscious, Magic realism intertwining with the everyday, Juxtapositions with the humble small-town Americanacoupled with the psychosexual and surreal nature, Open-ended stories, Deformity, Corrupted society, Death from head injury, 1950s American Subculture, Female Leads with multiple or fractured identities, Absence of identity |
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David Lynch Films |
Eraserhead (1970), Blue Velvet (1986), Inland Empire (2006) |
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Sherlock Jr. |
Silent, black and white film. Experimental editing for the time. Comedy. (Hollywood) |
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Rear Window |
Hitchcock film. Strong female character. Intricate set design. Voyeurism. Mystery and suspense. (Hollywood) |
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The Shining |
Kubrick film. Use of color to represent characters. Framing and reflections. Mise-en scene. Hotel as a character. (Hollywood) |
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Manhattan |
Black and white Woody Allen film. Lots of intricate dialogue. Camera movement (tracking shot). Lighting (museum scene). (Hollywood) |
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City of God |
Editing of scenes, action sequences, and color grading. Cinematography. Chicken metaphor and gangsters. Rocket’s camera. (Hybrid) |
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Barton Fink |
Hyper-realistic sound. Hotel as a character. Metaphor for hell. Commentary on Hollywood as an industry. Coen Brothers classic. (Hollywood) |
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ChungKing Express |
Wong Kar-Wai film. “California Dreaming”. Editing and passing time (time-lapse). Expiration. Open-ended ending. (Narrative) (Hybrid) |
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Grizzly Man |
Documentary film. Found footage. Unbiased, informative view of Timothy Treadwell’s bear activities. (Documentary) |
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All’s Fair |
Tells a short story. Relationships. Comedic. (Short Film) (Hollywood)Omelette - Short animated film. Uses animation to depict fantastical events (dog making omelette). Comedic. (Short Film) |
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Ronald |
Short animated film. Dark humor. Mixed media (live action film and animation). Comedic. (Short Film) |
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Log Off |
Experimental short film. Experimental editing. Strange images. Seclusion. (Short Film) (Experimental) |
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I Hate Dancing |
Short film with dialogue played over footage. Talks about hating dancing ironically. (Short Film) (Screendance) |
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Adidas Commercials |
Short films to promote Adidas shoes. Told through animal imagery in one, and editing in the other. (Short Film) (Commercial) |
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H&M Come Together |
Wes Anderson short film. Tells a short christmas narrative. Promoting the H&M brand. (Short Film) (Commercial) |
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LIARS X CRY BABIES |
Fashion film. Lots of shots depicting characters (in the clothes) doing “cool” activities. (Short Film) (Commercial) |
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Nikes |
Experimental editing. Music video. Depicting money culture and black subculture. (Music Video) (Short FIlm) (Experimental) |
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Dogwalker |
Short film telling a fictional story. Dark comedy. Quick punchline. Open ended. (Short Film) (Hollywood) |
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La Jete’e |
French film told mostly through still photos. Black and white. Post nuclear war. Time loop. (Experimental) |
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Spirited Away |
Miyazaki film. Strong female character. Change. Environmentalist. (Hollywood) |
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Lost in Translation |
Coppola film. Transcendentalism (The everyday, Disparity, Stasis). Subtle character growth. (Hybrid) |
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Lost Highway |
Lynch Film. Surrealist feeling. Deformity. Dual identities. (Experimental/Hybrid) |
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Phillips defines the documentaries as “mediated reality”. Explain the meaning of “mediated reality” as it relates to documentaries. What makes a documentary objective or subjective? How “real” is Grizzly Man? |
Phillips’ definition of “mediated reality” gives the documentary film the role of an intermediary between the subject and the audience. Objective documentaries simply give facts, while subjective ones convey the director’s opinion on the subject matter.It is “real” in that the subjects and footage are real, but the views of the topic are told through the lens of other people. |
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What is the importance of independent filmmaking? Explain what themes the genre explores and why it is popular in today’s modern age. |
The importance of independent filmmaking is that it gives a forum for directors to express their views in. It is a way to convey ideas, cultures, narrative film expressions, and different voices from many different cultures and connecting them to one another. The exploration of themes like gender, personal identity, and struggles within social classes resonate with modern people looking to see something outside of conventional film genres. |
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Provide your own definition for experimental cinema, narrative Hollywood cinema, and hybrid films. Then place one of the films we have watched this semester into one of those three categories, and explain in detail why it fits one of these categories better than the others, using examples from the film. |
Experimental - A style of film that defies Hollywood/mass media film conventions and explores alternative modes of storytelling. Hollywood Narrative- A style of film that works within the bounds of classical narrative continuity.Hybrid- A style of film that incorporates ideas from both Hollywood Narrative and Experimental styles. |
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Barton Fink, Chungking Express, and Lost Highway all use sound in very different ways. Pick two of these films. Then compare and contrast the role of sound in the two films you pick. |
Barton Fink- Uses hyper realistic sound to amp up tension; diegetic noise from play stage and typewriter; the sound of water; atmospheric sounds; sounds reflect Barton Fink’s inner turmoil. Chungking Express- Diegetic music from radio (California Dreamin); expresses character personalities and desires. Lost Highway- Uses silence; hyper realistic sound; sound motifs of Jazz music for Fred; rock and roll sound motif for Pete; experimental music; ambient soundscapes. |
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Recurring metaphoric images are carefully used in The Shining, Barton Fink, and Lost in Translation represent a certain state of mind amongst the main character(s). Pick one of the films and explain how repetition is used throughout the film. Why does the film use repetition? Does it use this tool effectively? |
The Shining - Mazes (The hotel, the big hedge maze, maze diorama), Color shifts (Blue to Red) (Jack- Red rooms, pink/gold bar as a conduit between worlds, red hallways) (Danny- shift to indicates his shift between himself and Tony) (Wendy- used to show the shifts in lies and truth), Reflections (mirror in the bedroom, mirror in the bathroom, window) Used to show Jack’s duality in personality. Barton Fink - The beach/ocean/water (the picture on his hotel wall, walking on the beach) represents unattainable ideologies, Decay of the hotel/mind (wallpaper peeling off), Lost in Translation - Insomnia (Disconnect with the time and place that they’re in); the bar/alcohol (transitional space); Phones/fax machines (communication only on the surface, partners no longer need them.) Messy rooms (messy mentality, chaos in relationships) Windows (desire, freedom, but also a barrier, reflection) Advertisements (seeing an image of himself in different spaces, public view vs his own perception of himself) |
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How does La Jete’e ‘s photographic storytelling add context to the narrative? Explain why the director focuses on a specific ASL. How would the film be different if executed in a live action layout? |
La Jete’e’s photographic storytelling adds context by showing us snapshots of the story. We see the film as memories in this sense, and memory is an important concept in the film. The main character has the memories of a woman and a man’s death from a long time ago, and when we only see these moments as the viewer, it connects you to the main character. We see how he would remember it. Every moment becomes more important, and moments where the ASL is higher, such as the moment the woman wakes up, become even more precious and important. If the film was live action, it wouldn’t have the same sense of memory and what is or isn’t important. You wouldn’t be seeing snapshots anymore, so that connection shared between the viewer and the main character would be lost. |