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60 Cards in this Set
- Front
- Back
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ancillary markets
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all of the nontheatrical markets from which a film distributor derives revenue, these include home video, cable television, and foreign markets
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blockbuster
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a hugely profitable film usually featuring a fantasy theme and a narrative heavily dependent on special effects
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diversification
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a corporate structure in which a company conducts business operations across a range of associated markets and product categories
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domestic theatrical market
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film market of United States and Canada
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gross
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the total box office revenue generated by a film before expenses are deducted
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homage
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a reference in a film to another film or filmmaker, the climatic gun battle on the train station steps in Brian de Palma’s The Untouchables (1987) is a homage to Sergei Eisenstein’s The Battleship Potempkin (1925), which features the famous massacre on the Odessa steps
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limited-release market
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the theatrical distribution of independent film, typically on a smaller scale than the release market for major studio productions
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majors
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the large studio-distributors that fund film production and distribute films internationally, collectively these companies constitute the Hollywood industry, they are Columbia Pictures, Warner Bros., Disney, Paramount, 20th Century Fox, and Universal (at one time also MGM/UA)
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negative cost
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accounting term for the expenses incurred by a film production, excluding the cost of advertising and publicity
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product tie-ins
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products marketed in conjunction with the release of a blockbuster film, for example, a Jurassic Park video game, these products often bear the logo or likeness of the characters in the movie
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product placement
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the appearance of products on screen as part of a film scene, these appearances are advertisements for which the merchandiser pays a fee to a product placement agency, film production companies derive revenue from these fees
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profit participants
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an individual who is contractually entitles to receive a portion of a film’s profits, this is often a star or director who receives a percentage of gross revenue, a practice known as taking points
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rentals
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accounting term for the revenues returned to a film distributor
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attributional errors
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mistakes of interpretation that arise when a critic erroneously decides that some effect in a film has a meaning expressly intended by its creators or incorrectly assigns the creative responsibility for an effect to the wrong member of the production crew, uncovering these errors typically requires documentation of a film’s production history
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criticism
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the attempt to discover and interpret the meanings and intentions of the film or filmmaker that extend beyond a film’s surface features
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deduction
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the method by which the critic works, using the general goals of the critical model to guide the search for supporting evidence
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description
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a stage in creating criticism wherein the critic fully describes those relevant features of narrative or audiovisual design on which the critical interpretation will be based
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framework of interpretation
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the intellectual, social, or cultural frames of reference that a critic applies to a film in order to derive an interpretation of that film
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general-interest journal-based criticism
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a mode of criticism that falls between newspaper/television reviews and the highly technical, scholarly criticism, in this mode, the critic can offer a more detailed and sophisticated discussion of a film’s structure and meanings than can newspaper/television reviews
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identification
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a stage in creating criticism wherein the critic selectively identifies those aspects of the film that are relevant for the critical argument being developed; the identification of selective film elements enables the critic to simplify and reduce the wealth of material in the film
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interpretation
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the assignment of meaning to a scene or film that it does not immediately denote
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latent meaning
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meanings that are indirect or implied by a film’s narrative and audiovisual design; they are not direct, immediately obvious, or explicit
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newspaper/television reviewing
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a mode of film criticism aimed at a general audience that performs an explicit consumer function, telling readers whether or not they should see the film being reviewed; film reviews presented as part of television news or review programs also belong to this mode
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rhetoric
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the use of language to persuade and influence others; film criticism is rhetorical activity
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scholarly criticism
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a mode of criticism aimed at a specialized audience of scholars, employing a technical, demanding vocabulary, and exploring the significance of given films in relation t issues of theory or film history
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auteurist film theory
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a model of film theory that studies the work of a film auteur (or author); directors are generally considered to be the prim auteurs in cinema; auteurist theory studies the films of a cinema auteur as works of personal expression
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blaxploitation
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the cycle of films that emerged in the early 1970s aimed at African-American audiences; most of the “blaxploitation” films were crime and action thrillers
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cognitive film theory
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a model of film theory that examines how the viewer perceptually processes audiovisual information in cinema and cognitively interprets this information
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deep-focus cinematography
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a style of cinematography that establishes great depth of field within shots; Gregg Toland’s cinematography for Orson Welles’s Citizen Kane is a classic example of deep-focus composition
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eyeline match
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the matching of eyelines between two or more characters who are engaged in conversation or are looking at each other in a scene, in order to establish relations of proximity and continuity; the directions in which the performers looks from shot to shot are complementary; that is, if performer A looks screen right in the fist shot, performer B will look screen left in the next shot
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feminist film theory
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a model of film theory that examines the images of women in film and issues of gender representation
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film theory
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a philosophical or aesthetic model that seeks to explain the fundamental characteristics of the medium of cinema and how it expresses meaning
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ideological film theory
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a model of film theory that examines the representation of social and political issues in film
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ideology
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a system of beliefs characteristic of a society or social community; ideological film theory examines the ways in which films represent and express various ideologies
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interpretive processing
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the viewer’s attribution of meaning to audiovisual information, as distinct from perceptual processing, which is the purely perceptual response to this information; film viewing involves both components; understood in terms of perceptual processing, a viewer watching a cross-cut sequence sees a succession of shots flashing by on screen as an alternating series; via interpretive processing, the viewer attributes a representation of simultaneous action to the alternating series; this attribution is not a meaning contained within the images themselves; it is the viewer’s contribution
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long take
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a shot of long duration, as distinct from a long shot, which designates a camera position
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perceptual processing
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the film viewer’s perceptual response to audiovisual information, as distinct from interpretive processing, which is the active interprestation of that information; film viewing involves both components; the viewer sees color, depth, and movement (perceptual processing) in cinema and may attribute particular meanings to those perceptions (interpretive processing); understood in terms of perceptual processing, a viewer watching a cross-cut sequence sees a sucession of shots flashing by on screen as an alternating series; via interpretive processing, the viewer attributes a representation of simultaneous action to the alternating series; this attribution is not a meaning contained within the images themselves; it is the viewer’s contribution
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perceptual realism
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the correspondence of picture and sound in cinema with the ways viewers perceive space and sound in the real, three-dimensional world
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psychoanalytical film theory
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a model of film theory that examines the unconscious, sometimes irrational, emotional, and psychological relationship between viewers and films or between characters within films
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realist film theory
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a model of film theory that seeks to explain how filmmakers may capture, with minimal distortion, the essential features of real situations and events
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schema
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this term derives from the psychology of perception and designates a mental category or framework used to organize information; applied to cinema, it helps explain the function of devices like the master shot, which provides viewers with a schema or map of a location and the characters’ positions within it; viewers use the visual schema provided by master shots to orient themselves to changing camera positions and to integrate partial views of a scene provided by close-ups
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taboo images
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imagery depicting forbidden or disturbing subjects, often of a sexual or violent nature
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voyeurism
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a basic pleasure offered by cinema, derived from looking at the characters and situations on screen
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Battle of San Pietro
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Huston, 1944: documentary of battle on Italian peninsula, real war footage, shows the bodies
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Listen to Britain
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Jennings, 1942: no narration, shows turmoil of civilian life during war
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The Front
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Woody Allen as cashier that poses as front for blacklisted Hollywood writers
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Pawnbroker
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Lumet, 1964: shows german expressionism, old man almost always seen behind a cave, flashbacks to concentration camp where wife was raped and beaten before his eyes
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She Done Him Wrong
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Sherman, 1931: Mae West movie, showed a strong feminine main character
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Blue Angel
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von Steinberg, 1932: speakeasy, actress showing off her legs, boys hiding from their teacher who has come to find them
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Cabinet of Dr. Caligari
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Wiene, 1919: german expressionism, lots of angles, very made-up, painted backgrounds
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Maltese Falcon
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Huston, 1941: film noir, prominent shadows like german expressionism, angles
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Mildred Pierce
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Curtiz, 1945: film noir, prominent shadows, strong feminine main character
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Sweet Smell of Success
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Mackendrick, 1958: film noir, shadows are similar, publishing firm
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Dead Men Don't Wear Plaid
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Reiner, 1982: spoof of film noir starring Steve Martin, play up the angles and the clothes and the heavy print at the beginning
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Bicycle Thief
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DeSica, 1947: Italian neo-realism, shows hard times the Italians were going through, shots of the city and family life
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Open City
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Rossellini, 1945: Italian neo-realism, shot of WWII and the germans as all-powerful tyrants ruining the Italians, kill in the priest
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La Strada
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Fellini, 1954: Italian neo-realism, destitute life of a beautiful girl sold to a circus, raped and beaten, finally runs away
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La Dolce Vita
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Fellini, 1960: lots of religious symbolism, the baptism scenes at the beginning and end, taking care of the cat
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Wild Strawberries
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Bergman, 1957: old man’s dream, like german expressionism, high angles, sees himself dead in a coffin, man with a squished face
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Into Great Silence
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Groning, 2007: religious symbolism
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