Sac 236 Final

Front 1

narrative

Back 1

a chain of events in cause-effect relationship occurring in time and space, the plot's way of distributing story information to achieve certain effects

Front 2

parallelism

Back 2

used to present similarity between different narrative elements

Front 3

story

Back 3

all the events in the narrative, both the ones explicitly presented and the ones the viewer infers

Front 4

diegesis

Back 4

the total world of the story action

Front 5

plot

Back 5

everything visibly and audibly present in the film to the viewer, can include material that is outside of the film world

Front 6

agents of cause and effect

Back 6

characters

Front 7

setup

Back 7

first quarter or so of a film

Front 8

unrestricted/omniscient narration

Back 8

when the viewer sees, hears, and knows more than any of the characters can

Front 9

restricted narration

Back 9

withholds information from the viewer, restricting it to just what a certain characters sees, hears, or knows

Front 10

mental subjectivity

Back 10

when the viewer is subject to the thoughts and knowledge of a character's mind

Front 11

relatively objective plot

Back 11

confined to the external behavior of characters

Front 12

perceptual subjectivity

Back 12

visual or auditory cues from the point of view a character

Front 13

narrator

Back 13

some specific agent who purports the story, may or may not be a character in the story

Front 14

classical Hollywood cinema

Back 14

narrative form that has dominated fictional filmmaking because of its lengthy, stable, and influential history

Front 15

counterforce in classical narrative

Back 15

an opposition that creates conflict

Front 16

classical narrative focuses on__ because__:

Back 16

personal psychological causes: decisions, choices, and traits of character because narrative depends on the assumption that the action will spring primarily from individual characters as causal agents

Front 17

appointment

Back 17

motivates characters' encountering each other at a specific moment

Front 18

deadline

Back 18

makes plot duration dependent on the cause-effect chain

Front 19

three aspects of narration

Back 19

representation, structures, act

Front 20

representation

Back 20

how narration refers to or signifies a world or body of ideas

Front 21

structures

Back 21

how narration serves as framework for components that create a whole

Front 22

act

Back 22

how narration is presented as a story to a perceiver

Front 23

elements of the classical Hollywood film

Back 23

individuals struggling to solve a problem or to reach a certain goal, most of time goal is deadline, plot advanced through conflict, story generally ends with resolution to the main conflict, tends to have omniscient narration, generally follows some chronological order

Front 24

exposition

Back 24

introduces time, place, and characters

Front 25

types of documentary

Back 25

compilation, talking-heads, direct-cinema, nature, portrait, synthetic

Front 26

types of form in documentary films

Back 26

categorical, rhetorical

Front 27

categorical form

Back 27

categories provide the basis for organizing the film's form, patterns of development usually simple, often begins by identifying the subject

Front 28

rhetorical form

Back 28

the filmmaker presents a persuasive argument, arguments from source, subject-centered arguments, viewer-centered arguments

Front 29

animated films

Back 29

distinguished from live-action films by the unusual kinds of work done at the production stage

Front 30

types of animation

Back 30

drawn animation, cut-outs, 3-D objects shifted and twisted frame by frame to create moving collages, computer imaging

Front 31

cels

Back 31

clear rectangular sheets of celluloid; characters and objects can be drawn on different cels and then layered on top of opaque painted setting; whole stack is the photographed

Front 32

full animation

Back 32

lots of movement and detailed drawing styles

Front 33

limited animation

Back 33

only small sections of image moving from frame to frame

Front 34

clay animation/claymation

Back 34

sometimes involves modelin clay but more often uses Pasticine

Front 35

pixilation

Back 35

frame-by-frame movement of people and ordinary objects

Front 36

rotoscoping

Back 36

a technique that uses a rotoscope, a machine used to project live-action fottage frame by frame onto a drawing board so that an animator can trace the outline of the figures

Front 37

abstract form

Back 37

organizes film around colors, shapes, sizes, and movements in the images

Front 38

types of form in experimental films

Back 38

abstract form, associational form, French New Wave, sometimes narrative form

Front 39

associational form

Back 39

poetic series of transitions, suggest expressive qualities and concepts by grouping images that may not have any immediate logical connection

Front 40

convergence

Back 40

the combining together of different technologies into one technological source

Front 41

black box fallacy

Back 41

all media will eventually flow from a single black box into our homes; it will be one unit

Front 42

problem with black box fallacy

Back 42

people want many technologies and gadgets, but with black box fallacy relies on idea that it will be all in one system

Front 43

key aspects of new media

Back 43

do it yourself medium, surveillance, distance/proximity, ubiquitous computing, gaming, cryptography, audio/video, peer to peer/social networking

Front 44

ubiquitous computing

Back 44

kind of technology you're not supposed to notice but is all around you

Front 45

perceptual realism

Back 45

photorealistic images yet they are impossible in the real world/achieved with special effects

Front 46

digital backlot for film production

Back 46

using CGI as opposed to matte paintings of the past

Front 47

fan film culture

Back 47

involves amateur filmmakers and media texts they admire