Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
14 Cards in this Set
- Front
- Back
|
Fluff
|
an almost inpercetible error (such as a mispronunciation, faulty grammar, hesitation, repetition, or omission) in an actor's delivery of a line.
|
|
|
Given Circumstance
|
all the details about character, relationships, locations, etc., that can be gleaned from the script.
|
|
|
High Concept Idea
|
a script or proposed project's central concept expressed as a pithy slogan for purposes of pitching or marketing
|
|
|
Hollywood Continuity Style
|
a set of storytelling assumptions and film making rules that guide mainstream commercial filmmaking in Hollywood and many other places in the world
|
|
|
Line of intimacy
|
the point in a scene at which the director chooses to shoot in closeup to bring the viewer into a more intimate relationship with a character.
|
|
|
Lip-sync
|
the matching of recorded dialogue with the visible moment of an on-screen character's lips
|
|
|
The magic if
|
the technique originated by Russian director/actor/teacher Konstaintin Stanislavski (1863-1938) to help actors identify with a character. Utilizing this technique, and actor (or a director or writer) asks herself, 'what would I do and how would i feel under these circumstances if I were this character?"
|
|
|
Mark
|
a pisition on the set where an actor is suppose to start or end a movement or perform an action or deliver a line. Often indicated by pieces of tape on the floor, this position is the exact spot on the set at which the actor will be properly in frame and in focus and will maintain continuity with other tasks of the scene. Moving to a mark at the appropriate time is called 'hitting' a mark.
|
|
|
The Method
|
an interpretation of the acting theories of Konstantin Stanislavski developed by American actor/teacher Lee Strasberg (1901-1982) at the Actor's studio during the 1950's-1960's. It emphasized, among other techniques, the use of emotion (or affective) memory as a means of approaching a character. Strasberg's method (and the many off shoots it spawned) has been prominent American film-acting style since the 1950's. Among the many notable early practitioners of Method acting were James Dean, Marlon Brando, Julie Harris, and Montgomery Clift
|
|
|
Objective
|
that which a character strives to achieve in each beat and in each scene (super-objective) and in the complete story (spine). Objective provides actors, directors, and writers with motivation for actions.
|
|
|
Obstacle
|
a specific object or action that provides resistance the thus prevents a character from attaining her goal or objective. An obstacle mgith be a wall that gets in a character's way or the threatening posture of the soldier who is guarding it.
|
|
|
Parallel Storytelling
|
a dramatic form in which two or more plots/stories of somewhat equal importance are advanced simultaneously. In film and video this is accomplished by cutting back and forth between them. Ex: silence of the lambs with Clarice and the FBI agents arriving at the house
|
|
|
Scene
|
a continuous event that takes place in one location
|
|
|
Screen Direction
|
the direction that characters or objects move across the screen frame. Maintaining screen direction is important if one is to maintain the scene's continuity
|
