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42 Cards in this Set
- Front
- Back
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the process in which we examine a number of media elements […] how they interact, and our perceptual reactions to them
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applied media aesthetics
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our tendency to organize a scene into figures that lie in front of a background and perceiving the background as more stable than the figures
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figure/ground principle
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our tendency to see only events we are interested in and/or that seem to confirm our perceptual expectations and prejudices
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selective seeing
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an automatic reduction of unnecessary details during the perception process
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selective perception
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radiant energy that behaves as electromagnetic waves
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light
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the deliberate manipulation of light and shadows for a specific communication purpose
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lighting
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a shadow on the object itself; it cannot be seen independent (detached from) the object.
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attached shadow
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a shadow produced by an object and thrown onto a surface (part of the object itself or another surface).
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cast shadow
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the brightness contrast between the light and shadow sides of an object
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falloff (contrast)
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the speed (degree of change) with which the brightest part of an object turns into dense shadow.
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falloff (rate of change)
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means the lighted area changes abruptly into dense shadows; the contrast is high
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fast falloff
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means that a gradual change is taking place and very low (if any) contrast exists between light and shadow areas
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slow falloff
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is lighting for light/dark contrast (fast falloff) to emphasize volume and specific areas
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chiaroscuro lighting
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Chiaroscuro lighting emphasizes what two things?
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volume and specific areas
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omnidirectional illumination from no particular source. The falloff is slow or nonexistent
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flat lighting
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specific wavelengths within the visible light spectrum, which we interpret as various hues
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color
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the color attribute that indicates the actual color of an object.
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hue
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the color attribute that indicates color richness/strength. aka chroma
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saturation
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the color attribute that indicates how light or dark a color appears in a black-and-white photograph. Indicates how much light is reflected from a colored surface. aka value and lightness
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brightness
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the mixing of color light; usually, the mixing of the light primaries -- red, green, and blue (RGB)
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additive color mixing
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the mixing of color pigments or filters; these filters subtract (block) certain colors while passing others. Usually, the mixing of paint primaries cyan, magenta, and yellow (CMY).
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subtractive color mixing
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In desaturation theory, the more desaturated the colors of a scene, the more _____ it becomes and the viewer is is compelled to participate. It also renders the scene _____
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internal; low-definition
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the relationship of screen width to screen height; 4x3 (1.33:1) for standard video screen, 16x9 (1.78:1) for HDTV
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aspect ratio
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the pull that the frame (screen edges) exerts on objects within the frame (screen)
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screen magnetism
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a precisely defined screen area -- such as a person or an object -- that is seen as a figure against a ground. The more screen area the figure occupies, the heavier this is.
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graphic mass
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a perceivable force with a direction and a magnitude. Also, any aesthetic element that leads us into a specific space/time -- or even emotional -- direction.
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vector
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a vector created by lines or by stationary elements arranged in such a way as to suggest a line. They indicate a directional tendency (horizontal, vertical, curved, etc.) but have ambiguous directionality
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graphic vector
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a vector created by someone looking or something pointing unquestionably in a specific direction.
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index vector
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a vector created by an object actually moving in a specific direction or an object that is perceived as moving on the screen. A photograph or drawing of an object in motion is an index vector but not a motion vector.
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motion vector
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the space in front of a person looking or pointing toward the edge of the screen
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noseroom
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the space in front of a person or an object moving toward the edge of the screen -- basically, noseroom for motion vectors
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leadroom
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the relative structural stability of objects or events within the screen
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balance
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What are the two types of balance?
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static (stable and unlikely to change) and dynamic (asymmetrical and less stable)
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a variation of the golden section, wherein the screen is divided into three horizontal and three vertical fields and placing a subject where a vertical and horizontal line intersect
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rule of thirds
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taking a minimal amount of clues and mentally filling in nonexistent information to arrive at stable, easily manageable patterns
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psychological closure
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applying psychological closure using on-screen cues that do not project the image into off-screen space
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premature closure
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places on the body that you should NOT have coincide with the top or bottom edge of a frame because they cause premature closure
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natural dividing lines
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moving from event detail to a general overview to create the overall event in the perceiver’s mind
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inductive reasoning
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moving from overview to event detail
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deductive reasoning
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the territory a shot includes, ranging from extreme long shot (ELS) to extreme close-up (ECU).
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field of view
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involves selecting significant event details and sequencing them into a comprehensive whole -- building a screen event
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editing
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a shot of an object or an event that is peripherally connected with the overall event and that is (ideally) neutral as to screen direction. Used to intercut between two shots in which the screen direction is reversed.
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cutaway
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