History Of Media Arts 2

Front 1

What does documentary use to persuade viewers?

Back 1

Rhetoric

Front 2

Syllogism

Back 2

Deductive reasoning

Front 3

Rhetoric

Back 3

Anecdotal, impressionistic, selective, utilizes faulty syllogism

Front 4

Indexical Relationship

Back 4

Describes the way in which images produced by a lens seem to be a copy of reality; MEANING requires INTERPRETATION

Front 5

Three Principles of Rhetoric (from Ancient Greece)

Back 5

Credibility of Filmmaker, Convincing Argument(s), Compelling Form

Front 6

What are the 6 modes of documentary?

Back 6

Expository, poetic, observational, participatory, reflexive, and performative

Front 7

Expository

Back 7

"Voice of authority" explains the issue/tells the story/argues the point

Front 8

Poetic

Back 8

Links avant-garde with documentary content; form and pattern over argument

Front 9

Observational

Back 9

Direct Cinema with continuity of time and space; presented as if the events are going to occur with or without the camera there

Front 10

Participatory

Back 10

Cinéma Vérité, concurrent to observational, however filmmaker is overtly a part of the action

Front 11

Reflexive

Back 11

Overt intellectual engagement with the form of cinema, draws attention to conventions of film

Front 12

Performative

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Emotional experience is privileged; form conveys emotion, asks viewer to feel what something would be like

Front 13

Direct Cinema

Back 13

1958-1962, "reality" and the media, editing gives shape and meaning, records events until subjects/audience are unaware of the camera ("fly on the wall")

Front 14

Neo Noir

Back 14

Uses conventions of Film Noir but with updated content, themes, and visual style

Front 15

What are Genre Films?

Back 15

A group of films based on common stylistic and thematic features that become conventions

Front 16

What are the two categories of Genre Films?

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Public Sphere and Private Sphere

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Public Sphere

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Film addressing the social, political, and cultural order, Masculine

Front 18

Private Sphere

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Film addressing the domestic order, interpersonal relationships, and family, Feminine

Front 19

Condensation

Back 19

Placing a variety of values and meanings onto a singular signifier; giving something that would usually not carry as much weight, more meaning than normal

Front 20

Displacement

Back 20

Shifting attention from the most troubling aspect of a volatile social issue to a less troubling manifestation of it

Front 21

Realism

Back 21

Genre films, usually supports dominant paradigm or ideology, naturalizes the film's way of seeing the world

Front 22

Modernism

Back 22

Storytelling process is evident, fragmentation of reality

Front 23

Postmodernism

Back 23

Draws attention to itself as a creation, questions individualism, allusion, citation

Front 24

Ideology

Back 24

A body of doctrine, myth, belief etc. that guides an individual, social movement, institution, class, group, etc. in how to behave; internalization of one's place in the world

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Dominant Ideology

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Single view of the world that prevails, upholds existing hierarchies

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Alternative Ideologies

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Belief systems that differ from Dominant; arise from individuals and groups who do not fit within Dominant (Resist- Challenge- Subvert)

Front 27

Conventions

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Patterns of organization used frequently in film that most viewers understand and expect to encounter; used to create continuity

Front 28

Continuity

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Considered standard editing style, smooth flow, story (content) takes priority over the mechanics of storytelling (form)

Front 29

Sign

Back 29

Smallest meaningful unit of communication and is comprised of the signifier and signified

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Signifier

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What is materially presented to the viewer (seen/heard)

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Signified

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Meaning assigned to an image by the viewer

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Referent

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The actual thing to which a sign refers outside of the language in which the representation has been created; external to the film

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Paradigmatic Axis

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Possible "shots"; relationship among linguistic elements that can replace one another

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Syntagmatic Axis

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Sequence of actual "shots"; relationship among

Front 35

Match Editing

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Element from one shot carried over to the next (action, screen direction, graphic)

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Discontinuity Editing

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Brings attention to the edit, de-stabilize the viewer, can sometimes create a "dreamlike" appearance; montage is a subset, jump cuts

Front 37

Diegetic sound

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Sound whose origin is from within the story world

Front 38

Non-diegetic sound

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Sound whose origin is from outside the story world (i.e. Voiceovers)

Front 39

Episodic storytelling

Back 39

Characters have greater depth, story expands over years, pace is rapid, exploration of subject matter can be more extensive

Front 40

3 main qualities of episodic storytelling

Back 40

Episodic characterization, long narrative, collaboration

Front 41

Episodic Characterization

Back 41

Arc is different than the film arc: characters are more related to "real" people- you continue to know them, exploration of internal conflicts that create tension

Front 42

Long narrative: Anthology

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Free-standing story every week, unconnected other than by the framing (X-Files, SPN)

Front 43

Long narrative: Series with closure

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Continuing main cast, new situations that conclude at the end of each episode (i.e. procedurals)

Front 44

Serials

Back 44

Drama that has a story continuing across many episodes in which main cast develops over time

Front 45

Drama series act structure

Back 45

Typically 4 acts (can be up to 5 or 6), commercial breaks every 12-15 minutes and provide grid for structuring the episode

Front 46

One Hour Drama Structure

Back 46

Parallel storytelling or A-B-C Stories; not subplots, but independent stories. A is largest/most resonant, B is second, C is final and provides comic relief often (i.e. Grey's Anatomy)