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99 Cards in this Set
- Front
- Back
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earliest films |
black and white, 24 fps, silent, outdoors/public buildings |
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color films |
started in the 20/30's, standard in the 40/50's |
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The Seventh Seal |
Bergman, subject matter of death |
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A History of Narrative Film (book) |
David Cook |
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different jobs in making a movie |
most important: scriptwriter, director, actors/actresses, photographer, editor Less important: producer, camera operators, designers, researchers, costumers |
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auteur criticism |
regards the director as equivalent to the auteur of the film |
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auteur |
"a filmmaker whose personal influence and artistic control over a movie are so great that the filmmaker is regarded as the author of the movie." |
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D. W. Griffith |
director who also edited, casted, chose locations, handled cameras, and financed; "The Birth of a Nation"; "Intolerance" |
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Sergei Eisenstein |
director who also edited, casted, chose locations, handled cameras, and financed; "Battleship Potemkin"; "Ivan the Terrible" |
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directors |
control acting, supervise photography, choose shots |
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light technician |
lighting, camera angles, focusing, motion |
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shot |
a single exposure of the camera without a break |
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establishing shot |
Usually a distant shot establishes important locations or figures in the action. |
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close-up |
An important object, such as the face of a character fills the screen. |
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long shot
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The camera is far distant from the most important characters, objects, or scenes. |
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medium shot |
What the camera focuses on in neither up close nor far distant. There can be medium close-ups and medium long shots too. |
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following shot |
The camera keeps a moving figure in the frame, usually keeping pace with the figure. |
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point-of-view shot |
The camera records what the character must be seeing; when the camer moves, it implies that the character's gaze moves. |
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tracking shot
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A shot in which the camera moves forward, backward, or diewise. |
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crane shot |
The camera is on a crane or movable platform and moves upward or downward. |
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handheld shot |
The camera is carried, sometimes on a special harness, by the camera operator |
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--recessional shot-- |
The camera focuses on figures and objects moving away.
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--processional shot-- |
The camera focuses on figures and objects moving toward the camera. |
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editor |
puts the shots in order after filming is finished, picking and choosing and arranging the shots |
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Tokyo Story |
Yasujiro Ozu |
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cuts |
makes relationships between takes |
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continuity cut |
Shots edited to produce a sense of narrative continuity, following the action stage by stage. The editor can also use a discontinuity cut to break up the narrative continuity for effect. |
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jump cut |
Sometimes just called a "cut"; moves abruptly from one shot to the next, with no preparation and often with a shock. |
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cut-in |
An immediate move from a wide shot to a very close shot of the same scene; the editor may "cut out," as well. |
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cross-cutting |
Alternating shots of two or more distinct actions occurring in different places (but often at the same time). |
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dissolve
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One scene disappearing slowly while the next scene appears as if beneath it. |
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fade |
Includes a fade-in and fade-out |
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fade-in |
A dark screen growing brighter to reveal the shot. |
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fade-out |
The screen darkens, effectively ending the shot. |
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wipe |
Transition between shots, with a line moving across or through the screen, separating one shot from the next. |
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graphic match |
Joining two shots that have similar composition, color, or scene. |
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shot, reverse shot |
A pair of shots in which the first shot shows a character looking at something; reverse shot shows what the character sees. |
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montage sequence |
A sequence of images dramatically connected but physically disconnected. |
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Forrest Gump |
Robert Zemeckis, starring Tom Hanks |
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The Silence of the Lambs |
Jonathan Demme, starring Anthony Hopkins |
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Weekend |
Jean-Luc Godard |
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The Lady from Shanghai |
Orson Welles, starring Rita Hayworth |
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film noir |
Dark film, a genre that usually involves crime and violence and is shot in sometimes threatening black and white. The emphasis on darkness reflects the attitude of the characters toward society, which is portrayed as ruthless/deceitful/dangerous. |
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Jean Renoir |
French filmmaker, son of painter Pierre-Auguste, composed frames like a tightly unified painting, as in "The Grand Illusion," and "The Rules of the Game" |
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David Lean |
director, "Brief Encounter," "Bridge on the River Kwai," "Lawrence of Arabia," "Dr. Zhivago," and "Ryan's Daughter" |
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Avatar |
directed and written by James Cameron, starring Zoe Saldana and Sam Worthington |
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Citizen Kane |
Orson Welles, starred him and Ruth Warrick |
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Cries and Whispers |
Ingmar Bergman |
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A River Runs Through It |
Robert Redford |
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a favorite technique for trains |
rushing towards us, then catapults over our heads (catapulting is unique to film) |
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The Misfits |
John Huston |
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Dance with Wolves |
Kevin Costner |
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2001: A Space Odyssey |
Stanley Kubrick |
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Star Wars |
George Lucas |
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Close Encounters of the Third Kind |
Steven Spielberg |
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ET |
Steven Spielberg |
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Star Trek (all seven films) |
Gene Roddenberry |
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--Un Chien Andalou-- |
Luis Buñuel |
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Nightmare on Elm Street |
Wes Craven |
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Predator |
John McTieran |
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Kill Bill |
Quentin Tarantino |
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A History of Violence |
David Cronenberg |
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Reservoir Dogs |
Quentin Tarantino |
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Pulp Fiction |
Quentin Tarantino |
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--Django Unchained-- |
Quentin Tarantino |
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--The Virgin Spring-- |
Ingmar Bergman |
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The Jazz Singer |
Al Jolson |
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The Birth of a Nation |
D. W. Griffith |
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Apocalypse Now |
Frank Ford Coppola |
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Saving Private Ryan |
Steven Spielberg |
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Sounder |
Martin Ritt |
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Empire of the Sun |
Steven Spielberg |
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Rain Man |
Barry Levinson |
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sound in movies |
dialogue, music, background noise (crickets, bombs) |
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--8 1/2-- |
Federico Fellini, about himself after his previous 7 1/2 films. It parallels his life with psychological problems related to sex/religion/dominating women. It is episodic. |
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The Revenant |
Alejandro Iñárritu |
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The Deer Hunter |
Michael Cimino, relied on the model of Dante's Divine Comedy and has a scene that echoes Delacroix's painting: Dante and Virgil in Hell. |
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Thelma and Louise |
Ridley Scott, feminist |
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Psycho |
Alfred Hitchcock |
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Wild Strawberries |
Ingmar Bergman |
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three reasons why we miss details in films |
1. we aren't used to permitting images to build their own meanings apart from our meanings for them. 2. we don't realize that a movement/gesture/image can mean a different thing in contexts. 3. moving images are harder to remember than still images. |
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Claire's Knee |
Eric Rohmer |
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--The Godfather-- |
1972, Francis Ford Coppola, starring Al Pacino, based on Mario Puzo's novel |
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Carmine Coppola |
Francis Ford Coppola's father, composer who wrote some of The Godfather's music |
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--Casablanca-- |
1942, Michael Curtiz, film noir political mystery with a strong romantic core |
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Andy Warhol |
sculptor and painter, but made statements about realism in film, notably when he put someone to sleep in front of a camera for eight hours |
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Blow Up |
1966, Michelangelo Antonioni |
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Koyaanisqatsi |
1983, Godfrey Reggio, experimental/succession of images |
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Brooklyn Bridge |
1994, experimental, succession of images |
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Pinocchio |
1940 |
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Fantasia |
1940 |
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Dumbo |
1941 |
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The Yellow Submarine |
1968 |
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Beauty and the Beast |
1993 |
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The Lion King |
1994 |
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Toy Story |
1995 |
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Pocahontas |
1995 |
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Shrek |
2004 |
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Zootopia |
2016, successful, computers imaging helps make it more realistc |
