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41 Cards in this Set
- Front
- Back
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Citizen Kane |
1941, Orson Welles, reporters try and figure out what Charles Foster Kane's last word "Rosebud" meant. |
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Metropolis |
1927 Fritz Lang a futuristic movie that has the people divided into working class and the city planners the son of the city's mastermind fall in love with a working class prophet |
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Man with a Movie Camera |
1929 Dziga Vertov Documentary of the life in the soviet union. Everything in the film is documented. |
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Singin' In the Rain |
1952 Gene Kelly and Stanley Donen A movie set in 1927, making fun of silent fil. Don Lockwood falls in love with Kath Seldon. |
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In A Lonley Place |
1950 Nicholas Ray Dixon Steele is a violent screenwriter. Suspected for murder intil Laurel Gray gives him an alibi. |
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Breathless |
1960 Jean-Luc Godard Michel is a theif and murderer. He meets a girl, Patricia whom has planned to escape to Italy with him. |
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Final Destination 3: Choose their fate addition |
2006 James Wong Death seeks to kill those who have escaped their fate. |
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The Thin Blue Line |
1989 Errol Morris A film that has sucessfully argued that a man was wrongly convicted for murder by the corrupt Dallas, TX county system. |
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Trees of Axis, Leaves of Syntax |
2009 Daichi Saito |
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Market Street |
2010 Tomonari Nishikawa |
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Blessed Are the Dreams of Men |
2006 Jem Cohen |
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How to Fix the World |
2004 Jacqueline Goss |
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The Perfumed Nightmare |
1977 Kidlat Tahimik A Filipino who idalizes America's space program comes to reject the rapid approach of technology. |
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Toy Story |
1995 John Lasseter A cowboy is jealous and threatened when a new spaceman is the top toy for the boy. |
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mise-en-scene |
all of the elements placed in front of the camera to be photographed the setting and props, lighting, costumes and makeup, and figure behavior |
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cinematography |
a general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase. |
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montage/editing |
it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself. |
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continuity editing |
it relies on matching screen direction, position, and temporal relations form shot to shot. |
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screen direction |
the right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement. |
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match-on-action |
A continuity cut that splices two different views of the same action together at the same movement in the moment. |
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eyeline match |
a cut obeying the axis of action principle, in which the 1st shot shows a person looking off in one direction and the second shows a nearby space containing what he or she sees. |
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shot/reverse shot |
two or more shots edited together that alternate characters, typically in a convo situation |
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jump cut |
an elliptical cut that appears to be an innteruption of a single shot. |
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high-low key lighting |
illumination that creates comparativiley little contrast between the light and dark areas of the shot shadows fairly transparent and brightened by fill light. |
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pan |
a camera movement with the camera body turning to the right or left. |
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Tilt |
a camera movement with the camera body swiveling upward or downward on a stationary support |
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dolly |
a camera support with wheels used in making tracking shots |
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crane |
a shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction |
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deep/shallow focus |
a use of the camera lens and and lighting that keeps objects in both close and distant planes in sharp focus. |
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Elements of mise-en-scene |
setting, costume and makeup, lighting, staging |
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Cinema Verite |
a style of filmmaking characterized by realistic, typically documentary motion pictures made with simple equiptment |
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direct cinema |
emerged in the 1950s-60s when portable cameras and soud equiptment became availible so that the filmaker could follow an event as it is happening |
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nichols' documentary modes |
expository observational paticipatory poetic reflexive performative |
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dada/surrealism |
a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind |
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experimental film |
a mode of filmmaking that re-evaluates cinematic conventions and explores alternatives to traditional narratives or methods of working. |
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What is Espinosa's "imperfect cinema?" |
It's a group of films that belong to latin america focuses more on the art and creativity, making it an imperfect film. |
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what is third cinema |
A Latin American film movement that started in the 1960s–70s decries neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. |
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what are Manovich's properties of new media |
1. numerical representation 2. modularity 3. automation 4. variability 5. transcoding |
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what are examples of new media |
internet, websites, computer multimedia, computer games, CD-ROMS, and DVDs. |
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8 1/2 |
1963 Federico Fellini Guido is a film director trying to calm down from his last movie, it's about the trouble and struggles of filmmaking. |
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