Intro To Film Final

Front 1

Phi Phenomenon

Back 1

Perceiving a series of still images as continuous motion

Front 2

Persistence of Vision

Back 2

Optical illusion where the perception of an object doesn’t cease after rays of light preceding it stop entering the eye

Front 3

Eadweard Muybridge

Back 3

English photographer. Pioneer of motion pictures. Stop motion stills of horse.

Front 4

Jean-Etienne Marey

Back 4

1882 Chronophotographic gun taking pictures of birds in flight

Front 5

Lumiere Brothers

Back 5

Inventors of the cinematograph. Pioneers of documentary film.

Front 6

Nickelodeons

Back 6

Early motion picture theatre where admissions only cost a nickel. Offered continuous showings of 1 and 2 reel films accompanied by piano.

Front 7

George Melies-

Back 7

French illusionist and film director. Pioneered special effects in films. A Trip to the Moon

Front 8

The Studio System

Back 8

Companies owned the studio, theatres, etc

Front 9

Big Five

Back 9

MGM, Paramount, Warner Bros, RKO, and Fox

Front 10

Little Three

Back 10

Universal, Columbia, United Artists

Front 11

The Star System

Back 11

1890s-1900 no credits for performers

Front 12

Mise en Scene

Back 12

Director’s staging of a play

Front 13

Setting

Back 13

Where, reveals story and characters

Front 14

Realistic (setting)

Back 14

On location/imitates reality

Front 15

Non-realistic (setting)

Back 15

Movie set

Front 16

Limbo (setting)

Back 16

Non-existent

Front 17

Subjects

Back 17

Who, what they are doing

Front 18

Composition

Back 18

How things are on the screen, arrangement

Front 19

Deep Focus

Back 19

Everything in focus

Front 20

Shallow Focus

Back 20

Subject in focus, bg not in focus

Front 21

Masking

Back 21

the techniques and materials used to control the development of a work of art by protecting a desired area from change

Front 22

Color (history and use)

Back 22

1910-1920s– Black and white film with some painted color frames, tinted frames for specific sequences

1916- 1st version of Technicolor created. Records red and green sensitive negative to black

1922-1952- Color popularity Singing in the Rain, Wizard of Oz, etc

Can be used as a mise en scene tool to describe the characters and environment

Front 23

Aspect Ratio

Back 23

1:33:1, 1:78:1, 2:35:1

Front 24

Costumes

Back 24

Display character’s personality; time period; good guy vs villain; etc.

Front 25

Framing (tight vs loose)

Back 25

Tight - Usually in close shots. The mise-en-scène is so carefully balanced and harmonized that the subject photographed has little or no freedom of movement.

Loose - Usually in longer shots. The mise-en-scène is so spaciously distributed that the subject photographed has considerable latitude of movement.

Front 26

Film Stock

Back 26

unexposed and unprocessed motion-picture film

Front 27

Clear Base (film)

Back 27

Cellulose Nitrate, Cellulose Triacetate, Polyester

Front 28

Slow (film)

Back 28

More light needed

Front 29

Fast (film)

Back 29

Less light needed

Front 30

Size (film)

Back 30

35mm (Features), 16mm (Independent), 8mm (Amateur)

Front 31

Grain

Back 31

Optical texture of developed film

Front 32

Mood

Back 32

The atmosphere of a piece/ the emotions the piece creates in a viewer.

Front 33

Tone

Back 33

The director’s attitude toward a subject.

Front 34

Saturation

Back 34

The intensity of the color/light within an image

Front 35

Contrast

Back 35

The balance between the highlights and lowlights within an image.

Front 36

Metaphors

Back 36

The representation of a person, place, thing, or idea by using an image that suggest an association or point of similarity.

Front 37

Symbols

Back 37

A physical representation that stands in for another object or idea.

Front 38

Soft Lighting (High Key)

Back 38

Evenly lit, hardly any shadows

Front 39

Harsh Lighting (Low Key)

Back 39

Uneven lighting, heavy shadows

Front 40

Depth of Field

Back 40

distances in front of camera in which all objects are in focus

Front 41

Telephoto lens (depth of field)

Back 41

shallow focus

Front 42

Wide Angle (depth of field)

Back 42

deep focus

Front 43

Frames

Back 43

1 image (30 fps, 24 fps, etc)

Front 44

Shots

Back 44

One uninterrupted image series of frames

Front 45

Takes

Back 45

Different versions of a shot

Front 46

Scenes

Back 46

A series of shots connected to part of a film

Front 47

Sequences

Back 47

A grouping of scenes in a film (similar to an act)

Front 48

Master Shot

Back 48

a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view.

Front 49

Cutaway Shot

Back 49

the interruption of a continuously filmed action by inserting a view of something else.

Front 50

Reaction Shot

Back 50

a portrayal of a person's response to an event or to a statement made by another.

Front 51

Dailies

Back 51

Footage from a day of production

Front 52

Rough Cut

Back 52

Editor’s first pass at the film

Front 53

Final Cut

Back 53

Editor’s final pass of the film, completed and locked

Front 54

Eyeline Match

Back 54

a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing.

Front 55

180 Degree Rule

Back 55

two characters in a scene should maintain the same left/right relationship to one another. (invisible axis must not be crossed)

Front 56

Shot/Reverse Shot

Back 56

one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character.

Front 57

Parallel Editing

Back 57

Shifting between two or more actions that are occurring simultaneously

Sometimes different locations

Builds suspense

Compare and contrast

Front 58

Seven Characteristics of Hollywood Classical Cinema

Back 58

1. Story set in the present

2. Focuses on 1 character or a few distinct individuals

3. Main character(s) have a goal

4. Protagonist overcomes antagonist/obstacles

5. Clear emphasis on causes and effects with little ambiguity

6. Film has closure

7. Unobtrusive filmmaking techniques

Front 59

Film Genres

Back 59

Categories of composition characterized by similarities in subject matter.

(Romance, Comedy, Horror, Western, Action, Thriller, Adventure, Animation)

Front 60

Types of Actors

Back 60

Stars, Method Actors, Character Actors, Non-professional Actors

Front 61

Rule of Thirds

Back 61

aligning a subject with the guidelines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section.

Front 62

Frame within a Frame

Back 62

Subject is framed within the shot by another frame (ex: door, window, picture frame, television, etc)

Front 63

Slow Film Stock vs. Fast Film Stock

Back 63

Slow stock needs more light to get correct exposure, fast film stock needs less light.

Front 64

Digital Media vs. Film

Back 64

Digital- Cheap, flexible, convenient; files are corruptible

Film- Authentic look, tangible; Expensive, hard to travel with

Front 65

Three Point Lighting Setup

Back 65

Key Light - main light on subject

Fill Light - light to fill in shadows created by key light, preventing them from being too dark

Back Light - used to separate the subject from the background

Front 66

Wide Angle Lens

Back 66

a lens whose focal length is substantially smaller than the focal length of a normal lens.

Front 67

Telephoto Lens

Back 67

a lens with a longer focal length than standard, giving a narrow field of view and a magnified image.

Front 68

Types of Camera Shots

Back 68

Close-up

long shot

medium shot

establishing shot

point-of-view shot

Front 69

Shot Angles

Back 69

Dutch angle (camera frames subject at an angle/skew) NOT A TILT

high-angle (camera looking down on subject)

low-angle (camera looking up at subject)

Front 70

Post-Production

Back 70

All editing done to the film after it is shot.

Front 71

Color correction (color grading)

Back 71

process of altering and enhancing thecolor of a motion picture, video image, or still image either electronically, photo-chemically or digitally.

Front 72

The Kuleshov Effect

Back 72

Developed by Lev Kuleshov, Juxtaposed images, Different meanings arose

Front 73

Eisenstein’s Montage Theory

Back 73

Sergei Eisenstein, use of contrasting shots to create meaning

Front 74

Fades (transition)

Back 74

Introduces or ends scene

Front 75

Dissolves (transition)

Back 75

a gradual transition from one image to another.

Front 76

Jump Cuts (transition)

Back 76

an abrupt transition from one scene to another.

Front 77

Match Cuts (transition)

Back 77

from one shot to another where the two shots are matched by the action or subject and subject matter.

Front 78

Wipes (transition)

Back 78

Pushing one image to the next.

Front 79

Irises (transition)

Back 79

in/out, like the opening or closing of the iris around the image

Front 80

Master Shot Technique

Back 80

eyeline, 180 degree rule, shot/reverse shot

Front 81

Fast Cutting vs. Slow Cutting

Back 81

Lots of energy, short average shot length vs Longer ASL, long takes

Front 82

ASL (Average Shot Length)

Back 82

cinemetrical measure of the average shot length in a film

Front 83

Running Time

Back 83

Length of the actual film

Front 84

Story Time

Back 84

The canon timeline of the story

Front 85

Motion (Fast & Slow)

Back 85

Slow motion, time-lapse/fast action

Front 86

Silent Films

Back 86

A film without dialogue, sometimes with live music

Front 87

The Jazz Singer (1927)

Back 87

First film with synchronized sound

Front 88

Music Videos

Back 88

Films supporting music

Front 89

Sound

Back 89

Noises in the film (dialogue, music, background noises, sound effects, etc)

Front 90

Narration

Back 90

(voiceover) Provide background and set the tone of the film, Reveal character insight and development

Front 91

Dialogue

Back 91

Drives the story, character development

Front 92

Music

Back 92

Instrumentals, vocals, cinematic music, musical numbers, intertextuality

Front 93

Silence

Back 93

lack of sound in a scene or film

Front 94

Sound Effects

Back 94

Sound made by objects (eg. Glass falls off table and breaks), Sounds made by people (eg. High heels on concrete)

Front 95

Ambient Sound

Back 95

Trees blowing in the wind, HVAC system in a house, cityscape noise

Front 96

Foley

Back 96

Recreating sound effects for films

Front 97

Sound Motif

Back 97

A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film

Front 98

Leitmotif

Back 98

A sound motif that refers to the musical score or composition

Front 99

Hyper-real Sound

Back 99

Exaggerated sounds (usually sound effects) to achieve a certain effect

Front 100

Contrapuntal Sound

Back 100

Music that contrasts with the content of a scene (eg. Dancing during torture scene in Reservoir Dogs (1992))

Front 101

Pitch

Back 101

Based on frequency, pitch can change the tone or mood of a scene

Front 102

Diegetic vs. Non-Diegetic Sound

Back 102

Diegetic: Sound with a visible or implied source in the scene

Non-Diegetic: Sound without a visible or implied source in the scene

Front 103

Synchronous vs. Asynchronous Sound:

Back 103

Synchronous: Sound matching visuals Asynchronous: Sound does not match visuals

Front 104

Straight Cut (sound)

Back 104

Most common for cutting between scenes, sometimes used in a jump-cut

Front 105

Sound Dissolve

Back 105

Similar to cross-fade, one sound fading to the next

Front 106

Sound Fades

Back 106

Commonly used in music

Front 107

L Cut or J Cut

Back 107

Sound bridge used for transitions

Front 108

Documentaries

Back 108

a film or video representation of actual (not imaginary) subjects.

Front 109

“Mediated Reality”

Back 109

The film acts as an intermediary between the subject and the audience

Front 110

Expository Documentaries

Back 110

Proposing a strong argument and point of view to the viewer. Often shown with narration.

Front 111

Observational Documentaries

Back 111

Simply and spontaneously observe life with a minimum of intervention. Fly on the wall.

Front 112

Poetic Documentaries

Back 112

Experimental editing and filming techniques tell a story that surpasses objective reality

Front 113

Participatory Documentaries

Back 113

Filmmaker is a part of the world. Emphasizes the interactions between filmmaker and subjects.

Front 114

Reflexive Documentaries

Back 114

Draw attention to their own constructiveness, and the fact that they are representations. (Example: Mockumentaries)

Front 115

Performative Documentaries

Back 115

Stress subjective experience and emotional response to the world from the filmmaker.

Front 116

Character Driven Documentaries

Back 116

Uses the individual's story as a means to explore broader abstract/social stakes (ex: Grizzly Man)

Front 117

Subject Driven Documentaries

Back 117

Not following a character, following a general subject.

Front 118

Nanook of the North (1922)

Back 118

Silent documentary on Eskimos from Northern Quebec. Filmed twice because of lost footage. The second time it was filmed, a lot of the “real life” scenes were staged (ex: Eskimos no longer hunted with spears, but they did in this film) causing an uproar.

Front 119

Man with a Movie Camera (1929)

Back 119

1929 Silent Experimental Feature Film by Dziga Vertov about Russia from day to night. Shows the filmmaking process.

Front 120

Traditional “Documentary Style”

Back 120

Handheld (shaky), on location (no sets), natural lighting, zoom (Telephoto lens), grainy (if shot on film)

Front 121

Talking Heads

Back 121

an interview where only the person's head and shoulders are visible to the camera

Front 122

Action Interviews

Back 122

the interview plays over the footage without the person directly talking to the camera.

Front 123

B-Roll

Back 123

visuals played over top of interview footage

Front 124

Reenactments

Back 124

staged events using actors to reenact a moment of time

Front 125

Archival Footage

Back 125

film or video footage that is archived so it can be used again in other films.

Front 126

Narrative

Back 126

A representation of unified events (happenings and actions) situated in one or more settings. A story or account of events, experiences, or the like, whether true or fictitious.

Front 127

Plotlines

Back 127

different stories within a complex narrative

Front 128

Narrative Types

Back 128

Human vs. Human Human vs. Himself/Herself Human vs. Nature Human vs. Society Human vs. God Human vs. Machine

Front 129

Exposition

Back 129

information that sets up the beginning of the plot

Front 130

Rising Action

Back 130

series of incidents leading to the climax

Front 131

Climax

Back 131

the peak of action in a film (the “showdown,” or “turning point”)

Front 132

Falling Action

Back 132

conflict and tension unravel

Front 133

Denouement

Back 133

the events at the end of the film – the conclusion

Front 134

Closure

Back 134

clear consequences of events and ending

Front 135

Present

Back 135

Current or normal time

Front 136

Flashback

Back 136

Jumping back in time

Front 137

Flash-forward

Back 137

Jumping forwards in time

Front 138

Chronological Time

Back 138

Starting with the earliest and following the order in which they occurred

Front 139

Non-Chronological Time

Back 139

Shots/scenes are placed in a different arrangement than the order they occurred in

Front 140

Fabula

Back 140

Putting non-chronological events into a chronological sequence

Front 141

Satire (narrative style)

Back 141

Use comedy to chide, inform or reform

Front 142

Parody (narrative style)

Back 142

A comedy based on a serious film

Front 143

Black Comedy(narrative style)

Back 143

A comedy that deals with dark subjects, like death

Front 144

Magical Realism(narrative style)

Back 144

Using unrealistic events or happenings in an otherwise realistic story

Front 145

Realism (narrative style)

Back 145

Realistic story/setting with either unobtrusive or documentary style camera work

Front 146

Surrealism (narrative style)

Back 146

Surrealist cinema is characterized by juxtapositions, the rejection of dramatic psychology, and a frequent use of shocking imagery. (ex: Salvador Dali film)

Front 147

Experimental Cinema

Back 147

Rejects conventions used in mainstream cinema, explores the possibilities of the film medium, ahead of its time, relies heavily on self-expression, remains largely or entirely free of the limitations placed on commercial films

Front 148

Un Chien Andalou (1929)

Back 148

A 1929 silent surrealist short film by the Spanish director Luis Buñuel and artist Salvador Dalí. (match-cutting with the moon and the woman’s eye, man on the street, crowd of people)

Front 149

Meshes of the Afternoon (1943)

Back 149

1943 silent film directed by Maya Deren, music added later by husband Teiji Ito. (woman with the flower and knife, surreal) Deren is the early pioneer of screendance.

Front 150

Persona (Intro, 1966)

Back 150

1966 feature film, directed by Ingmar Bergman. (Hybrid film, found footage)

Front 151

Screendance

Back 151

a merging of film and dance where the camera and movement work together to evoke a kinesthetic response

Front 152

SHUNPO (2013)

Back 152

Screendance film about a woman in an office, when she dances she escapes

Front 153

Installation Art

Back 153

Works of art that usually consist of multiple components exhibited in a carefully chosen space in an arrangement specified by the artist.

Front 154

Hybrid Films

Back 154

A film that incorporates both traditional narrative elements & experimental elements

Front 155

Non-Commercial Films

Back 155

Films not made to sell or promote something. (story, theme message, idea)

Front 156

Short Narrative

Back 156

fiction film that tells a story

Front 157

Short Animation

Back 157

short, animated film

Front 158

Mini-Docs

Back 158

short documentary

Front 159

Commercial Films

Back 159

Films made to sell or promote something

Front 160

Advertisements

Back 160

Made to sell a product (ex: Adidas commercial)

Front 161

Trailers

Back 161

Promote a new film coming out

Front 162

Fashion Films

Back 162

Promote a new fashion line or brand

Front 163

Animation

Back 163

not a genre…it is a filmmaking technique

Front 164

2D animation

Back 164

“Traditional Animation,” hand-drawn, computer assisted

Front 165

3D animation

Back 165

“Computer Animation,” CGI: Computer Generated Images

Front 166

Stop-Motion (Different Types)

Back 166

Claymation (Wallace & Gromit), Puppet Animation (Corpse Bride), Cutout Animation (South Park), Model Animation (King Kong)

Front 167

Cel Animation

Back 167

Overlaying transparent sheets, or “cels,” with images on them in order to avoid constantly re-drawing images (Character Cel, Background Cel)

Front 168

Rotoscoping

Back 168

Animators trace live-action movement frame by frame (e.g. Waking Life)

Front 169

Magic Lantern

Back 169

a device having an enclosed lamp and a lenslike opening, formerlyused for projecting and magnifying images mounted on slides orfilms.

Front 170

Motion Capture

Back 170

Record motion data → Animation

Front 171

Hayao Miyazaki

Back 171

Japanese Film Director/Animator, Recurring Themes: Strong Young Women; An Interest in Nature (and Flying); Contempt for War; Complex, Interesting Villains

Front 172

Ma

Back 172

Importance of intervals, gaps, spaces, silence Yasujiro Ozu - trains, ships, laundry in the wind… The gaps make the meaning

Front 173

Independent Film

Back 173

feature film that is produced mostly or completely outside of the major film studio system, including producing and distribution with a low production budget.

Front 174

Easy Rider (1969)

Back 174

1969, co-written, directed and starred Dennis Hopper. Two Harley riding Hippies, traveling cross-country to search for spiritual truth.

First film to feature hippie culture and explicit drug use in America during the time Groundbreaking soundtrack featuring rock music as well as original songs made for the film Experimental/avant-garde editing for its time

Front 175

The Puffy Chair (2005)

Back 175

2005, written and directed by Mark and Jay Duplass. A musician wins a vintage recliner on Ebay, who drives from NYC to Atlanta with his girlfriend and brother to pick up chair and runs into problems on the journey. Early mumblecore film featuring non-professional actors Mark Duplass, his wife, Katie Aselton, and Rhett WilkinsCharacters lack to develop throughout the storyOne of the first and early feature films recorded on digital rather than film with a docu-style presence

Front 176

Tangerine (2015)

Back 176

2015, directed and written by Sean S. Baker. Comedy-drama following a transgender sex worker who discovers her boyfriend and pimp has been cheating on her.The film was entirely shot on 3 iPhone 5S smartphones Lead actors, Kitana Kiki Rodriguez and Mya Taylor had no major acting experienceOne of the few films focusing on the sex trade subculture in LA

Front 177

Indie Film

Back 177

Indie is the genre, and independent is the film itself

Front 178

Themes/Characteristics

Back 178

(Mostly) Character development rather than story development; Ensemble cast v. Central character; Exploring Race, Gender, Identity; Experiencing personal or social issues; Writing Style; Indie Music

Front 179

Style

Back 179

Heavily coordinated color palette; Use of expressive &/or experimental camera angles; Documentary-style elements; B or C-List Celebrities, Non-professional actors, Up and coming actors

Front 180

Mumblecore

Back 180

a style of low-budget film typically characterized by the use of nonprofessional actors and naturalistic or improvised performances

Front 181

Sundance Film Festival

Back 181

1978, known as the Utah/US Film Festival to attract filmmakers to Utah, Most renowned film festival in the world, Allows Hollywood executives to explore fresh and new titles for larger audiences, Creates crossovers for the Academy Awards

Front 182

Sofia Coppola

Back 182

dir. of Lost in Translation

Front 183

David Lynch

Back 183

dir. of Lost Highway

Front 184

Sophia Coppola style

Back 184

Style: Highly prone to pastel color palettes, Use of empty/loose framing, Camera gaze & subjective camera, Similar to Wong Kar-Wai: Equal parts image, equal parts music, Use of lack of dialogue

Front 185

Sophia Coppola Characters and Actors

Back 185

Actors/Characters: Mostly works with the same actors within an ensemble cast, Main characters are usually lost in a world suffering from an existential crisis, Search for identity

Front 186

David Lynch Style

Back 186

Soundscapes - Takes his time on setting a mood journey rather than rushing through the story, Creating aural depth to scenes with subtleties, Use of silence, Highly reliant of ambient soundscapes within nighttime sceneries. Music - Makes music within the experimental rock, ambient soundscapes, and electropop genres (Chrysta Bell), Created music for most of his own productions, Collaborated often with electronic-synth musicians Angelo Badalamenti & Julee Cruise for films & studio albums

Front 187

David Lynch Themes

Back 187

Dream-like/Surreal narrative plotlines, subconscious, Magic realism intertwining with the everyday, Juxtapositions with the humble small-town Americanacoupled with the psychosexual and surreal nature, Open-ended stories, Deformity, Corrupted society, Death from head injury, 1950s American Subculture, Female Leads with multiple or fractured identities, Absence of identity

Front 188

David Lynch Films

Back 188

Eraserhead (1970), Blue Velvet (1986), Inland Empire (2006)

Front 189

Sherlock Jr.

Back 189

Silent, black and white film. Experimental editing for the time. Comedy. (Hollywood)

Front 190

Rear Window

Back 190

Hitchcock film. Strong female character. Intricate set design. Voyeurism. Mystery and suspense. (Hollywood)

Front 191

The Shining

Back 191

Kubrick film. Use of color to represent characters. Framing and reflections. Mise-en scene. Hotel as a character. (Hollywood)

Front 192

Manhattan

Back 192

Black and white Woody Allen film. Lots of intricate dialogue. Camera movement (tracking shot). Lighting (museum scene). (Hollywood)

Front 193

City of God

Back 193

Editing of scenes, action sequences, and color grading. Cinematography. Chicken metaphor and gangsters. Rocket’s camera. (Hybrid)

Front 194

Barton Fink

Back 194

Hyper-realistic sound. Hotel as a character. Metaphor for hell. Commentary on Hollywood as an industry. Coen Brothers classic. (Hollywood)

Front 195

ChungKing Express

Back 195

Wong Kar-Wai film. “California Dreaming”. Editing and passing time (time-lapse). Expiration. Open-ended ending. (Narrative) (Hybrid)

Front 196

Grizzly Man

Back 196

Documentary film. Found footage. Unbiased, informative view of Timothy Treadwell’s bear activities. (Documentary)

Front 197

All’s Fair

Back 197

Tells a short story. Relationships. Comedic. (Short Film) (Hollywood)Omelette - Short animated film. Uses animation to depict fantastical events (dog making omelette). Comedic. (Short Film)

Front 198

Ronald

Back 198

Short animated film. Dark humor. Mixed media (live action film and animation). Comedic. (Short Film)

Front 199

Log Off

Back 199

Experimental short film. Experimental editing. Strange images. Seclusion. (Short Film) (Experimental)

Front 200

I Hate Dancing

Back 200

Short film with dialogue played over footage. Talks about hating dancing ironically. (Short Film) (Screendance)

Front 201

Adidas Commercials

Back 201

Short films to promote Adidas shoes. Told through animal imagery in one, and editing in the other. (Short Film) (Commercial)

Front 202

H&M Come Together

Back 202

Wes Anderson short film. Tells a short christmas narrative. Promoting the H&M brand. (Short Film) (Commercial)

Front 203

LIARS X CRY BABIES

Back 203

Fashion film. Lots of shots depicting characters (in the clothes) doing “cool” activities. (Short Film) (Commercial)

Front 204

Nikes

Back 204

Experimental editing. Music video. Depicting money culture and black subculture. (Music Video) (Short FIlm) (Experimental)

Front 205

Dogwalker

Back 205

Short film telling a fictional story. Dark comedy. Quick punchline. Open ended. (Short Film) (Hollywood)

Front 206

La Jete’e

Back 206

French film told mostly through still photos. Black and white. Post nuclear war. Time loop. (Experimental)

Front 207

Spirited Away

Back 207

Miyazaki film. Strong female character. Change. Environmentalist. (Hollywood)

Front 208

Lost in Translation

Back 208

Coppola film. Transcendentalism (The everyday, Disparity, Stasis). Subtle character growth. (Hybrid)

Front 209

Lost Highway

Back 209

Lynch Film. Surrealist feeling. Deformity. Dual identities. (Experimental/Hybrid)

Front 210

Phillips defines the documentaries as “mediated reality”. Explain the meaning of “mediated reality” as it relates to documentaries. What makes a documentary objective or subjective? How “real” is Grizzly Man?

Back 210

Phillips’ definition of “mediated reality” gives the documentary film the role of an intermediary between the subject and the audience. Objective documentaries simply give facts, while subjective ones convey the director’s opinion on the subject matter.It is “real” in that the subjects and footage are real, but the views of the topic are told through the lens of other people.

Front 211

What is the importance of independent filmmaking? Explain what themes the genre explores and why it is popular in today’s modern age.

Back 211

The importance of independent filmmaking is that it gives a forum for directors to express their views in. It is a way to convey ideas, cultures, narrative film expressions, and different voices from many different cultures and connecting them to one another. The exploration of themes like gender, personal identity, and struggles within social classes resonate with modern people looking to see something outside of conventional film genres.

Front 212

Provide your own definition for experimental cinema, narrative Hollywood cinema, and hybrid films. Then place one of the films we have watched this semester into one of those three categories, and explain in detail why it fits one of these categories better than the others, using examples from the film.

Back 212

Experimental - A style of film that defies Hollywood/mass media film conventions and explores alternative modes of storytelling. Hollywood Narrative- A style of film that works within the bounds of classical narrative continuity.Hybrid- A style of film that incorporates ideas from both Hollywood Narrative and Experimental styles.

Front 213

Barton Fink, Chungking Express, and Lost Highway all use sound in very different ways. Pick two of these films. Then compare and contrast the role of sound in the two films you pick.

Back 213

Barton Fink- Uses hyper realistic sound to amp up tension; diegetic noise from play stage and typewriter; the sound of water; atmospheric sounds; sounds reflect Barton Fink’s inner turmoil. Chungking Express- Diegetic music from radio (California Dreamin); expresses character personalities and desires. Lost Highway- Uses silence; hyper realistic sound; sound motifs of Jazz music for Fred; rock and roll sound motif for Pete; experimental music; ambient soundscapes.

Front 214

Recurring metaphoric images are carefully used in The Shining, Barton Fink, and Lost in Translation represent a certain state of mind amongst the main character(s). Pick one of the films and explain how repetition is used throughout the film. Why does the film use repetition? Does it use this tool effectively?

Back 214

The Shining - Mazes (The hotel, the big hedge maze, maze diorama), Color shifts (Blue to Red) (Jack- Red rooms, pink/gold bar as a conduit between worlds, red hallways) (Danny- shift to indicates his shift between himself and Tony) (Wendy- used to show the shifts in lies and truth), Reflections (mirror in the bedroom, mirror in the bathroom, window) Used to show Jack’s duality in personality. Barton Fink - The beach/ocean/water (the picture on his hotel wall, walking on the beach) represents unattainable ideologies, Decay of the hotel/mind (wallpaper peeling off), Lost in Translation - Insomnia (Disconnect with the time and place that they’re in); the bar/alcohol (transitional space); Phones/fax machines (communication only on the surface, partners no longer need them.) Messy rooms (messy mentality, chaos in relationships) Windows (desire, freedom, but also a barrier, reflection) Advertisements (seeing an image of himself in different spaces, public view vs his own perception of himself)

Front 215

How does La Jete’e ‘s photographic storytelling add context to the narrative? Explain why the director focuses on a specific ASL. How would the film be different if executed in a live action layout?

Back 215

La Jete’e’s photographic storytelling adds context by showing us snapshots of the story. We see the film as memories in this sense, and memory is an important concept in the film. The main character has the memories of a woman and a man’s death from a long time ago, and when we only see these moments as the viewer, it connects you to the main character. We see how he would remember it. Every moment becomes more important, and moments where the ASL is higher, such as the moment the woman wakes up, become even more precious and important. If the film was live action, it wouldn’t have the same sense of memory and what is or isn’t important. You wouldn’t be seeing snapshots anymore, so that connection shared between the viewer and the main character would be lost.