Midterm Review
Communication Arts 350 with Minett at University of Wisconsin - Madison
About this deck
By: Sasha Weist
Textbook:
Film Art: An Introduction
Film Art: An Introduction with Tutorial CD-ROM
Created: 2010-11-07
Size: 158 flashcards
Views: 239
Textbook:
Film Art: An Introduction
Film Art: An Introduction with Tutorial CD-ROMCreated: 2010-11-07
Size: 158 flashcards
Views: 239
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form
sum of all the parts of the film
5 aspects:
Function
Repetition
Variation
Development
Unity and Disunity
5 aspects:
Function
Repetition
Variation
Development
Unity and Disunity
style
the way a film uses the techniques of filmmaking
4 Categories:
mise-en-scene ("put in the scene")
cinematography
editing
sound
4 Categories:
mise-en-scene ("put in the scene")
cinematography
editing
sound
pre-production
director hires crew, casts roles, scouts locations, prepares shooting schedule
post-production
assembly phase
editor catalogs and assembles takes into a rough cut
editor catalogs and assembles takes into a rough cut
four categories of function
narrative
expressive
symbolic
aesthetic
expressive
symbolic
aesthetic
motif
an element that is repeated in a significant way
ex: lighter in Out of Sight
ex: lighter in Out of Sight
Shaun of the Dead and form
use of repetition and variation emphasize Shaun's world before and after the zombies
typage
performance type of Soviet Montage
actor's appearance and behavior presented as typical of a social class or group
actor's appearance and behavior presented as typical of a social class or group
monochromatic color design
emphasizes a narrow set of shades of a single color
size diminution
a cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects
shallow space
use of few planes of space
deep space
use of multiple planes of space
Out of Sight and mise-en-scene
colors of setting are different in different places
Glenn's sunglasses and Dick's hair pieces and glasses
expressive use of backlighting and silhouetting
Glenn's sunglasses and Dick's hair pieces and glasses
expressive use of backlighting and silhouetting
cinematography
manipulations of film strip in camera and lab
process of fixing mise-en-scene
photographic aspects, framing, duration
process of fixing mise-en-scene
photographic aspects, framing, duration
film stocks
photographic films on which movies are shot
differentiated by the chemical qualities of the emulsion
differentiated by the chemical qualities of the emulsion
exposure
how much light strikes each frame of film
wide angle lens
lens of short focal length
distorts straight lines near the edge of the frame
exaggerates distance between foreground and background
35mm or less
distorts straight lines near the edge of the frame
exaggerates distance between foreground and background
35mm or less
normal lens
35-55mm
telephoto lens
long focal length
enlarges distant planes and makes them seem close to the foreground
75mm and up
enlarges distant planes and makes them seem close to the foreground
75mm and up
process (composite) shots
any shot involving rephotography to combine two or more images into one or to create special effects
rear projection
foreground filmed in a studio against a screen and backing is projected from behind the screen
doesn't create convincing depth cues
absence of cast shadows from foreground to background
doesn't create convincing depth cues
absence of cast shadows from foreground to background
matte work
different areas of the image are photographed separately and combined in lab work
aspect ratio
the relationship between a frame's width and height
academy ratio
1.85 : 1
masking
stretches of black fabric that frame the theatre scene
can be adjusted to the aspect of the film to be projected
can be adjusted to the aspect of the film to be projected
amamorphic
a lens for making wide-screen films using regular academy ratio frame size
camera lens takes in a wide field of view and squeezes it onto the frame and similar projector lens unsqueezes the image onto a wide theatre screen
camera lens takes in a wide field of view and squeezes it onto the frame and similar projector lens unsqueezes the image onto a wide theatre screen
iris
a round moving mask that closes down to end a scene or opens up to begin a scene or emphasize detail
Do the Right Thing and cinematography
mobile framing
track forward => intensifies anger, throws it in our face
level
canted framing => Radio Raheem: Raheem's role in community is complicated
onscreen/ offscreen space
Pino always inserts himself: always in others' business
track forward => intensifies anger, throws it in our face
level
canted framing => Radio Raheem: Raheem's role in community is complicated
onscreen/ offscreen space
Pino always inserts himself: always in others' business
ellipsis
shortening of plot duration achieved by emitting some story duration
graphic relations
two successive shots joined so as to create a strong similarity of compositional elements
Kuleshov effect
"Any series of shots can, without an establishing shot, prompt the viewer to infer a spatial whole from only portions of the space"
crosscutting
cutting back and forth between two different spaces to imply simultaneity
montage
a series of short shots are edited into a sequence to condense time, space, and information
elliptical editing
cutting out unnecessary action to reduce screen time
overlapping editing
cuts that repeat part or all of an action, thus expanding its viewing time and plot duration
continuity editing
relies on matching screen direction, position, and temporal relations from shot to shot
contiguity editing
figures move in same direction across shots to maintain spatial clarity
cheat cut
a cut that represents continuous time and space but mismatches the position of figures or objects
temporal order
may be in or out of chronological order
use flashbacks/flashforwards, alternate between past and present
use flashbacks/flashforwards, alternate between past and present
temporal frequency
the amount of times a story event is presented, usually only once
temporal duration
the amount of time the plot stretches (story time)
the length of the film (screen time)
the length of the film (screen time)
substitution splice
strategy used in early film to instantly transform an object or person into something or someone else
principles of Soviet Montage
an editing technique that allows two or more simultaneous sets of action to unfold within a single film sequence
intensified continuity
a more forceful and flamboyant technique of editing that uses fast cutting and free range camera movement
Zodiac and editing
example of intensified continuity
Mickey Mousing
conspicuous matching of image and sound to illustrate a character's movements
fidelity
faithfulness to onscreen source
hierarchy of sound
relative importance of one kind of sound over others at any given moment in a film
es: phone call in Tom Cruise movie
es: phone call in Tom Cruise movie
in media res
"in the middle of things"
narration begins in the middle of the story and the audience is left to interpret what has happened before
narration begins in the middle of the story and the audience is left to interpret what has happened before
dialogue overlap
a cut in the middle of a line of dialogue so that the cut is less abrupt
narrative
chain of events occurring in time and space that follows a cause-effect logic
narration
moment by moment process of storytelling that guides us in building the story out of the plot
Vertigo and narration and sympathy
narration limited to what Scottie knows
narration supplies subjective access to Scottie
music adds depth
retrograde zoom represents how Scottie's mind plays a role
dream sequence= subjective access to Scottie's breakdown
narration supplies subjective access to Scottie
music adds depth
retrograde zoom represents how Scottie's mind plays a role
dream sequence= subjective access to Scottie's breakdown
setting
location where narrative action takes place
used in service to story
used in service to story
prop
an object motivated to operate actively in an ongoing action
can impart a sense of unity and bind a film together
ex: lighter in Out of Sight
can impart a sense of unity and bind a film together
ex: lighter in Out of Sight
costume
what a character wears
Devil Wears Prada= costuming changes as character changes
Devil Wears Prada= costuming changes as character changes
makeup
makeup that is both diagetic and nondiagetic
used across films subtley
The Shining= clean-cut to grizzly
makes things/emotions/situations more vibrant
used across films subtley
The Shining= clean-cut to grizzly
makes things/emotions/situations more vibrant
lighting
used to direct attention in a particular way
attached shadow
occurs when light fails to illuminate part of an object because of the object's shape or surface features
aka shading
aka shading
cast shadow
come from an object/person blocking out light as with sunlight
frontal lighting
can be recognized by its tendency to eliminate shadows
sidelight
sculpts a character's features
aka crosslight
aka crosslight
backlighting
comes from behind the subject filmed
can be positioned at many angles
tends to create silhouettes
combined with a frontlight, it can produce unobtrusively illuminated contour
aka edge lighting or rim lighting
can be positioned at many angles
tends to create silhouettes
combined with a frontlight, it can produce unobtrusively illuminated contour
aka edge lighting or rim lighting
underlighting
often used to create dramatic horror effects, but may also simply indicate a realistic light source, such as a fireplace
top lighting
light shines down from above
key light
primary light source
provides the dominant illumination and casts the strongest shadows
most directional light, and usually corresponds to the motivating light source in the setting
provides the dominant illumination and casts the strongest shadows
most directional light, and usually corresponds to the motivating light source in the setting
fill light
less intense illumination that "fills in" light
softens or eliminates shadows cast by the key light
softens or eliminates shadows cast by the key light
three-point lighting
composed of key light, backlight, and fill light
emerged during the studio era of Hollywood filmmaking and is still widely used
lamps must be rearranged virtually every time the camera shifts to a new framing
emerged during the studio era of Hollywood filmmaking and is still widely used
lamps must be rearranged virtually every time the camera shifts to a new framing
high-key lighting
an overall lighting design that uses fill light and backlight to create low contrast between brighter and darker areas
usually, the light quality is soft, making shadow areas fairly transparent
can be 'dark', too, if showing time of day (ex: B2tF)
usually, the light quality is soft, making shadow areas fairly transparent
can be 'dark', too, if showing time of day (ex: B2tF)
low-key lighting
creates stronger contrasts and sharper, darker shadows
often, lighting is hard
fill light is often lessened or eliminated completely
often applied to somber or mysterious scenes
common in 1930s horror and film noir
often, lighting is hard
fill light is often lessened or eliminated completely
often applied to somber or mysterious scenes
common in 1930s horror and film noir
staging
movement of a figure in the frame
acting
performance of a character in a narrative
realism
how closely an actor's performance does or doesn't follow people's real-life behavior
function
the purpose a performance is supposed to serve within a film
ex: realism isn't important/appropriate in many slapstick comedies
ex: realism isn't important/appropriate in many slapstick comedies
typecasting
ideologically stereotyped roles: the Irish cop on the beat, the black servant, etc
actors selected and directed to conform to a "type"
actors selected and directed to conform to a "type"
motivation
the main concern of the characters
planes
the layers of space occupied by persons or objects
described according to how close to or far away from the camera they are
foreground, middleground, background
described according to how close to or far away from the camera they are
foreground, middleground, background
aerial perspective
the hazing of more distant planes
linear perspective
off-center and central
objects farther down the line will seem farther away
objects farther down the line will seem farther away
tinting
often used before 1930s to add color
accomplished by dipping the already developed film into a bath of dye
the dark areas remain black and grey, while the lighter areas pick up the color
accomplished by dipping the already developed film into a bath of dye
the dark areas remain black and grey, while the lighter areas pick up the color
toning
works in the opposite fashion as tinting
dye added during the developing of the positive print
darker areas are colored, while lighter portions of the frame remain white or only faintly colored
dye added during the developing of the positive print
darker areas are colored, while lighter portions of the frame remain white or only faintly colored
speed of motion
depends on the relation between the rate at which the film was shot and the rate of projection
both rates are calculated in frames/second
both rates are calculated in frames/second
focal length
distance from the center of the lens to the point where light rays converge to a point of focus on the film
alters the perceived magnification, depth, and scale of things in the image
alters the perceived magnification, depth, and scale of things in the image
zoom lens
optically designed to permit the continuous varying of focal length
gives the director a chance to manipulate focal length and to transform perspective relations during a single shot
gives the director a chance to manipulate focal length and to transform perspective relations during a single shot
depth of field
the range of distances before the lens within which objects can be photographed in sharp focus
selective focus
choosing to focus on only one plane and letting the other planes blur
deep focus
shorter-focal-length lenses and more intense lighting to yield a greater depth of field
famous example= contract signing scene in Citizen Kane
famous example= contract signing scene in Citizen Kane
rack focus
starting with one plane of motion in focus, with others blurred, then moving to a different plane being in focus, while the others (including the original) become fuzzy
aka pulling focus
aka pulling focus
superimposition
by double exposure either in the camera or in laboratory printing, one image is laid over another
front projection
came into use in the late 1960s
projects the setting onto a two-way mirror, angled to throw the image onto a high-reflectance screen
camera photographs the actors against the screen by shooting through the mirror
fore and background planes blend smoothly
projects the setting onto a two-way mirror, angled to throw the image onto a high-reflectance screen
camera photographs the actors against the screen by shooting through the mirror
fore and background planes blend smoothly
framing
actively defines the image
how characters, scenery and prop is set up within scope of frame of film
how characters, scenery and prop is set up within scope of frame of film
widescreen ratios
North America today= 1.85 : 1
less common, widely used in European films= 1.75 :1
this ratio is approximated by widescreen (16x9) TV monitors
less common, widely used in European films= 1.75 :1
this ratio is approximated by widescreen (16x9) TV monitors
split-screen imagery
two or more images, each with its own frame dimensions and shape, appear within the larger frame
often used to present telephone conversations
aka multiple-frame imagery
often used to present telephone conversations
aka multiple-frame imagery
onscreen and offscreen space
onscreen space appears on the film frame in view, while offscreen space is everything that is outside the frame at a given moment
six zones of offscreen space
space beyond each of the four edges of the frame (4--top, bottom, left, right)
space behind the set
space behind the camera
space behind the set
space behind the camera
angle of framing
three general categories:
1) straight-on
2) high
3) low
1) straight-on
2) high
3) low
canted framing
when the framing is tipped to one side or the other
relatively rare
relatively rare
height of framing
view from a certain height relative to the setting and figures
shot scale
sense of being close or far based on framing
relative to the human body
relative to the human body
extreme long shot
the human figure is lost or tiny
framing for landscapes, bird's eye views of cities
framing for landscapes, bird's eye views of cities
long shot
figures are more prominent, but the background still dominates
medium long shots
the human figure is framed from about the knees up
common, since they permit a nice balance of figure and surroundings
common, since they permit a nice balance of figure and surroundings
medium shot
frames the human body from the waist up
close-up
traditionally shows just the head, hands, feet, or a small object
emphasizes facial expression, details of a gesture, or a significant object
emphasizes facial expression, details of a gesture, or a significant object
extreme close-up
singles out a portion of the face or isolates and magnifies an object
mobile framing
the framing of an object changes the camera angle, level, height, or distance DURING the shot
pan
(short for 'panorama')
movement rotates the camera on a vertical axis
gives the impression of a frame horizontally scanning space
movement rotates the camera on a vertical axis
gives the impression of a frame horizontally scanning space
tilt
rotates the camera on a horizontal axis
as if the camera's head is swiveling up and down
as if the camera's head is swiveling up and down
tracking
the camera as a whole does change position, traveling in any direction along the ground--forward, backward, circularly, diagonally, etc
aka dolly shot
aka dolly shot
crane shot
the camera moves above ground level
typically, it rises or descends thanks to a mechanical arm
may move up and down, forward and backward, or from side to side
typically, it rises or descends thanks to a mechanical arm
may move up and down, forward and backward, or from side to side
handheld
the operator doesn't anchor the camera on a tripod or dolly, but instead uses his or her body to act as the support without benefit of compensating equipment
zoom lens
can be used as a form of mobile framing
functions of frame mobility
continually affects the angle, level, height, or distance of the framing
reframing
tend to be relatively unnoticeable
camera pans or tilts slightly to follow the movement of a character
camera pans or tilts slightly to follow the movement of a character
following shot
camera displaces itself in order to follow figures or moving objects
mobile frame and time
can create an arc of expectation and fulfillment
velocity of frame is also important
speed of mobile framing may function rhythmically
velocity of frame is also important
speed of mobile framing may function rhythmically
patterns of mobile framing
can create its own motifs within a film
long take
a shot of considerable duration
generally used selectively
generally used selectively
editing
coordination of one shot with the next
elimination of unwanted footage
elimination of unwanted footage
fade-out
gradually darkens the end of a shot to black
fade-in
gradually lightens the beginning of a shot from black
dissolve
briefly superimposes the end of shot A and the beginning of shot B
wipe
shot B replaces shot A by means of a boundary line moving across the screen
graphic match
linking shots by graphic similarities
shapes, colors, overall composition, or movement in shot A may be picked up in shot B
shapes, colors, overall composition, or movement in shot A may be picked up in shot B
graphic contrast
linking shots by graphic dissimilarities
shapes, colors, overall composition, or movement in shot A may be contrasted in shot B
shapes, colors, overall composition, or movement in shot A may be contrasted in shot B
temporal relations
order, duration, and frequency in shot A vs shot B
flashbacks/ flash-forward
moving from the present to past (flashback) or --much more rarely-- future (flash-forward) within a film
helps reveal characters past experiences or builds anticipation for things to come
helps reveal characters past experiences or builds anticipation for things to come
punctuation
dissolve, wipe, fade
signals some time has been emitted
signals some time has been emitted
empty frames
when used on either side of a cut, they can cover elided time
ex: man walking up stairs can walk out of frame --empty frames--
cut to top of stairs
--empty frames-- man walks into frame
ex: man walking up stairs can walk out of frame --empty frames--
cut to top of stairs
--empty frames-- man walks into frame
cutaway
a shot of another event elsewhere that will not last as long as the elided action
axis of action
determines the area where the camera can be placed to present the action
aka center line, 180 degree line
aka center line, 180 degree line
180 degree system
ensures that relative positions in the frame remain consistent
ensures consistent eyelines
ensures consistent screen direction
ensures consistent eyelines
ensures consistent screen direction
screen direction
the direction in which a character or object moves across the scene (left to right, etc)
shot/reverse-shot
once the 180 line has been established, one end point of the line can be shown, then the other
Shot A, then Shot B at the opposite end of the axis of action
Shot A, then Shot B at the opposite end of the axis of action
eyeline match
shot A= the looker sees something offscreen
shot B= what the looker is seeing
the looker and the object aren't present together in either shot
shot B= what the looker is seeing
the looker and the object aren't present together in either shot
establishing shot
establishes space in the scene
reestablishing shot
reestablishes the overall space that was analyzed in previous shots
match on action
tactic for ensures spatial continuity
beginning of a movement in shot 1
continue movement in shot 2
editing device that carries a movement across the break between two shots
beginning of a movement in shot 1
continue movement in shot 2
editing device that carries a movement across the break between two shots
montage sequence
brief portions of a process, informative titles, stereotyped images, newsreel footage, newspaper headlines
can be joined by dissolves and music to create a quick, regular rhythm and to compress a lengthly series of actions into a few moments
can be joined by dissolves and music to create a quick, regular rhythm and to compress a lengthly series of actions into a few moments
jump cut
violation of continuity
when two shots of the same subject are cut together but are not sufficiently different in camera distance and angle, there will be a noticeable jump on the screen
when two shots of the same subject are cut together but are not sufficiently different in camera distance and angle, there will be a noticeable jump on the screen
nondiegetic insert
filmmaker cuts from the scene to a metaphorical or symbolic shot that is not part of the space and time of the narrative
ex: housewives gossiping cutting to clucking chickens
ex: housewives gossiping cutting to clucking chickens
sound in Letter from Siberia
sound changes perception of the footage being shown. In one, they are happy workers, in another they are opressed workers, etc
perceptual properties of sound
loudness= volume
pitch= frequency of the sound vibration
timbre= harmonic components of sound give it certain color or tone quality
ex: nasal or mellow voice
pitch= frequency of the sound vibration
timbre= harmonic components of sound give it certain color or tone quality
ex: nasal or mellow voice
sound mixing
combining sonic events into a specific pattern and into layers
sound perspective
the closer the camera is to the source of a sound, the louder the sound will be
rhythm in sound and image
coordination= matching sonic rhythms to visual ones
disparities= contrasting rhythm of sound and visual elements
disparities= contrasting rhythm of sound and visual elements
diegetic sound
sound that comes from inside the story world
nondiegetic sound
sound that doesn't come from the story world, such as music or score
offscreen sound
a sound whose source isn't in a shot
onscreen sound
a sound whose source can be seen in the frame
external diegetic sound
sounds which viewers take to have a physical source in the scene
internal diegetic sound
that which comes from inside the mind of a character
it is subjective
it is subjective
synchronous sound
hear the sound at the same time as the source is seen producing the sound
asynchronous sound
sound goes out of sync with source
aka out-of-sync sound
aka out-of-sync sound
simultaneous sound
sound takes place at the same time as the image in terms of the story events
nonsimultaneous sound
sound watchers hear is occurring earlier or later in the story than the events seen on screen
sound bridge
sound may linger briefly while the image is already presenting the next scene
ex: Silence of the Lambs phone call convo to storage unit
ex: Silence of the Lambs phone call convo to storage unit
dialogue hook
ending a scene with a line that prepares for the next scene
About this deck
By: Sasha Weist
Textbook:
Film Art: An Introduction
Film Art: An Introduction with Tutorial CD-ROM
Created: 2010-11-07
Size: 158 flashcards
Views: 239
Textbook:
Film Art: An Introduction
Film Art: An Introduction with Tutorial CD-ROMCreated: 2010-11-07
Size: 158 flashcards
Views: 239
About StudyBlue
STUDYBLUE makes things that make you better at school.
Things like online flashcards with photos and audio.
Things like personalized quizzes and friendly reminders about when (and what) to study next.
Think of it as a digital backpack™: access to all of your study materials online and on your phone.
STUDYBLUE exists to make studying efficient and effective for every student, for free. Join us.
“I have been getting MUCH better grades on all my tests for school. Flash cards, notes, and quizzes are great on here. Thanks!”
Kathy
Kathy