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Film 230 Exam 1
| Question | Answer |
|---|---|
| Mise-en-scène | the arrangement of scenery and stage properties in a play. the setting or surroundings of an event or action. |
| Aspects of mise-en-scène | -setting/sets: realism, theatricality -props: instrumental, metaphoric, cultural -actors: performance, blocking/staging, leading, supporting, character actors, stars -costumes & makeup |
| Lighting | -three-point lighting (key, fill, backlighting): blends the light naturally -directional lighting: light defines and shapes object; cast shadows -low key lighting, hard, soft lighting -natural lighting |
| Cinematography | the art and craft of making motion pictures by capturing a story visually. |
| Photographic image | -chronophotography -film stock (color, black and white) -film gauges: 8mm, 16mm, Imax, digital -frame rates: 16fps, 24fps -focal length: telephoto lens, normal lens, wide angle lens -depth of field: deep focus, shallow focus, rack focus |
| Framing | -on-screen/off-screen space vs. diegetic/nondiegetic -camera angles: high, low, straight-on, canted, crane shot -point of view (subjective/objective) -masks (e.g. Iris) -camera distance: ELS, LS, MLS, MS, MCU, CU, ECU |
| Camera movement | -mobile framing -reframing -pan, tilt, track, dolly, traveling shot, handheld shot, Steadicam -zoom in, zoom out; difference from travelling shot |
| Editing | the art, technique and practice of assembling shots into a coherent sequence. |
| Aspects of Editing #1 | -shot (continuous length of film, duration, long take) -wipe, dissolve, fade-in, fade-out, cut, jump cut, shock cut -continuity editing: unobtrusiveness, “invisibility” -180 degree rule -30 degree rule -establishing shot, reestablishing shot |
| Aspects of Editing #2 | -shot/reverse shot pattern -eyeline match, point-of-view shot -match on action -crosscutting/parallel editing |
| Aspects of Editing #3 | -breaks from continuity editing: discontinuities, estrangement -graphic editing (graphic patterns link shots) -match on action (used for discontinuity) -rhythmic (tempos determined by shot duration) -montage (power of cinema is in juxtaposition) |
| Sound | the sensation perceived by the sense of hearing. |
| Aspects of Sound #1 | -diegetic/non-diegetic vs. synchronous/asynchronous sound -synchronous sound (on-screen) -asynchronous sound (off-screen) -synchronous recording vs. post-synchronous sound -mickey mousing vs. contrapuntal sound |
| Aspects of Sound #2 | -direct vs. reflected sound -foley artists -sound perspective (apparent distance of a sound source) -voice-off (speaker not visible but exists in diegesis) vs. voiceover -underscoring -stingers: call our attention quickly |
| Barthes | gluing/ungluing, cinema situation. |
| Epstein | the close-up, pain within reach. |
| Eisenstein, Pudovkin, Alexandrov | contrapuntal sound. |
| Bazin | deep space versus montage, the effect on the spectator. |
| Alice Rohrwacher | online interview and article on The Wonders. |
| Meshes of the Afternoon | (Maya Deren, 1943, 18m) a woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. |
| Citizen Kane | (Orson Wells, 1941, 120m) when a reporter is assigned to decipher newspaper magnate Charles Foster Kane's dying words, his investigation gradually reveals the fascinating portrait of a complex man. |
| Killer of Sheep | (Charles Burnett, 1977, 87m) Stan spends his days toiling away at a local slaughterhouse. His macabre profession seeps into his personal life as he struggles to keep his family afloat and content. |
| Diving Bell and the Butterfly | (Julian Schnabel, 2007, 112m,) the editor-in-chief of French Elle magazine, suffered a stroke and lapsed into a coma. He awoke 20 days later, mentally aware of his surroundings, but physically paralyzed with what is known as locked-in syndrome. |
| It Happened One Night | (Frank Capra, 1934, 105m) Ellie falls in with cynical newspaper reporter Peter Warne, who offers to help her reunite with her new husband in exchange for an exclusive story. |
| The Lonely Villa | (D.W. Griffith, 1909, 8m)a group of criminals wait until a wealthy man leaves to break into his house and threaten his wife and daughters. |
| Ballet Méchanique | (Leger and Murphy, France, 1924, 15m) Ballet Mécanique is a Dadaist post-Cubist art film heavily inspired by Charlie Chaplins mechanic movements. |
| Battleship Potemkin | (Sergei Eisenstein, 1925, 75m) when they are fed rancid meat, the sailors on the Potemkin revolt against their harsh conditions. |
| Lovers Rock | (Steve McQueen, 2020, 70m) a single evening at a house party in 1980s West London sets the scene, developing intertwined relationships against a background of violence, romance and music. |
| The Wonders | (Alice Rohrwacher, 2014, 110m) a family of Tuscan beekeepers find their idyll interrupted by the arrival of a troubled teenage boy, after their daughter enters a competition to appear on a television show. |
| The Wonders Scene #1 | the scene focuses on the family accidentally walking into the process of a woman (dressed as a goddess) filming an add in ancient italy. the woman then calls the girls of the family over and politely talks to them and gives them small gifts. |
| The Wonders Scene #2 | Gelsomina and Martin reunite in a cave on an island in the middle of a lake. The scene has little to no sound (diegetic and non-diegetic), uses shaky camera movement to show personal perspective, and uses a pairing of off-screen/on-screen action . |
| The Wonders Scene #3 | Gelsomina returns home to the property with her family. The sound is diegetic until the camera pans using a continuous shot until the sound (the whistling) is now non-diegetic, the camera pans back and the family is gone. |
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isabellalar21
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