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Film 220

The three types of associations in experimental film metaphoric, symbolic, and structural
Director of "Meshes of the Afternoon" Maya Deren
Director of Superstar: The Karen Carpenter Story Todd Haynes
An experimental film association that isolates objects and assigns abstract meanings that are either given by culture or by the film itself Symbolic
An experimental film association that links visuals to generate a new idea Metaphoric
An experimental film association that engagea audience through a formal principle rather than a narrative or a chain of associations Structural
compositional elements of cinematography points of view, framing of the shot, camera movement
Point of view that recreates a character’s perspective as seen through the camera subjective
Point of view that represents the more impersonal perspective of the camera objective
a camera worn by a camera man which compensates for movement and jumpiness giving smooth and fast camera movement stedicam
the pleasure we take in looking at and observing others scopophila
Film theorist who argued • The camera’s vision aligned with a heterosexual male perspective • Female characters connote “to-be-looked-at-ness” • Women in films are bearers (not makers) of meaning Mulvey
Three things that destiguish genre conventions, formulas and myths, and audience expectations
The six main genres comedies, westerns, melodramas, horror, crime and musicals
the three crime subgenres gangster films, hard-boiled detective films, and film noirs
Semantic elements of genre characters types, locations, sets, shot types, costuming, attitudes
Syntactic elements of genre between onscreen elements, narrative structure, central problems
Film theorist who argued that categorization of genre should be devided between semantic and syntactic elements Altman
a category or classification of films that share similar subject matter, setting, iconography, and narrative and stylistic patterns genre
Director of Rope Alfred Hitchcock
Director of Walle Andrew Stanton
Director of Singing in the Rain Gene Kelly and Stanley Donan
Director of Harlan County USA Barbara Kopple
Director of Touch of Evil Orson Welles
the subject matter and raw material of film story
order of events and actions of the story plot
Four types of evolution characters undergo over the course of the story progressive, regressive, internal, external
Four types of narrative space SHIP: symbolic, historical, ideological, psychological
Perspective identified by individual voice-over narration first person
A perspective that confines itself to the experiences and thoughts of the major characters 3rd person limited
Type of narrative enters on one or more central characters who propel the plot with cause-and-effect logic classical Hollywood
creator of dialectical montage and director of Battleship Potemkin Sergei Eisenstein
a voice that originates from a speaker who can be inferred to be present in the scene but who is not visible onscreen voice-off
a voice whose source is neither visible in the frame nor implied to be off-screen, it typically narrates the films images, such as in a documentary or flashback voice-over
over illustrating the action through the musical score mickey-mousing
relationship where sound sounds like the action on the screen iconic relationship
a sound that continues over a picture transition or a sound belongings to a coming scene heard before the image is seen sound bridge
the six modes of documentary filmmaking POPPER: participtory, observational, poetic, performative , expository, and reflexive
mode of documentary which emphasizes verbal commentary and the "voice of God" expository
mode of documentary which does not include reenactment and where ocial actors essentially behave as if no filmmakers were there observational
mode of documentary that creates impressionistic instead of explicit meaning poetic
mode of documentary that ay draw attention to the assumptions and expectations of the documentary form itself and increase awareness of constructedness of the medium’s representation of reality reflexive
mode of documentary that uses interviews and other forms of direct involvement from conversation to provocation. Emphasizes and welcomes interaction between the filmmaker and the subject participatory
mode of documentary which makes the filmmaker the subject and emphasizesthe subject or expressive aspect of the filmmaker's own involvement in the process performative
Antecedents to documentary film Actualities, newsreels, home movies, and "useful" films
Created by: mep