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Film 220
| Question | Answer |
|---|---|
| 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
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