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Film Final Unit 8-15
| Term | Definition |
|---|---|
| What are the 3 elements that make up a film's soundtrack? | sound effects, dialogue, and the musical score |
| adds sound effects during post-production | foley artist |
| sounds that would naturally and realistically emanate from the images on screen | visible sounds |
| sounds emanating from sources not on the screen, could be used to extend the dimensions of film beyond what is seen (achieve more powerful dramatic effects) | invisible sounds |
| characters and the action of a scene are perceived as if by a somewhat remote observer who looks calmly on the events without becoming emotionally or physically involved | objective POV (sound) |
| intensely involved, either emotionally or physically, in the happenings on the screen | subjective POV (sound) |
| sounds natural to the scene's environment | ambient sounds |
| films that take place not in the present but in some earlier period of history | period pieces |
| aural bridges between scenes or sequences (changes in place or time) created through the use of similar or identical sounds in both sequences | sound links |
| human voice off-screen, most commonly used as an expository device to convey necessary background information of fill gaps for continuity that cannot be presented dramatically | voice-over narration |
| complete absence of sound, may be as effective as the most powerful sound effect | dead track |
| actors speak the lines of dialogue in their native language (French), and this dialogue is recorded and becomes a part of the soundtrack for the Frech version. Script is translated into other audio records that go along eith the film | voice dubbing |
| special uses of ____ and ________ 1) Sound Effects to Tell an Inner Story 2) Distortion of Sound to Suggest Subjective States 3) The "Personality" of Mechanical Sounds 4) Slow Motion Sound 5) Ironic Juxtaposition of Sound and Image 6) Placing Unus | special uses of sound effects and dialogue |
| two general functions of the musical score | 1) to create structural rhythms within a sequence (and within a film as a whole) 2) to stimulate emotional response. |
| (which special functions of musical score) emotional punctuation for the dialogue, expressing the feeling underlying what is said | heightening the drama effect of dialogue |
| (which special functions of musical score) primary storytelling function, enabling the director to express things that cannot be expressed through verbal or pictorial means | telling an inner story |
| telling an inner story | providing a sense of time and place |
| (which special functions of musical score) when a surprising change of mood or an unexpected action is about to occur on the screen, we are almost prepared for that change by the musical score | foreshadowing events or building dramatic tension |
| (which special functions of musical score) sometimes music makes us see the visual scene in a fresh, unusual way by combining with the image to create additional levels of meaning | adding levels of meaning to the visual image |
| (which special functions of musical score) Mickey Mouse scoring may be used to emphasize a peculiar or rhythmic pattern set up by a certain character's physical movement | characterization through music |
| (which special functions of musical score) the composer takes advantage of the fact that viewers have been conditioned to associate some musical stereotypes or musical codes with particular situations | triggering conditioned responses |
| (which special functions of musical score) film music when characterizing rapid movement | traveling music |
| (which special functions of musical score) providing transitions or bridges between scenes - marking the passage of time, signaling a change of focale, fore shadowing a big shift in mood or pace, transporting us backward in time into a flashback | providing important transitions |
| (which special functions of musical score) often articulates rhythmically the title information itself, making it somehow more interesting than it is | setting an initial tone |
| (which special functions of musical score) certain sound effects or noises from nature can be used in subtle ways for their own sake, to create atmosphere in the same way that music does | musical sounds as a part of the score |
| (which special functions of musical score) songs with lyrics that have no clear or direct relationship to the scenes they accompany are increasingly used as part of the soundtrack | music as a base for monologue |
| (which special functions of musical score) in some films, music is used to provide a clear rhythmic framework for the action, which essentially becomes a highly stylized dance performed to the music | music as a base for choreographed action |
| (which special functions of musical score) non storytelling function of the musical score is to disguise or cover up weaknesses in acting and dialogue | |
| adds sound effects during post-production | foley artist |
| sounds that would naturally and realistically emanate from the images on screen | visible sounds |
| sounds emanating from sources not on the screen, could be used to extend the dimensions of film beyond what is seen (achieve more powerful dramatic effects) | invisible sounds |
| characters and the action of a scene are perceived as if by a somewhat remote observer who looks calmly on the events without becoming emotionally or physically involved | objective POV (sound) |
| intensely involved, either emotionally or physically, in the happenings on the screen | subjective POV (sound) |
| sounds natural to the scene's environment | ambient sounds |
| films that take place not in the present but in some earlier period of history | period pieces |
| aural bridges between scenes or sequences (changes in place or time) created through the use of similar or identical sounds in both sequences | sound links |
| human voice off-screen, most commonly used as an expository device to convey necessary background information of fill gaps for continuity that cannot be presented dramatically | voice-over narration |
| complete absence of sound, may be as effective as the most powerful sound effect | dead track |
| actors speak the lines of dialogue in their native language (French), and this dialogue is recorded and becomes a part of the soundtrack for the Frech version. Script is translated into other audio records that go along eith the film | voice dubbing |
| special uses of ____ and ________ 1) Sound Effects to Tell an Inner Story 2) Distortion of Sound to Suggest Subjective States 3) The "Personality" of Mechanical Sounds 4) Slow Motion Sound 5) Ironic Juxtaposition of Sound and Image 6) Placing Unus | special uses of sound effects and dialogue |
| two general functions of the musical score | 1) to create structural rhythms within a sequence (and within a film as a whole) 2) to stimulate emotional response. |
| (which special functions of musical score) emotional punctuation for the dialogue, expressing the feeling underlying what is said | heightening the drama effect of dialogue |
| (which special functions of musical score) primary storytelling function, enabling the director to express things that cannot be expressed through verbal or pictorial means | telling an inner story |
| telling an inner story | providing a sense of time and place |
| (which special functions of musical score) when a surprising change of mood or an unexpected action is about to occur on the screen, we are almost prepared for that change by the musical score | foreshadowing events or building dramatic tension |
| (which special functions of musical score) sometimes music makes us see the visual scene in a fresh, unusual way by combining with the image to create additional levels of meaning | adding levels of meaning to the visual image |
| (which special functions of musical score) Mickey Mouse scoring may be used to emphasize a peculiar or rhythmic pattern set up by a certain character's physical movement | characterization through music |
| (which special functions of musical score) the composer takes advantage of the fact that viewers have been conditioned to associate some musical stereotypes or musical codes with particular situations | triggering conditioned responses |
| (which special functions of musical score) film music when characterizing rapid movement | traveling music |
| (which special functions of musical score) providing transitions or bridges between scenes - marking the passage of time, signaling a change of focale, fore shadowing a big shift in mood or pace, transporting us backward in time into a flashback | providing important transitions |
| (which special functions of musical score) often articulates rhythmically the title information itself, making it somehow more interesting than it is | setting an initial tone |
| (which special functions of musical score) certain sound effects or noises from nature can be used in subtle ways for their own sake, to create atmosphere in the same way that music does | musical sounds as a part of the score |
| (which special functions of musical score) songs with lyrics that have no clear or direct relationship to the scenes they accompany are increasingly used as part of the soundtrack | music as a base for monologue |
| (which special functions of musical score) in some films, music is used to provide a clear rhythmic framework for the action, which essentially becomes a highly stylized dance performed to the music | music as a base for choreographed action |
| (which special functions of musical score) non storytelling function of the musical score is to disguise or cover up weaknesses in acting and dialogue | covering possible weakness in the film |
| certain musical instruments and types of music represent and signal the presence of certain characters | peter-and-the-wolfing |
| the repetition of a single musical theme or phrase to announce the reappearance of a certain character | musical leitmotifs |
| (type of acting) used in action/adventure film. requires a great deal in the way of reactions, body language, physical exertion, and special skills, but it does not draw on the deepest resources of the actor's intelligence and feelings. | action acting |
| (type of acting) sustained, intense dialogue with another person and requires an emotional and physiological depth seldom called for in action acting. Involves feeling, thinking, and communicating emotions and thoughts | dramatic acting |
| (type of actor) actors who have the talent to leave their real personality behind and to assume the personality of a character with whom they may have a few characteristics in common | impersonators |
| (type of actor) play characters closely resembling themselves in personality and physical appearance, and they interpret these parts dramatically without wholly losing their own identity | interpreters |
| certain musical instruments and types of music represent and signal the presence of certain characters | peter-and-the-wolfing |
| the repetition of a single musical theme or phrase to announce the reappearance of a certain character | musical leitmotifs |
| (type of acting) used in action/adventure film. requires a great deal in the way of reactions, body language, physical exertion, and special skills, but it does not draw on the deepest resources of the actor's intelligence and feelings. | action acting |
| (type of acting) sustained, intense dialogue with another person and requires an emotional and physiological depth seldom called for in action acting. Involves feeling, thinking, and communicating emotions and thoughts | dramatic acting |
| (type of actor) actors who have the talent to leave their real personality behind and to assume the personality of a character with whom they may have a few characteristics in common | impersonators |
| (approach of acting) involves deliberate exaggeration, heightened emotions, and theatricality. It prioritizes artistic expression over strict realism | stylized approach |
| identify two difficulties faced by film actors that is not an issue for stage actors | -perform their roles in discontinued bits and pieces -no direct like with the audience |
| (type of actor) play characters closely resembling themselves in personality and physical appearance, and they interpret these parts dramatically without wholly losing their own identity | interpreters |
| we emotionally and intellectually identify with them, we see the story through their eyes | POV character |
| (type of actor) play characters closely resembling themselves and nothing more, they must fit exactly the roles in which they are cast, or the roles must be tailored to fit their personality | personality actors |
| the re-released film, includes footage that the directors felt should never have been dropped | director's cut |
| (type of actor) performance by a group of actors whose roles are of equal importance whose roles are of equal importance; no member of the group has a starring role or dominates the others | ensemble acting |
| complete filmmacker. He or she concieves the idea of the story, writes the script or the screenplay, and then carefully supervised every step in the filmmaking process, from selecting the cast and finding a suitable etting down to editing the final cut | auteur |
| consigns an actor to a narrow range of almost identical roles. It is a result of situation | typecasting |
| two broad approaches of acting | realism, stylized approach |
| (approach of acting) emphasizes portraying characters and situations as authentically and naturally as possible. Actor ai to mimic real-life behavior | realism approach |
| which special tricks of editing are indicators of a director's style | parallel cutting, dialogue overlaps, fragmented flash-cutters |
| (approach of acting) involves deliberate exaggeration, heightened emotions, and theatricality. It prioritizes artistic expression over strict realism | stylized approach |
| what is the first consideration in analyzing visual style | composition |
| identify two difficulties faced by film actors that is not an issue for stage actors | -perform their roles in discontinued bits and pieces -no direct like with the audience |
| we emotionally and intellectually identify with them, we see the story through their eyes | POV character |
| the re-released film, includes footage that the directors felt should never have been dropped | director's cut |
| complete filmmacker. He or she concieves the idea of the story, writes the script or the screenplay, and then carefully supervised every step in the filmmaking process, from selecting the cast and finding a suitable etting down to editing the final cut | auteur |
| camera that views the action as a remote spectator | objective camera |
| cameras a sense of movement through panning and tilting | fixed camera |
| camera that views the scene from the visual or emotional point of view of a participant | subjective camera |
| which special tricks of editing are indicators of a director's style | parallel cutting, dialogue overlaps, fragmented flash-cutters |
| what is the first consideration in analyzing visual style | composition |
| for what two primary reasons must directors guard against typecasting | 1. expectation of moviegoers- that want the popular fare 2. conservative thinking by studios and production companies |
| what does the text suggest might be a good element to begin with when examining a director's subject matter | common themes and common visual interpretations |
| who generally makes the majority of creative decisions on a film | director |
| a meaningful assessment of any director's style requires the careful study of how many of his or her films | three |
| unifying central concern (the element that unifies the work its plot: a single unique character, emotional mood or effect, certain style or texture, or designed to convey an idea make a statement) | theme |
| film based on subjects, themes, or styles that have become familier because they have been used often | genre film |
| (which film approach) judges a film in terms of how it relates to body of "formula" films | genre approach to criticism |
| (which film approach) judges based on directors entire canon | auteur approach to criticism |
| (which film approach) focuses on the performances of major stars or film personalities | actor showcase approach to criticism |
| (which film approach) a composite approach that incorporates elements of other approaches | eclectic approach |
| what is the key function of reviewer | bring about a better understanding or a keener appreciation of a film. |
| prompts us to consider aspects like character development, pacing, and narrative structure | encouraging critical thinking |
| what approach to films shows a strong anti-intelligent bias | film as an emotional or sensual experience |
| the feminist approach to film criticism often focuses on (4 things) | -reflecting patriarchal ideology - the representation of female characters in films -the gender of directors and screenwriters -how gender might influence the style or approach toward the subject matter of the film |
| what form of criticism relies on all of the following assumptions that all humans share a deep psychological bond | Jungian criticism |
| what should be the first step in an analysis | should be to get a fairly clear idea of the film's scene- focus |
| What is the Freudian perspective of analysis | Assumes that a movie is an expression of the filmmaker's psyche. |
| method of shooting, giving his viewers an objective view and understanding of worlds that they are rarely permitted to enter. (natural habitat) (documentary) (not interacting) | Direct Cinema |
| "objective upstaged, non-dramatized, non-narrative." (reality show- pulls people aside) A method of documentary filming using aleatory methods that don't interfere with the way events take place in reality. | Cinema Verite |
| Substitute footage for material deemed unsuitable for broadcast television showings covering shots and transitions, dirty language dubs, explicit visual material | Cover shots |
| What type of documentary tries to avoid judging its subject and is exemplified by “direct cinema?” | Antithetical documentary |
| Why are social problem films difficult to analyze? | They age very quickly |
| How do the musical scores of many foreign films often come across to an American audience? | Overdone and dated |
| What is considered to be a potential problem with the direct cinema method of shooting? | The influence that the presence of the camera has on the events before it |
| What type of documentary presents a clearly articulated position towards its subject? | The thesis documentary |
| Because parents and critics complained about the amount and intensity of violence contained in them, which two films were instrumental in splitting the PG rating into two separate labels, PG and PG-13? | Indiana Jones and the Temple of Doom and Gremlins |
| Most censorship within the American film industry has traditionally reflected an uneasy compromise between | Advocates of change and supporters of the status quo |
| To ensure that American films released by the Hollywood studios would reflect, respect, and protect the institutions and values of the American middle class - what was developed | Production Code / Rating System |
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