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Film-Oct MidtermTest
chpt 1-4, test on oct 25th 2023
| Term | Definition |
|---|---|
| Story | The chain of events in chronological order. The total sum of all the events in the narrative. The full story, maybe not everything shown on screen. Why and How? |
| Plot | Sequence that cues us to construct the story. What we are shown and told about the story. The plot includes all of the story events that are directly depicted. Audience builds the story through assumptions and inferences. When, Where, and What? |
| Mise-en-scene: | “Putting into the scene” Signifies the directors control over what appears in the film frame. |
| THREE-POINT LIGHTING | key light, fill light and backlight. The standard lighting scheme for classical narrative cinema. In order to model an actor’s face (or another object) with a sense of depth, light from three directions is used. |
| explain elements of THREE-POINT LIGHTING | A backlight picks out the subject from its background, a bright key light highlights the object and a fill light from the opposite side ensures that the key light casts only faint shadows. |
| HIGH-KEY LIGHTING | A lighting scheme in which the fill light is raised to almost the same level as the key light. This produces images that are usually very bright and that feature few shadows on the principal subjects. (musicals and comedies) |
| LOW-KEY LIGHTING | Creates stronger contrasts and sharper, darker shadows. The lighting is hard, and the fill light is lessened or eliminated all together. Often applied to somber, threatening, or mysterious scenes. |
| Hubris | Human interference in nature |
| Deep Space | A term for the way a filmmaker has staged the action on several different planes, regardless of whether all of these planes are in focus. |
| Shallow Space | Very little depth. The closest and farthest planes are separated minutely. Deep-space is the opposite. |
| Frontality | Frontality refers to the staging of elements, often human figures, so that they face the camera square-on. Do characters look at the camera? For how long? Suddenly turning to the camera at a specific time draws our attention. |
| Matte Shot | A process shot in which two photographic images (usually background and foreground) are combined into a single image using an optical printer. Matte shots can be used to add elements to a realistic scene or to create fantasy spaces. |
| Offscreen Space | Offscreen space is often used to create suspense or surprise. Sound can also be used to set up/insinuate off screen action. Takes only a few hints for us to start imagining things off screen |
| Typage | Typage refers to the selection of actors on the basis that their facial or bodily features readily convey the truth of the character the actor plays |
| Naturalistic Acting | acting that appears unstyleized in relation to the norms and expectations of the time |
| Static | lacking in movement, action, or change, especially in a way viewed as undesirable or uninteresting. |
| Salient | most noticeable or important |
| Referential | “literal”- Historical / social / geographic setting of the film |
| Explicit | “the message”- Description of the plot / story |
| Implicit | Interpretation of the "message" of the film |
| Symptomatic | Assessment of filmmaker/audience concerns |
| Critical Flicker fusion | the frequency at which flickering light can be perceived as continuous |
| Apparent Motion | A second factor in creating cinemas' illusion. If a visual display is changed rapidly enough, our eye can be fooled into seeing movement |
| Diegetic | Everything that is inside of the world of the film (the music that a radio would play) |
| Non-Diegetic | Everything that is outside of the world of the film (background music) |
| Motif | a repeated element that points toward major theme of the film |
| Screen Space | Two dimensional, thinking of the scene as a painting. Where are elements grouped in the frame? |
| Scene Space | Three dimensional. Also think about depth |
| Planes | layers of space: foreground, middle ground, background |
| Depth | Objective- what characters say and do Subjective- what characters perceive or think |
| Range- | Restricted- confined to character perspective Unrestricted- omniscient, film knows everything |
| Motivation | What causes a character to act this way? Why are you choosing to act this way? Exp: a sample q, Toto running away is a motive for Dorothy missing the hot air balloon. |
| Narration | the moment-by-moment process that guides viewers in building the story out of the plot |
| Main Characters in In the Mood for Love | Mrs. Chan and Mr. Chow |
| run lola run takes place where? | Berlin, Germany |
| elements of Mise-en-scène part 1: prop and costume | Prop-When an object in the setting has a function within the ongoing action, in a scene Costume and makekup- Costumes can become motifs, enhancing characterization and tracing changes in attitude. shows what characters want |
| elements of Mise-en-scène part 2: Lighting, Staging and performance | Lighting- exp: 3 point lighting: key light, fill light and backlight Staging and performance- acting– how performances are put onto film. Performance is a style its an action in film, it creates an experience |
| Classical narration | Make sure your main character wants something. Emphasize conflict. Take your character on an emotional journey. Be sure that your ending resolves in the initial situation.` |
| salient colour in rebel without a cause | RED |
| Principles of Narrative Form | Narrative, Story, Plot, Diegetic / non-diegetic |
| Protagonist and reporter's names in Citizen Kane | Charles Foster Kane and Jerry Thompson |
| Kane's first wife & Niece of President Monroe | Emily Monroe Norton Kane |
| Kane's Second Wife & Opera Singer | Susan Alexander Kane |
| Kane’s college friend & Reporter | Jedediah Leland |
| The Classical Hollywood Cinema | Story centers on personal psychological causes, Motivation is clear. Goal is blocked → conflict: There is an antagonist and a struggle. Deadline → resolution: Goals are achieved, mysteries are solved. Narration: Generally unrestricted and objective |
| climax | Closing: often with a climax. The climax aims to lift the viewer to a high degree of tension |
| Time | Order, Duration, Plot duration, Story duration, Frequency |
| Viewers construct the story’s time | The director manipulates story order, duration, and frequency and viewers actively participate in making sense of the narrative film. |
| Principles of Film Form: part 1: function and Difference and Variation | Function- what does an element do? what motivates it here? Similarity and Repetition- motifs structure our experience Difference and Variation- create contrasts but also play with expectation |
| Principles of Film Form: part 2: development and unity and disunity | Development- Progression (eg. journey; beginning-middle-end) Unity and Disunity- similarities and differences develop logically, without excess. A film may fail to create clear relationships among elements it introduces. |
| Causality / Cause and Effect | Mainstream narrative motivates events by helping the audience construct a plausible sequence of cause and effect. Character traits: Attitudes, skills, habits, tastes, psychological drives and any other qualities that distinguish him/her. |
| protagonist | The character who’s onscreen more often than the others, whom we sympathize with, who changes the most, and who resolves the action. |
| Antagonist | a character who opposes the protagonist |
| Time | Order: flashback, flash-forward, etc Duration Frequency Temporal duration: Is the film a cohesive time span showing the viewer only a small amount of the protagonist's life? Viewers construct the story’s time |
| Frequency | How often do we see or hear an event? Story events repeated in the plot. |
| Opening, Closings, and Patterns of Development | Opening: introduce characters, backstory Development: goal orientation, deadline, ect Closing: often with a climax |
| CK as a media-conscious “biopic” of America | Looking at wealthy success, charismatic, who get old and bitter and things begin to fall apart Biopic- a movie dramatizing the life of a particular person, typically a public or historical figure |
| CK AS Classical hollywood cinema | - Personal psychological causes - Kane wants to be president, live a good life - Kane's life is an emotional journey - Deadline → resolution "Rosebud" is revealed at the end |
| CK (as what the Prof argues) as A NON Classical Hollywood Cinema: | Motivation- Film parodies existing genres Psychological causes are vague- What does Kane want: Glory, To be loved, His mother. his sled? Kane's life is represented in a detached way- We only see him die Nobody but us sees "Rosebud" |
| newsreel importance as a form of time in CK | In all, the newsreel provides us with a map for the investigation of Kane’s life. As we watch scenes in the flashbacks, we already expect certain events and have a rough chronological basis for fitting them into our story reconstruction |
| only time we see Kane directly and in the present is when: | he dies. |
| Mise-en-scene in Police station scene in rebel without a cause: | Staging: We can see all 3 character in one shot, shows that connection between the 3. Props: Jim is being a jackass to the cops, nice to plato by offering plato his jacket. Costume: Judy is wearing red in the first scene |
| Referential meaning in In The Mood For Love | The situation of shanghai refugees in Hong Kong in the 1960s The start of Asian economic growth and global migration |
| narrative | “chain of events linked by cause and effect and occuring in time and space” |
Created by:
cmart335
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