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 |