Film 220
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| The three types of associations in experimental film | metaphoric, symbolic, and structural
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| Director of "Meshes of the Afternoon" | Maya Deren
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| Director of Superstar: The Karen Carpenter Story | Todd Haynes
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| An experimental film association that isolates objects and assigns abstract meanings that are either given by culture or by the film itself | Symbolic
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| An experimental film association that links visuals to generate a new idea | Metaphoric
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| An experimental film association that engagea audience through a formal principle rather than a narrative or a chain of associations | Structural
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| compositional elements of cinematography | points of view, framing of the shot, camera movement
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| Point of view that recreates a character’s perspective as seen through the camera | subjective
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| Point of view that represents the more impersonal perspective of the camera | objective
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| a camera worn by a camera man which compensates for movement and jumpiness giving smooth and fast camera movement | stedicam
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| the pleasure we take in looking at and observing others | scopophila
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| 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
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| Three things that destiguish genre | conventions, formulas and myths, and audience expectations
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| The six main genres | comedies, westerns, melodramas, horror, crime and musicals
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| the three crime subgenres | gangster films, hard-boiled detective films, and film noirs
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| Semantic elements of genre | characters types, locations, sets, shot types, costuming, attitudes
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| Syntactic elements of genre | between onscreen elements, narrative structure, central problems
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| Film theorist who argued that categorization of genre should be devided between semantic and syntactic elements | Altman
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| a category or classification of films that share similar subject matter, setting, iconography, and narrative and stylistic patterns | genre
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| Director of Rope | Alfred Hitchcock
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| Director of Walle | Andrew Stanton
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| Director of Singing in the Rain | Gene Kelly and Stanley Donan
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| Director of Harlan County USA | Barbara Kopple
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| Director of Touch of Evil | Orson Welles
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| the subject matter and raw material of film | story
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| order of events and actions of the story | plot
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| Four types of evolution characters undergo over the course of the story | progressive, regressive, internal, external
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| Four types of narrative space | SHIP: symbolic, historical, ideological, psychological
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| Perspective identified by individual voice-over narration | first person
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| A perspective that confines itself to the experiences and thoughts of the major characters | 3rd person limited
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| Type of narrative enters on one or more central characters who propel the plot with cause-and-effect logic | classical Hollywood
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| creator of dialectical montage and director of Battleship Potemkin | Sergei Eisenstein
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| 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
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| 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
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| over illustrating the action through the musical score | mickey-mousing
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| relationship where sound sounds like the action on the screen | iconic relationship
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| a sound that continues over a picture transition or a sound belongings to a coming scene heard before the image is seen | sound bridge
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| the six modes of documentary filmmaking | POPPER: participtory, observational, poetic, performative , expository, and reflexive
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| mode of documentary which emphasizes verbal commentary and the "voice of God" | expository
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| mode of documentary which does not include reenactment and where ocial actors essentially behave as if no filmmakers were there | observational
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| mode of documentary that creates impressionistic instead of explicit meaning | poetic
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| 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
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| 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
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| 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
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| Antecedents to documentary film | Actualities, newsreels, home movies, and "useful" films
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