intro to cinema (chapters 1,2,3,4,5,6,7,9,12)
Fiction Film
A narrative film that is "staged" for the camera. (See "narrative")
establishing shot
A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene.
rough cut
The crudely edited footage of a movie before the editor has tightened up the slackness between shots. A kind of rough draft.
deep focus cinematography
The process of rendering the figures on all planes (background, middle-ground, and foreground) of a deep-space composition in focus.
form
an overall patterning of the film in ways its parts work together to create specific effects "film form" the way you consider the relations among the elements of the film to prompt the audience to respond - patterns, motifs, variation
highlight vs shadows
highlight : a patch of relative brightness on a surface. they provide important cues to the texture of a surface (smooth will gleam or sparkle , rough yields more diffuse) shadows : allows an object to have portions of darkness (shading) or to cast their shadows onto something else. helps with contrast and/or blending
spatial relations in editing
hollywood editing rules adopted in order to percive time and space which creates an illusion of continuous time and space
continuity system in film
how virtually universal (orginally from classic hollywood) that matches spatial and temporal relations from shot to shot
planes
layers of space occupied by persons or objects ; described by how close or far away they are to the camera - foreground , middleground, background
second assistant director
liaison among the first assistant director, the camera crew, and the electricians crew
restricted narration
limits the information it provides the audience to things known only to a single character. creates curiosity. - hierarchy of knowledge : who knows what ?
Aspect Ratio (AR)
ration of frame width to the frame height
Production Designer
the artist who selects or designs the sets, settings, locations, and props seen in the film, in accordance with the film's visual style. they create drawing and plans to determine the architecture, color scheme, and set designs
fade
scene fades to black or white; often implies that time has passed
Point of View Shot (POV)
the camera is setup to capture the subjects perspective to show the audience what he/she is looking at.
third assistant director
serves as messenger for director and staff
expansion
streching a moment out, making the screen time longer than the story time - temporal expansion
negative
the colors and values of the film are the opposite of those in the original scene
screen direction
the right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the characters' eyelines
volume
the "shape" of a 3D area. a film suggests volume by shape, shading, and movement
Dailies
"rushes: is when the editor receives filmed material as quickly as possible and lets the assistant editor synchronize images and sounds to test footage
masking
'masking' refers to the practice of using a mask to protect a specific area of an image, just as you would use masking tape when painting your house. Masking an area of an image protects that area from being altered by changes made to the rest of the image. - simplest way to create a widescreen image during some stage in production or exhibition.
subjective narrator
recounts events with a character's thoughts, feelings, and observations. it is used to surprise the viewer 1. perceptual: Perceptual Subjectivity. Definition. audience is shown what a character sees and/or hears from the POV of that character. given through POV shots and usually reserved for isolated moments 2. mental: access to thoughts and feelings, dreams, fantasies, etc. most common in the form of flashbacks and gives us a sense of character inner thoughts/ motivations/desires and feelings
Bollywood films
refers to large part of India's film industry; produces twice as many films a year than Hollywood; often melodramatic contain catchy music. most bollywood films are musicals.
contrast
refers to the comparative difference between the darkest and lightest areas of the frame - high contrast : displays bright white highlights , stark black areas, and a narrow range of shade in between - low contrast: displays any interactive grays or colors. shade with no trace white or black areas (more muted) - many factors are used to control contrast : lighting, filters, film stock, lab processing ... etc
Reframing
reframing is a change in camera angle without a cut and can include changing the focus of the scene. The term has been more often used in film criticism than in actual cinema. Critics of the technique include André Bazin among others. - camera can be independent or dependent on the character
stereophonic sound track
registered as a pair of squiggles running down the left side. with digital filmmaking and cameras, digital camera has a fixed sensor which converts patterns of light in electrical impulses that are sent to a recording medium and regulated as 1s and 0s digital image quality depends on several factors 1. size of sensorr 2. number of pixels 3. type of compression applied to files
exposure
regulates how much light passes through the camera lens -american film noir cinematography in the 1940s underexposed shadowy regions of the image
framing
relationship between the camera and the object (scale, distance, movement) presentation of visual elements in an image 1. angle 2. level 3. height 4. distance
stretch printing
reprint a frame at desired intervals, slowing the action
coverage
several takes may be rearranged and shot in closer views and different angles and may require many takes to finish a desired scene/ sequence
racking focus (pulling focus)
shifting the area of sharp focus from one plane to another during a shot which switches our attention in between foreground and background making 1 plane blurred and 1 sharp
simultaneous sound vs non-simultaneous sound
simultaneous sound - image in the present Sound in the present. Images and sound takes place at the same time. This is the most common temporal relation which sound has in fiction films. Noise, music, or speech that comes from space of the story occurs at the same time as the image. non-simultaneous sound - Nonsimultaneous sound is essentially sound that takes place earlier in the story than the current image. This type of sound can give us information about the story without us actually seeing these events taking place
nondiegetic sound
sound music or a narrator's commentary represented as coming from a source outside the space of the narrative. can be seen in dreams, fantasies, and in the real world but image doesn't match the sound
Movements
specific patterns of motion among joints and body segments used to accomplish action goals. usually applied to parts of a symphony , a concert, or a sonata. it controls the sound and viewers reactions to the scene at play.
Synchronous Sound (Sync Sound) vs asynchronous sound
sync sound - refers to sound recorded at the time of the filming of movies. It has been widely used in movies since the birth of sound movies. async sound - An asynchronous sound is a term for a sound that has not been synchronized with the screen image. Asynchronous sound also includes the aesthetic use of sound for expressive purposes. - Because of the composite nature of film art, the element of sound (music, dialogue, sound effects) is highly manipulative
story duration
the amount of time that the implied story takes to occur. the time of the movie itself
Tracking Camera Movement
the camera follows backward, forward or moves alongside the subject being recorded. In cinematography, the term refers to a shot in which the camera is mounted on a camera dolly that is then placed on rails - like a railroad track.
Style
the choices a writer makes; the combination of distinctive features of a literary work; involves the film's use of cinematic techniques 1. mise-en-scene 2. cinematography 3. editing 4. sound
Narration Notes
the telling of a story in fiction, nonfiction, poetry, or drama; one of the four modes of discourse. plots way of distributing story information in order to achieve specific event; moment by moment process that guides viewers in building the story out of the plot -range of depth to the story - restricted vs nonrestricted / unrestricted narration restricted: is seen when a movie is filmed from the point of view of only one character making it, due to this us as the audience only know as much as they do. unrestricted: the viewer knows more than the character (but seldom everything), which helps build suspense.
sound bridge
the term for sound carried over a picture transition, or a sound belonging to the coming scene playing before the image changes
plot duration
the time span encompassing only those story events that are selected for the plot. the actual time frame of the movie
3 Stages of Film Production
(development) pre-production, production, (principal photography) (wrap) post-production. (distribution) pre-production : Preproduction comes early in the filmmaking process, after development and before production. It involves finalizing the script, hiring the actors and crew, finding locations, determining what equipment you'll need, and figuring out the budget. hiring of cast and crew by director/producer. prepares schedules production : During this phase it is key to keep planning ahead of the daily shoot. The primary aim is to stick to the budget and schedule, this requires constant vigilance. Communication is key between location, set, office, production company, distributors - in short, all parties involved. "shooting phase and principal photography: post production: This stage starts when principal photography ends, but they may overlap. The bulk of post-production consists of reviewing the footage and assembling the movie - editing. There will be contributions as required from Visual Effects (VFX), Music and Sound Design. The picture will now be locked and delivery elements will be created. Further information on Post Production can be found later on in Week 1 of the course.
Motif
(n.) a principal idea, feature, theme, or element; a repeated or dominant figure in a design. significant to the film's plot, theme, characterization...
duration
(n.) the length of time that something continues or lasts. aspect of temporal manipulation that involves the time and space presented in the plot and assumed to operate in the story - story, plot, and screen
lighting : mise-en-scene
- 3 point lighting system (key light, fill light, backlight) - high key lighting vs low key lighting - light intensity of a scene can depict emotions, actions, behavior, and show parallels between scenes filmmaker wants more than legibility ; the image should have pictorial impact and control over lighting - lighter and darker areas within a frame help create the overall composition of each shot and guide our attention to certain people or places . lighting creates overall shape and joins with setting in controlling our sense of space in a scene 1. key light - faces down on actor and produces the main light 2. fill light - softens up lighting to fill in shadows 3. back light - the rim light ; it comes from behind the actor to eliminate shadows and creates an edge of light behind the character to add a sense of depth to the image
film analysis
- analysis: the separating of any material into its constituent elements. it helps us understand the choices the director/ movie made and how it is supposed to appeal to audiences - "How does the film work?" "what was the director's intended purpose? " "what effects are meaningful?" This type of academic writing "demands that students trace an idea as it develops over the course of an entire film [...] this assignment requires students to develop a thesis about a film and then isolate passages from the film that illustrate that thesis. In most cases, evaluative claims are irrelevant or inappropriate for this assignment." 1. description of elements 2. function of elements in an individual film 3. function of elements in groups of films
setting and props : mise-en-scene
- conveys the idea without direct dialogue and characters feelings (with the help of contrast) - props help emphasize the conflict and goals filmmakers may choose an existing locale for the action or have a purpose-built set. the overall design of a setting can shape how we understand the story's action
staging and movement : mise-en-scene
- figure behavior and how the actors use their body and facial expressions (posture, expressions, movement) - staging is the arrangement of figures within the frame in relation to both characters and the camera(s) - avoid judging performance on the basis of realism because standards change from generation and not all films are striving for realistic effects cinema gains freedom from the fact that expression and movement are not restricted to human figures. - acting and actuality: performance consists of visual elements and sound. concept of realistic acting has changed from Hollywood, Bollywood, Hongkong, etc...
costumes and makeup : mise-en-scene
- important narrative functions to support characters and their arc and how they identify / change costumes can play a causal role in film plots and become motifs, enhancing characterization and tracing changes in attitude. also used purely for graphic qualities and coordinated with setting in order for characters to stand out or blend in with the background. (idea of "bleeding") - can contribute to a narrative progression and reinforce thematic patterns
Speed (1994)
- narrative design , plot points / turning points , important motifs Los Angeles police officer Jack (Keanu Reeves) angers retired bomb squad member Howard Payne (Dennis Hopper) by foiling his attempt at taking hostages. In revenge, Payne arms a bus with a bomb that will explode if it drops below 50 miles per hour. With the help of spunky passenger Annie (Sandra Bullock), Jack and his partner Harry (Jeff Daniels) try to save the people on the bus before the bomb goes off, while also trying to figure out how Payne is monitoring them. - classical Hollywood cinema with protagonist, narration, theme, soundtrack, and dialogue
temporal relations in editing
- order (flashbacks or flashforwards) - duration (ellipsis, expansion) - frequency (temporal overlap) and normally for short periods of time and cuts are used but for longer periods (weeks, months, years) fades / wipes
Independent film (indie)
1) a movie made without a studio affiliation; 2) one made by a producer whose production unit is based at a studio that has provided some form of financing and functions as the film's distributor; 3) one distributed through a studio's specialty unit, such as Sony Pictures Classics
4 major aspects of lighting
1. Quality - the relative intensity of illumination (soft vs hard : sharp vs smooth) 2. Direction - refers to the path of lightt from its source(s) of light to the object lit - frontal lighting: eliminates shadows - sidelighting : "cross lighting" sculpts characters features - backlighting : comes from behind to create silhouettes - underlighting : comes from below the subject to create a dramatic effect and distortion - top lighting: spotlight shines directly above subject 3. Source- a lighting design that seems consistent with setting; where light comes from (key light, fill light, backlight) 4. Color - created with filters placed in front of the lens / light source. colored light can indicate action, emotions, behavior, mental state, attitude, symbols. - power of a shot is controlled by lighting quality, direction, source, and color and can impact viewers experiences
the 4 phases of filmmaking
1. screenwriting and funding : the idea for the film is developed and a screenplay os written. they also acquire financial support for the project 2. preparation for filming: once a script is more or less complete and at least some funding is assumed, they plan for physical production 3. shooting : filmmakers create films' images and sounds 4. assembly: images and sounds are combined in final form. this involves cutting picture and sound, execution of special effects, extra dialogue, music...
Classical Hollywood Cinema
1. story is character driven; 2. narrative is driven by desires or goals; 3. cause and effect can change characters and narrative action; 4. time is subject to change; 5. narrative is generally objective and unrestrictive unless its supposed to be a mystery; 6. strong degree of closure. Continuity Editing or Invisible editing.
German Expressionist Cinema
1918-1929, film movement drawing on painting and theatrical developments; used dramatic light and set and costume design to represent irrational forces. set in motion to combat france and US films and created their own propaganda of films. - depended heavily on mise-en-scene to show emotional states
Dolly Camera Movement
A camera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. - the camera itself is moving with the action- on a track, on wheels, or held by hand.
altman towards Genre of film
A category or type of literature (film or of art, music, etc.) characterized by a particular form, style, or content. - escape from reality principle - nonfiction, fiction, drama, comedy, musical, foreign, romance, documentary, mystery 7 characteristics of genre 1. dualistic 2. repetitive 3. cumulative 4. predictable 5. nostalgic 6. symbolic 7. functional
Motivation
A character's incentive or reason for behaving in a certain manner; that which impels a character to act. points to the function of a film
Art Cinema
A cinema of interiority (mental states) and style more than of exteriority (physical action) and plot. Often associated with European cinema, but these qualities appear in some films from many nations, including the U.S. An art film is typically a serious, independent film, aimed at a niche market rather than a mass market audience - An art film may be made on any particular thought or idea which may be viewed from a different angle whereas a commercial film is made with a story, action, music etc. Art films normally depict reality which viewers may identify. it foregrounds the author asa structure in the film system, the author becomes a formal component. ambiguity in art cinema is common - art cinema requires classical hollywood knowledge and background because deviations from this norm must be registered in order to clarify it as art cinema. it acknowledges it while also impacting hollywood cinema. 1. art cinema define itself as realistic cinema (real locations, problems, characters) 2. also realism psychological causation characters and their effects remain central whereas characters of classical narrative have clear cut traits
3 point lighting system
A common arrangement using three directions of light on a scene: from behind the subjects (backlighting), from one bright source (key light), and from a less bright source balancing the key light (fill light).
match on action
A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.
script supervisor
A crew member responsible for logging the details of each take on the set so as to ensure continuity.
Vertigo Effect, dolly zoom
A dolly zoom (also known as a Hitchcock shot, Vertigo shot, Jaws effect, or Zolly shot) is an in-camera effect that appears to undermine normal visual perception. - a technique wherein the camera is dollied either forward or backward while the zoom on the lens is pulled in the opposite direction.
Suspense
A feeling of uncertainty and curiosity about what will happen next in a story; key element in fiction and drama; "hook" writer uses to keep audience interested - used in a film to leave something suspended - not only the next element in a pattern - but also our urge for completion
compilation film
A film composed entirely of footage from other films.
Rhythmic relations in editing
A filmmaker can adjust the lengths of any shot in relation to the shots around it.
cinematography
A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase. it comprises all the screen visual elements (lighting, framing, composition, camera motion, angles, lens choices, color, exposure, filtration ...etc)
dissolve
A gradual transition in which the end of one scene is superimposed over the beginning of a new one
Flashback/Flashforward
A jump backwards or forwards in diegetic time. With the use of flashback/flashforward the order of events in the plot no longer matches the order of events in the story. (1930-1940s Hollywood cinema)
musical motif
A musical pattern that can be associated with a particular character, setting or idea - breakfast at tiffanys "moon river"
network narrative
A narrative network is a system that represents complex event sequences or characters' interactions as depicted by a narrative text. Network science methodology offers an alternative way of analyzing the patterns of relationships, composition and activities of events and actors studied in their own context.
attitude
A person's consistently favorable or unfavorable evaluations, feelings, and tendencies toward an object or idea - refers to the way a person stood (during 18th and 19 th century). today, it included gestures, facial expressions, movements
critical flicker fusion
A phenomenon that occurs when a single light flickers on and off with such speed that the individual pulses of light fuse together to give the illusion of continuous light. - contains 48 with 24 fps
DVD-Video
A popular optical disc format released in 1995 as an alternative format (to VHS and Betamax) for delivering standard-definition feature-length films to consumers. DVDs uses a red laser beam to record and play an MPEG-2 encoded video stream and can hold 4.7 GB of digital content. DVD format used exclusively to store digital video; capable of storing over two hours of high-quality video on a single DVD.
Automated Dialogue Replacement (ADR)
A process during which actors watch the film footage and re-record their lines to be dubbed into the soundtrack; also known as looping
Italian Neorealism (1942-1951)
A reaction to Italian cinema under Mussolini. Goal is revealing contemporary social conditions. Often uses location filming and available light. Photography seems documentary-like. Loose narrative style lacks omniscient knowledge of events. As Italy prospered, the movement ended.
scene
A real or fictional episode; a division of an act in a play; comprised of many shots ; a segment that takes places in one place in time - scenes 'end' when there is a relative break in the time or place. not location, costumes, time frame, and movement
reestablishing shot
A return to an initial establishing shot within a scene, acting as a reminder of the physical context of the closer shots. 1. clear spatial relationships 2. clear temporal relationship 3. style is subordinate to narrative 4. editing should be invisible
Storyboard
A sequence of drawings representing the shots planned for a film or television production including notations of costumes, lighting, and camera work
trailer
A short segment of film that theaters use to advertise a feature film.
shot/reverse shot
A shot of one subject, then another, then back to the first. It is often used for conversation or reaction shots.
anamorphic process
A special lens squeezes the image horizontally, either during filming or in printing. a process by which a comparatively wide widescreen image is horizontally compressed to fit into a storage medium (photographic film or MPEG-2 Standard Definition frame, for example) with a narrower aspect ratio, reducing the horizontal resolution of ...
Rhythm
A strong, regular, repeated pattern of movement or sound. it involves, minimally, a beat, or a pulse or pace and a pattern of accents , or stronger and weaker beats - speech has rhythm - sonic rhythm is typically matched graphically - filmmaker may create a disparity among rhyth,s of sound, editing, and image
rear projection
A technique for combining a foreground action with a background action filmed earlier. The foreground is filmed in a studio, against a screen; the background imagery is projected from behind the screen. - classic hollywood cinema
eyeline matching
A term used to point to the continuity editing practice ensuring the logic of the look or gaze. In other words, eyeline matching is based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at. Thus there will be a cut to show what is being looked at: (social relations established) The eyeline match creates order and meaning in cinematic space. This "stabilizing" is true in the other primary use of the eyeline match which is the shot/reverse angle shot, also known as the reverse angle shot, commonly used in close-up dialogue scenes. The camera adopts the eyeline trajectory of the interlocutor looking at the other person as she or he speaks, then switches to the other person's position and does the same.
matte work
A type of process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work. - classical studio process
deep focus
A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus.
motion capture technology
A visual effects technology used to incorporate an actor's movements into those of a computer generated character.the whole body is filmed.
screen writer
A writer who either adapts an existing work for production as a movie, or creates a new screenplay. they may compose it and send it to an agent or they may meet in a "pitch session" 1. treatment - synopsis of action 2. shouting script - the final version
negative cost
Accounting term for the expenses incurred by a film production, excluding the cost of advertising and publicity. sum of the above and below costs
Mise-en-scene
All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior. scene and cinematography are interconnected and one helps determine the other. (expressive vs natural mise-en-scene) - helps filmmakers achieve realism, giving the setting an authentic look or letting the actors perform as naturally as possible - Georges Mélies fascinated by Lumière Brothers a) setting b) staging and movement c) lighting d) costume and makeup
deep space
An arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one farthest away. Any or all of these planes may be in focus.
Surrealism
An artistic movement that displayed vivid dream worlds and fantastic unreal images. alternative movement which laid largely outside film industry. a modernist approach to film theory, criticism, and production with origins in Paris in the 1920s. considered "anti narrative"
surprise
An unexpected turn in the development of a plot.the result of an expectation that is revealed to be incorrect
Master Shot/Sequence Shot
An uninterrupted shot, usually taken from a long or full-shot range, that contains an entire scene.
external vs internal sound
Internal sound are the inner thought of the character and external sound is sound that comes from world: like rain, traffic, cops. On-screen is emanates from a source we can see and offscreen is source we cannot see like diegetic or nondiegetic. - External is the most common, which is where all characters can hear it, but internal is from the mind of a character, where only that character can hear it, not anyone else
Classical Hollywood Style
Linear narrative, invisible style, high emphasis on continuity editing, action centered in frame. Allowed filmmakers to have considerable flexibility and allowed them to apply the same stylistic methods to many types of movies.
Impressionism
Major Western artistic style that gained prominence in the second half of the 1800s and into the 1900s.Against Realism, visual impression of a moment, style that seeks to capture a feeling or experience, often very colorful. most impressionist filmmakers started out working for major french filmmakers (1910-1920s)
still photographer
Member of crew who takes photographs of scenes and behind-the-scenes shots of cast members and others. These photographs may be used to check lighting or set design or color, and some will be used in publicizing the film.
david bordwell on art cinema narration
a) realism 1. objective realism : - psych complex characters - loose cause and effect with unclear motivations for every event in the plot - lack of closure 2. subjective realism: - disruptions in a linear film shows how the human mind really works - seeks momentary refuge in the film b) authorial expressivity - controller of the film and reality. when they come in it foregrounds their presence in some way - ambiguity - deviates from norm (independent)
Parallels
additional echoes between characters in the frame story and the fantasy ; it cues us to compare 2 distinct elements by highlighting similarities
loudness of sound
amplitude, or breadth, of the sound wave, or the vibrations that produce our sense of volume - also related to relative distance and perceived distance
cut
an abrupt , but effective and visually trivial film transition to indicate another sequence or scene. it is not as strong since its so common.
Kuleshov Effect
Any series of shots that in the absence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space. - refers to the cutting together portions of a space in a way that prompts the spectator to assume a spatial relation that is not shown on screen
diegetic sound
Any voice, musical passage, or sound effect presented as originating from a source within the film's world. sound using from the story place; is a standard that indicates temporal continuity, especially when the sound bleeds over each cut
Socialist Realism
Attempt within the USSR to relate formal culture to the masses in order to avoid the adoption of Western European cultural forms; begun under Joseph Stalin; fundamental method of Soviet fiction, art, and literary criticism.
New Hollywood Cinema and independent films
New Hollywood, sometimes referred to as the American New Wave or the Hollywood Renaissance, refers to a movement in American film history from the mid-1960s to the early 1980s, when a new generation of young filmmakers came to prominence in the United States. - American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time - industry started to decline in 1960s, but with the help of new technologies (DVD, HD, tapes, cable) industry continued to thrive. new hollwood should us that US film industry could adapt
180 degree rule (Line of Action)
an imaginary line which determines the direction people and things face when viewed through the camera. the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character.
supervising editor/postproduction supervisor
oversees the entirety of post production reporting directly to producer/director/editor
Time Laspe
Occurs when the story skips a period of time that seems unusual compared to the rest of the plot
Goal-oriented protagonist
Behavior consistent, clear; Psychology easy to understand Few, simple character traits; Changes across film *2 goals, one is romantic 1. protagonist - most characters behave in an unambiguous and consistent way and not complicated to reveal to the audience 2. it doesn't mean that the protagonist is static. but this character development shows a character arc
Blimps and Booms
Blimps were metal objects that silenced the camera, booms were poles used to hold the mic far away from the camera.
depth cues
perceptual features that impart information about distance and three dimensional space. they enable use to understand the encounters of characters ; the shapes onscreen presented as 3D area. - it suggests that space has both volume and several distinct planes
camera lens
Optical lens or assembly of lenses essential for forming an image on a camera sensor.it gathers light from the scene and transmits that light onto the plot surface of the film or video clip to form an image that represents size, depth, and other dimensions of the scene
Film Analysis Paper
Similar to scene analysis but broader in scope 1. introduction 2. summary 3. analysis 4. conclusion Bordwell and Thompson article TREE: Thesis supported by Reasons that rest on Evidence and Examples
Monophonic Soundtracks
Sound produced by a system in which one or more microphones feed a single sound channel - more common in 16mm and 35mm
shallow space
Staging the action in relatively few planes of depth; the opposite of deep space. mise-en-scene suggests comparatively little depth and closet and most distant planes seem only slightly separated
Executive Producer
The person, or people, who provides the funding necessary to produce the program and obtains the rights to the film
Point of View (POV)
The perspective from which a story is told (who is telling the story and from where?) can refer to a range of knowledge or to depth (angles, subjective POV, omniscient POV)
the principles of contrast
Contrast is simply difference, and in film, contrast usually alludes to tone, and tone denotes the brightness of objects. ... The Principle of Contrast & Affinity states: The greater the contrast in a visual component, the more the visual intensity or dynamic increases.
sound perspective
The sense of a sound's position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information. - the closer / farther away the camera is to the source, the louder / quieter the sound will be
Unity
The state of being united or forming a whole ; all the relationships develop and are clear and interwoven
Narrative
The telling of a story or an account of an event or series of events. the chain of events in a cause and effect relationship occurring in time and space. it considers continuity
Tonality
The tonality of a photograph is its visual appearance in terms of the distribution of tones and levels of gradation between them. ... Low key black and white photos are dark toned photos. The clear tone: the photography is rather clear with high lights or bright colors. High key photos are clear-tone photos. - toning: works in the opposite fashion of tinting. dye added during development of positive print and darker areas are colored - tinting: accompanied by dipping the already developed film into a bath of dye. dark areas remain black and gray and white areas are colored
Digital Intermediate (DI)
The version of a film on digital video that is subjected to digital grading or the computer correction of color, contrast, and other image qualities. After these corrections are made, the footage on digital video is then scanned back onto film.
Visual Effects Supervisor
The visual effects supervisor is in charge of the visual effects department. Visual effects are post-production changes made to the video's images. Visual effects are not to be confused with special effects, which are done during production (on set).
gauge
The width of the film strip, measured in millimeters. - image quality increases. when width increases since the greater the picture area gives the images better definition - 16mm used for retro filming - 65 mm used for many hollywood fiction films
performance capture
Digital means for extracting the movements of a live actor and compositing these into a cartoon or special effects character. The live actor's performance is thereby mapped onto the digital character. concentrates mainly on the facial expressions
Soviet Montage Movement
Directors were Vertov, Kuleshov, Eisenstein and Pudovkin. Great influence on future directors with their "fragment" approach. Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking
Crosscutting
Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. - developed by D.W. Griffin in "the battle at elder bush gulch" - introduced spatial relationships and discontinuity
constructive editing
Editing that suggests a scene's space by providing only portions of it, without an establishing shot - in a narrative, editing usually contribute t the plot manipulation of the story time: frequency, duration, and order
ellipses in film
Ellipsis is the narrative device of omitting a portion of the sequence of events, allowing the reader to fill in the narrative gaps. Aside from its literary use, the ellipsis has a counterpart in film production. It is there to suggest an action by simply showing what happens before and after what is observed.
Fidelity of Film sound
Fidelity refers to the extent to which the sound is faithful to the source as we, the audience conceive it. If the viewer takes the sound to be coming from its source in the diegetic world of film, then is faithful, regardless of its actual source in production. Fidelity is purely a matter of expectation.
Realism in Film
In this sense of realism, a film is realistic if one literally sees through it real events that happened out there in the world - In this sense of realism, a film is realistic if one literally sees through it real events that happened out there in the world
high-angle shot, low-angle shot
These terms refer to camera placement. If a camera is looking down on an actor from a high vantage, it is a high-angle shot; if a camera is placed very low to the ground and looks "up" at actors, it is a low-angle shot. High-angle shots might emphasize that characters are being overwhelmed by their circumstances, while low-angle shots might emphasize that characters are somehow larger than life.
The Conversation (1974)
Francis Ford Coppola's The Conversation is a psychological thriller and a character study of the paranoid protagonist, wiretapper Harry Caul. Caul rarely speaks, but his uneasy mental state is conveyed through the film's cinematography and sound design. Long shots of Caul walking in the urban landscape of San Francisco depict his loneliness, while the use of sonic distortion and repetition render Caul's anxiety in the medium that dominates his attention: sound. the combination of Butler's lonely cinematography and Murch's eerie sound design — renders his mental state and evokes the anxiety of his uncertainty in viewers. Everything we see and hear reflects the state that Caul is in. ambiguous, unsettling opening sequence in Union Square. the film's paranoid protagonist lives a secretive and lonely life. He records whoever his clients ask him to but insists that he is uninterested in the content of their conversations and says that he does not feel responsible for the tapes once they are out of his hands. His personal life consists of solitude in a small apartment where he plays the saxophone accompanied by the sounds of other instruments produced by his record player. Caul doesn't speak much, but through Butler's thematically composed shots, the character's emotional inner life surfaces. Several long shots follow Caul moving through the urban landscape of San Francisco alone, while tight shots of his face reflect the ruthless grip of his isolation. As tension builds in the film, the close-ups of Caul become increasingly claustrophobic. - sound, editing , mise-en-scene, narration style, motifs
Lumiere Brothers
French inventors and pioneer manufacturers of photographic equipment who devised an early motion-picture camera and projector called the Cinématographe. The Lumière brothers, Auguste Marie Louis Nicolas Lumière and Louis Jean Lumière, were manufacturers of photography equipment, best known for their Cinématographe motion picture system and the short films they produced between 1895 and 1905 - The key innovation at the heart of the Cinématographe was the mechanism through which film was transported through the camera. Two pins or claws were inserted into the sprocket holes punched into the celluloid film strip; the pins moved the film along and then retracted, leaving the film stationary during exposure.
high-key vs. low-key lighting
High: low contrast and soft lighting, often unrealistic and glossy Low: high contrast, chiaroscuro lighting, often dramatic and harsh
Pan Camera Movement
Horizontal movement from a fixed position ; stationary
depth of narration
How much the spectator learns about the characters' psychological states in a film and how deep we are given insight into a character's perceptual or psychological state
shot scale
Implied proximity of the camera to the subjects being shot ; the physical distance between the camera and the object - extreme long shot (ELS) : character completely shown and large depth and framing - long shot (LS) : all of the character is shown - medium long shot (MLS) : "plan american" from knees / shins and up - medium shot (MS) : the waist up of a character - medium close up (MCU) : shoulders / upper torso up of a character _ close up (CU) : shoulders/ head up - extreme close up (ECU) : portion of head / face
zoom in / zoom out camera movement
In a zoom, the camera lens is used to move closer to or farther from the subject, zooming in or zooming out. A zoom allows you to show context and then push in to show detail. Practice zooming technique with your camera. It is often difficult to start or stop the zoom smoothly
focus
In film, focus refers to the sharpness of the image. Deep Focus. The foreground and the background are equally in focus; can be used to intentionally draw the audience's attention to what is going on in the background.
Crane Camera Movement
In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib. Most cranes accommodate both the camera and an operator, but some can be moved by remote control.
Hollywood Cinema
In the classical Hollywood cinema the editing is designed to be "invisible", it is intended to allow the audience closer views and to see the P.O.V. of different characters. The editing is used essentially to clarify what is taking place in the narrative. This type of editing had become dominant in Hollywood film-making by 1920.
cheat cut
In the continuity editing system, a cut that presents continuous time from shot to shot but that mismatches the positions of figures or objects.
Cléo from 5 to 7 1961
In the first 10 minutes we learn that cleo is threatened with an illness (cancer) but is supposed to meet a young guy to help her. The beginning(the cars and fortune telling was in color) and the fortune teller claimed she was doomed. We also learn she is somewhat famous and her and her friends are very suspicious - narrative components and how it differs from classical hollywood cinema, objectivity vs subjectivity, authorial expressivity, realism, symbols
Citizen Kane (1941)
Orson Welles co-wrote, produced, directed and starred in. Milestone film of a man whose life resembled media mogul William Randolph Hearse. Some critics say this is America's greatest film. Citizen Kane portrays a long period of time realistically, allowing the characters to age as the story goes on. Instead of being told in a linear, completely chronological manner, Kane's story unfolds in overlapping segments that add more information as each narrator adds his or her story. The flashbacks are given from the perspectives of characters who are aging or forgetful, which casts doubt on the memories being discussed. In other words, these are unreliable narrators whose own opinions and interpretations affect their accuracy. The storytelling techniques succeed in painting Charles Foster Kane as an enigma, a tortured, complicated man who, in the end, leaves viewers with more questions than answers and inevitably invokes sympathy rather than contempt. - how does the narration function / rearrangement of story events, editing style, sound techniques, motifs and themes
linear perspective (monocular cue)
Parallel lines appear to meet in the distance. The sharper the angle of convergence, the greater the perceived distance.
Optical Soundtrack
Photographic strips running along the side of a film print. They vary with the variations in sound . Analog optical soundtracks vary in width, while digital optical soundtracks have patterns of dots. As the film is pulled through the projector's soundhead, a narrow light beam passes through the moving soundtrack, which causes the intensity of the beam to vary. The varying light falls on a sensor, creating electrical signals, which the theatre's loudspeakers convert back to sound.
Juxtaposition
Placement of two things closely together to emphasize comparisons or contrasts
dubbed dialogue
Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing. - ADR
outtakes
Scenes that are discarded for the final story
Plot
Sequence of events in a story; all directly presented in the film which the viewers imaginary construction fits into the narrative of the story. - the plot guides the viewer to understand unspoken facts about the film through characterization, setting, costume, setting, time...
Casablanca (1942)
Stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid and was set during World War II. The cold war (Hitler is still in reign) is starting up and many people are hopeful and desperate for the future of the Americas. A refugee trail was made from Paris to Marseille, across the Mediterranean, all the way to Casablanca (french morocco). People wait for a very long time in Casablanca to get a Visa to the New World. the theme of loyalty is prevalent in the characters' interpersonal relationships and political identities. Casablanca is representative of the wider classical Hollywood cinema as defined by Bordwell, Staiger and Thompson, for several reasons. Its classical narrative structure, stylistic element of editing, camera work, mise-en-scene, and lighting, mould the film perfectly into a Classical Hollywood Film - classic hollywood protagonists , motifs, plot vs story, themes and symbols, flashbacks
axis of action (180 degree rule)
States that two characters in the same scene should always have the same left/right relationship to each other. (imagined as a birds-eye view) - ensures consistent eyelines - ensures consistent screen direction - shots clarify the cause and effect flow fo the narrative
Static vs. Dynamic Characters
Static characters stay the same in the course of the story. Dynamic characters change profoundly by the end of the story.
animated film
Still images are drawn or photographed on single frames and then joined in such a way as to suggest movement. created frame by frame with hard drawn or digital drawings
In the Mood for Love (2000)
Su and Chow were always in a platonic relationship. Initially, they didn't want to follow their spouses' footsteps and start an affair. According to Su, it would be morally wrong to do so. However, as Su and Chow develop feelings for each other, they also become more empathetic towards they own spouses. Now, they believe that feelings just simply flourish, without anyone planning for it to happen. - color, mise-en-scene (lighting, costumes and makeup, setting, movement and staging), narration style, art cinema
Crossing the Axis of Action
The 180-degree rule is broken, and your suspension of disbelief takes a knock. You can cover a reverse cut with a cutaway. If you catch it on set, you can choose to move the camera around the characters before the cut, or have the characters themselves move during the preceding shot - it can be disorienting 1. where the characters are in relation to the setting 2. where they are with respect to the story
Edison Manufacturing Company
The Edison Manufacturing Company was a company organized in 1889 by the inventor and entrepreneur Thomas Edison that manufactured batteries, machinery and equipment, and also produced kinetoscope films. Its assets and operations were transferred to Thomas A. Edison, Inc. in 1911.
computer-generated imagery (CGI)
The application of three-dimensional computer graphics for special effects, particularly in movies and television.
cinematographer/director of photography
The artist or technician responsible for the lighting of a shot and the quality of the photography. they consult the director on. how each scene will be lit and filmed. they supervise much of the crew 1. key grip 2. camera operator 3. gaffer
Classical Hollywood Narrative
The dominant form of classical film narrative associated with the Hollywood studio system from the end of the 1910s to the end of the 1950s. 1. exposition 2. causality 3. motivation 4. goal oriented protagonsist
Graphic relations in editing
The four aspects of mise-en-scene (lighting, setting, costume, and the movement of the figures) and most cinematographic qualities (photography, framing, and camera mobility) all furnish graphic elements. Every shot provides possibilities for purely graphic editing and every cut creates some sort of graphic relationship (parallel) between two shots.
Film Noir (genre)
This genre often plays with lighting, using light and darkness to convey a mood and the plot. As the name suggests, noir is a dark genre with a dark tone. The visual quality of the cinematography often matches this tone, with heavy use of black and white. Noir stories often focus on detectives trying to solve a mystery, so the darkness mirrors the confusion of trying to figure out the truth. The characters include noir staples such as the femme fatale, who is dangerous and alluring. The stories often play out in urban locations, where the streets are dark and filled with tunnels and hidden alleyways that mirror the mystery surrounding criminal activities - term coined by Jean Pierre Chartiers from his article in La Rue de Cinéma (nov 1946) "Les amèricains aussi font des films noirs" 1) assault on psych causality by the protagonist 2) challenge to prominence of heterosexual romance 3) an attack on the motivated happy ending 4) criticism of classical technique
Production Recordist/Sound Mixer
This person heads the sound unit; his principal responsibility is to record dialogue during shooting. He must also record and insert ambient sound 1. boom operator 2. third man 3. sound designer
Run Lola Run (1998)
Thriller by Tom Twyker; girl helps her boyfriend get $100,000 back that was left on a train; reversal of gender roles; Lola constantly saves her boyfriend; boyfriend relies on Lola; Lola has bigger gun; slow motion; fast motion; Eye level shots to show equality. - plot enigmas, how this movie defers from classic hollywood cinema, characterization, goal oriented protagonist conformity , motifs and patterns
Tilt (Camera Movement)
Vertical movement from a fixed position ; stationary
HD video
Video whose images show much finer detail than those of traditional video; High-Definition it is a video with a resolution of 1280×720 (720p) or 1920×1080 (1080i or 1080p). All of the formats are widescreen 16:9. 2000s digital photography improvement with ~720 - 1080 p (progressive scan)
European Art Cinema
a branch of cinema that was popular in the 1960's; It is based on a rejection of the tenets and techniques of classical Hollywood cinema. many impressionist filmmakers - the emergence in the 1950s of a strand in European cinema with a distinct set of formal and thematic characteristics, specialized exhibition outlets, specific artistic status as part of "high culture," constituting in some respects cinema's belated accession to the traditions of twentieth-century modernism in the arts. The two senses are interrelated and art cinema in the restricted sense can be regarded as part of the historical continuum embodied in the extended definition as a key, though bounded, phase in the history of a particular kind of film.Read more: http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Art-Cinema.html#ixzz6o4j9x4n3
digital camera
a camera that encodes an image digitally and stores it for later reproduction. today, they are standardized at 2k (3.2 million pixels) and 4k (12.7 million) - density of visual information increase number of pixels and information on screen increases vertically and horizontally - 4k carries x4 as much as 2k - digital media costs less than raw film stock but requires more storage for data
studio
a company in the business of creation films that puts in movie and direction into the film - warner brothers, paramount, disney, 20th century fox
motion sensor
a computer generated image is creating with black moving dots and created in a specialized unit of filmmaking
Editing
a creative and technical part of post production process. the art of assembling shots together. - 4 types of transitions : cut, dissolve, wipe, and fade (in or out)
clapperboard
a device used by people making films that consists of a board with two parts that are hit together at the start of filming
dry recording
a fairly non-reflective space is manipulated electronically to yield a desired effect
Creative Geography Effect
a film making technique invented by Russian filmmaker Leu Kuleshor around 1920s. "artificial landscaping"
zoom lens
a lens with a focal length that can be changed during a shot. enlarges parts of a shot. lens changed framing bu t also changed focal length. - camera remains stationary while zoom shot magnifies or demagnifies the object
near perfect symmetry
a loose balancing of shots left and right regions - center the frame on the human body (subject) - balanced composition is the norm in filmmaking - unbalanced shots can create distortion but leave string effects to hint at our expectations
documentary film
a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record.
Subjectivity
a personal presentation of events and characters, influenced by the author's feelings and opinions - mental subjectivity: we see/hear a character's memories, fantasies, dreams, hallucinations, interpretation. -this is through the MENTAL features you cant see.. the brain!!! • Kuleshov effect. - perceptual subjectivity : audience shown what a character sees and/or hears from the POV of that character
Technicolor
a process of color cinematography using synchronized monochrome films, each of a different color, to produce a movie in color.
interpretations
a psychoanalytic method that uses suggestions of underlying wishes, feelings, and conflicts
montage sequence
a segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images. a large scale process or a lengthy period of shots
Perspective View
a set of spatial relations organized around a viewing point
shot
a single piece of film uninterrupted by cuts. a series of frames that continuously run
camera take
a take refers to each filmed "version" of a particular shot or "setup". Takes of each shot are generally numbered starting with "take one" and the number of each successive take is increased (with the director calling for "take two" or "take eighteen") until the filming of the shot is completed ... long take - one run of the camera that records a single shot to prevent ambiguity (sequence shot) - can present, in a single chunk of time, a complex pattern of event moving towards a goal short take - a shot of film or video that has a brief duration on screen; usually less than 3 seconds
objective narrator
a third person narrator who only reports what would be visible to a camera; thoughts and feelings are only revealed if a character speaks of them
pitch
a tone's experienced highness or lowness; depends on frequency - helps us distinguish music from speech
wipes
a transition used to join two shots by moving a vertical, horizontal, or sometimes diagonal line across one image to replace it with a second image that follows the line across the frame
narrative form
a type of filmic organization in which the parts relate to one another through a series of causally related events taking place in time and space, depends on our understanding of the cause and effect relationship wuth time and space
conventions
a way in which something is usually done, especially within a particular area or activity.
Narration notes continued
a) range of narration - hierarchy of knowledge , restricted vs nonrestricted b) depth of narration - objective vs subjective , perceptual vs mental c) art cinema as a mode of production d) narrational characteristics of art cinema - in narration, all engimas and plot events are tied up. in classical hollywood, self ineterst is sacrfied for the greater good and enforces unity
space
any film displays a 2D graphic space, the flat composition of the image. The representation of space affects the reading of a film. Depth, proximity, size and proportions of the places and objects in a film can be manipulated through camera placement and lenses, lighting, set design, effectively determining mood or relationships between elements in the story world. - story space : locale of the totality of the action - plot space : located and audibly represent in scenes - screen space: visible space within the frame
Emulsion
any mixture of two or more immiscible liquids in which one liquid is dispersed in the other. layer of gelatin containing light sensitive materials. the shiny side of film
Art vs Business
art is serious and worthy; entertainment is superficial cinema is an art because it offers filmmakers ways to design valuable experiences for viewers. movies come from complex machines, hard work, imagination and dedication, individual who funds the project... etc
Frequency
aspect of temporal manipulation that involves the number fo time any story event is shown in plot. it helps make sense of the narrative film
time : mise-en-scene
audiences scan any film frame for information which brings time sharply into play and we get an overall impression that creates formal expectations - any movement form background to foreground is a strong "attention getter" and helps sets up next action sequence - frontality can change over time to guide our attention to various parts of the shot
positive
by using a machine, like a printer, it duplicates and modified the footage of the camer. the original colors from the original scene
rates
calculated in frames per second (fps) - standard rates for films in the 1920s was 24 fps - today 35 mm is around 8 - 24 fps - professional HD cameras are 24-25 and 30 fps - if the frame is exposed to fewer frames per second than the projection rate the screen action will look sped up (fast motion) - the more frames per second shot (48-64) the slower the screen of action will appear (slow motion) - suggest drama, fantasy, or dramatic action
roll camera movement
camera is set up on a tripod and is rotated to create an illusion of movement
Causality vs episodic narrative
causality: the notion that a change in one factor results in a corresponding change in another. episodic narrative: comprise of scenes that dont have a strong sense of cause and effect. A non-standard narrative organization that assumes a "day in the life" quality rather than the highly structured three-act or four-part narrative and that features loose or indirect cause-effect relationships.
Producer
chiefly finical and organizational tasked may be independent or work with a distribution/company. he or she nurses the project through scriptwriting, obtain money, hires personnel to work on film. they act as a liaison between writers and director(s). after film is produced, they often have to arrange distribution of the film and are responsible for paying back the money invested
mixing
combining two or more sound tracks by recording them onto a single one - can control volume, duration, and tone quality
Typage (acting)
common in soviet films - when the filmmaker choses an individual whose appearance seems to directly convey the type of desired character over acting ability. movement decreased around the end of 1920s
graphic contrast
contrast cuts are purposefully meant to create dissimilarity. Contrasts are often utilized in film to emphasize the intention of particular moments; this can include the sadness or joy of a moment, when compared to a starkly different image.
above the line costs
costs in the production of a film that are negotiated before filming begins. the costs of literary property, scriptwriter, director, and major cast
Additional Photography
crew shooting footage apart from the principal photography, typically supervised by the director of photography
cross cutting
cut into action that is happening simultaneously. This technique is also called parallel editing. It can create tension or suspense and can form a connection between scenes.
First Assistant Director
plans each day of shooting schedule with director's approval on set. also modify safety and actors assists director with script logistics (breaking down script according to shots and production requirements, timing the shooting script, etc.); on set logistics (blocking actors and camera maneuvers in a rough way before on-set rehearsals, managing extras and background, overseeing production and special effects crew, giving cues to cast and crew, etc.); and paperwork (notifying UPM of next day's shooting schedule; handling release forms; approving overtime, etc.)
Platforming vs Wide release
platforming : a distribution strategy that has the film open first in big cities and then gradually expands to over platforms and theaters wide release: a film opens at the same time in many cities and towns (mainstream)
Do the Right Thing (1989)
directed by Spike Lee. One common theme in Do the Right Thing is the juxtaposition of love and hate that exists among individuals in the neighborhood. these instances show that there is hostility and racism between all of the different racial groups in the neighborhood. There seems to be a desire to blame one's own problems on other races, using stereotypes to justify disapproval and hate. There is an undeniable presence of compassion, tolerance, and humanity in the neighborhood. Spike Lee's 1989 classic Do The Right Thing is a touchstone of modern cinema, particularly when it comes to how it focuses on race relations and cultural tensions, even in a place as diverse as Brooklyn. The film's most iconic scenes are the climax when Mookie (Lee) throws a trash can into his employer Sal's (Danny Aiello) pizzeria shop after police kill Radio Raheem (Bill Nunn). Mookie's actions incite a riot among those in the mostly Black neighborhood, leading to the destruction of the pizzeria. The next day, Mookie comes to Sal for his pay, in which a tense discussion happens about culpability and responsibility, leaving the two characters at a shaky impasse. - sense of closure, unconventional vs conventional camera angles, hereos and villians. continuity vs discontinuity , symbols, motifs, theme
canted angle
dutch angle; a shot resulting from a static camera that is tilted to the right or the left. shot is composed with vertical lines to the side of the frame and is not parallel - angles can portray characters emotions and mental state
monochromatic color design
extreme case where the filmmaker emphasizes a single color, varying it only in purity or lightness
dialogue coach
feeds performers their lines and speaks the lines of offscreen characters during shots of other performers
size diminution
figures and objects farther away from us are seen to get proportionally smaller - a cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects (sense of death)
bilatteral symmetry
film frame is mostly horizontal (rectangle) the director usually tries to balance the right and the left halves of the frame. this is an extreme type of balancing
Segmentation
filmmakers usually prepare the breakdown of a scene into parts. a films pattern of development. it enables us not only to notice similarities and difference among scenes and shots, but also to plot the overall development
second unit director
films stunts, location footage, action scenes, and the like at a distance from where principal shooting is taking place
overlap
great many planes that can be defined and intersect / cover one another to create depth
miscellaneous unit
includes makeup staff, costumes stuff, hairdressers, and drivers 1. producers crew 2. line producer 3. production accountant 4. production assistant
power of sound in film
it engages a distinct sense mode. humans are inclined to seek out patterns in a shot for causal patterns in a narrative. sound gives a new value to silence and can also indicate relations ad continuity with the helps of visuals
Film printer
like a projector, it controls the passage of light through film - in this case - a negative
Hong Kong Cinema (1980s-1990s)
many young and independent filmmakers were looking to recast traditional genres and creative methods. these influenced 21st century filmmaking. 1. group of new and young directors with little education but grown up in the film industry 2. directors with formal training (education in UK or US) - The Cinema of Hong Kong examines one of the most popular and dynamic cinema traditions in the history of film. Providing an overview of major directors, genres and stars, from its origins to the present, this volume examines Hong Kong cinema in transnational, historical, and artistic contexts.
mise-en-scene in time and space
mise-en-scene emphasizes characters and their interactions, but that interaction unfolds in time, and gives the audience an opportunity to guide our attention while building suspense and expressing emotions. all aspects of mies-en-scene unfold on the screen in space and time, fulfilling several functions - finds a way to guide the viewers eye with the help of 4 keys of mise-en-scene. - filmmaker tries to add expressive qualities, giving each shot an emotional correlation
monocular cues vs binocular cues
monocular cues : the illusion of depth requires input only from 1 eye ; Monocular depth cues require the use of only one eye to provide information to the brain about depth and distance, but they also operate with both eyes. binocular cues: With binocular cues, images are interpreted as three-dimensional. These cues are based on different images that our two separate eyes produce and put together to form a 3-D image ; Binocular depth cues are especially important in determining the distance of objects that are relatively close.
story
narrative based on events, which is repeated - and sometimes embellished upon - to emphasize a particular value. the chain of events in chronological order
Offscreen space / onscreen space
offscreen space: Space that is part of a film *scene but is not visible onscreen. Six areas of offscreen space may be identified: those on each side of the frame, those above and below the frame, the space behind the film set, and the space behind the camera. onscreen space:
Back to the Future (1985)
the classic 1985 Hollywood science-fiction comedy picture Back to the Future. Directed by Robert Zemeckis and executively produced by Steven Spielberg, the motion picture tells the story of a seventeen-year-old high schooler named Marty McFly. Marty is sent back in time to 1955 with the assistance of his scientist friend, Doctor Brown (Doc). Along the journey, Marty encounters his parents when they were in high school and realizes that he must make his parents fall in love again or else the life that he once knew will cease to exist. Marty must not only save his family but must also save his friend Doc before it's too late. - Speilberg and Zemeckis follow the classic Hollywood narrative structure in order to convey the theme of the value of time and transformation: cause and effect narration, suspense, editing techniques, themes and motifs, plot structure (plot vs story duration)
Film Style
the collection of techniques, practices, aesthetic preferences and cultural and cinematic expectations that constitute the distinctive way narrative is delivered in any individual film. the unified developed. and significant use of particulate technical choices 1) editing, 2) mise-en-scene, 3) cinematography, 4) sound
focal length
the distance between the center of a lens or curved mirror and its focus. - 3 sorts of lenses based on focal lengths and perspective 1. the short focal length (wide angle). lens of 35 mm. it takes in a relatively wide field of view but may distort the straight lens , bulging outwards 2. the middle focal length lens. lens of 35 - 50 - 75 mm. it seeks to avoid noticeable perspective distortion. vertical and horizontal are rendered straight and perpendicular 3. the long focal length. lens of +100 mm. the longer lens flattens the space along the axis. cues for depth and volume are reduced planes seem squashed together
depth of field
the distance between the nearest and the furthest objects that give an image judged to be in focus in a camera. the closer an object is, the sharper it appears
below the line costs
the expenses allotted to the crew, secondary cast, the shooting and assembly phases, insurance, and publicity
Superimposition
the exposure of more than one image on the same film strip or in the same shot. multiple perspectives within the frame
principal photography
the filming of major or significant components of a movie that involve the lead actors ; This is when the camera rolls. It is nearly always the most expensive phase of film production, due to actor, director, and set crew salaries, as well as the costs of certain shots, props, and on-set special effects. Everything that has happened up to this point is to make principal photography go as smoothly and efficiently as possible. Communication between all parties is crucial during the shoot and the production must maintain a full set of records and strive to remain on time and on budget.
aerial perspective
the haziness that surrounds objects that are farther away from the viewer, causing the distance to be perceived as greater
line producer
the individual who makes sure the equipment and personnel are there when they are needed. overseas day-to-day activities of the director, cast, and crew. they are assisted by an assisted producer, who acts as a liaison with lab and technical personnel
final cut
the last edited version of a film as it will be released
screen duration
the movie's running time on screen from beginning to end (full length)
apparent motion
the perception of movement as a result of alternating signals appearing in rapid succession in different locations - a factor in creating cinema illusions
turning point
the point in a work in which a very significant change occurs. moments that spin the action of the film in a new direction and/or refine and modify their goals
stereopsis
the process by which the visual cortex combines the differing neural signals caused by binocular disparity, resulting in the perception of depth - 3D films use 2 lenses , initiating the separation of the eyes - 2D films use 1 lens without stereoptic effect
dialogue overlap/overlapping editing
the purpose is to smooth over cuts and it adds to the continuity system. it can show weakness or power in a character - If one character is still talking you switch to look at another characters face to watch reaction instead of looking at the character who is still talking
timbre/tone color
the quality of a sound that distinguishes one voice or instrument from another. the harmonic components of sound give it a certain color or tone quality
ideology of film
the set of values that get revealed and can be considered a source of meaning and knowledge - difference between personal taste and evaluative judgement
On-Screen vs. Off-Screen Sound
the source of the sound is present in the shot. Off-screen: diegetic sound whose source lies beyond the frame of the shot but is implied to be present somewhere off-screen, even if no one in the shot is hearing it. (Non-diegetic sound is off-screen by definition, and thus does not come under this category.)
academy ratio
the standardized shape of the film frame established by the Academy of Motion Picture Arts and Sciences. modified the classic 1:33:1 format to allow room for a soundtrack, the new ratio (common) is 1:27:1
Art Cinema film narration
this provided filmmakers an alternative to classical filmmaking; refers to historical time text, similar ti narrative outline - helped narrational cinemas rebound after wars and tragedies - less frequently seen in the US (moonlight, parasite, blue is the warmest color, call me by your name) 1. US has a large domestic audience abroad which generates lots of money 2. since they make a lot of money abroad, they can afford higher tech, actors, etc art cinema 1. produces commercial films solely for markets and locals 2. produced for global distribution and not directly to hollywood. smaller budgets but financing is not always tied to profit 3. institutional support to art cinema (articles, theaters, magazine reviews, social media, art festivals)
meaning
to communicate or inform something unknown. important to our experience of artworks 1. reference meaning - depends on spectators ability to identify specific items 2. explicit meaning - function within the overall form and controlled by the context 3. implicit meaning - more abstract and based on our interpretations; perceivers ascribe implicit meanings for themselves 4. symptomatic meaning - abstract and general ; situates the film with a trend of thought that is assumed to be characteristic
tradition vs movement
tradition : favors certain creative choices over others that become common movements: shorter lived trends and shares certain assumptions about film industry making and favors a common approach to form style and theme to set this movement apart. its relative to the time period its started
Objectivity
treating facts without influence from personal feelings or prejudices
ramping
varying the frame rate during shooting. it alters exposure and emphasizes action and motifs
unrestricted narration
we know more, see and hear more, than any of the characters can. (omniscient) it creates supense
property/prop
when an object in the setting has a function within the ongoing action : anything that an actor handles onstage as well as furniture and other items used to enhance the set
jump cut
when you cut together 2 shots of the same subject, if the shots differ only slightly by an angle or composition that is noticeable to the viewer An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant.
