FILM 1502: EXAM 1
77 Cards in this Set
| Front | Back |
|---|---|
|
Mise-en-scene
|
Staging the scene
|
|
Setting
|
Includes
- Set Design
- Landscape
- General Environment
- Time period
|
|
Set
|
Constructed place for filming
|
|
Location
|
Already established place
|
|
3 Types of Setting
|
Limbo
Non-realistic
Realistic
|
|
Narrative Films
|
-Interact with setting through protagonist
-Based on protagonist's experiences
|
|
Composition
|
Space
Shape
Lighting
|
|
Cinematic Space
|
- World of the film
- How are objects placed in the frame in relation with one another.
|
|
Cinematic Shape
|
-Framing
-Shape of frame itself
-development or shape of the overall image
|
|
Aspect Ratio
|
Relationship of an image with its width to its height
|
|
Anamorphic Lens
|
- Wide Screen
- Visual information is compressed onto the film
- When put on projector it is decompressed (expanded)
|
|
Empty Space
|
- Emphasizes environment
- Freedom, power, loss
|
|
Tight Framing
|
- Close up
- Little space around subject
- Confinement
- All attention/focus on subject
|
|
Tight Framing Effect
|
- Claustrophobic composition
- But not actually tight frame
- Other objects cause it
|
|
Off Screen Space
|
- Can be implied through windows, mirrors, shadows, reflection
- Connected through characters gaze/looking
|
|
Rule of Thirds
|
Frame split up into three even parts
|
|
Depth of field
|
Things in the background
|
|
Symmetrical
|
- Visual framing
- Peace, balance
|
|
Assymetrical
|
- Visual Tension
- Narrative Tension
|
|
Multiple frame (split screen)
|
Two or more images, each within its own frame dimensions and shape appear within the larger frame.
|
|
Superimposition
|
Separately photographed planes of action may be combined on the same strip of film to create the illusion that the two planes are adjacent.
By double exposing either in camera or in lab printing, one image is laid over another.
|
|
Film Rack
|
Clips that hold the films while developing
|
|
Tracking
|
-Moving forward/backwards alongside the subject
-Cinematic shape doesn't change
-But the cinematic space does
-elicit nausea
-change mood/perspective
|
|
rack focus
|
when a director shifts the focus from one object to another in the same shot in order to direct the audience's attention
|
|
Masking
|
-During filming traditionally
-Post production - digitally
|
|
cinematic time
|
the imaginary time in which a movie's images appear or its narrative occurs; time that has been manipulated through editing.
|
|
cinematic space
|
framing foreground / background / off screen space or symmetry
how much space around the main subject
|
|
Cinematic mood/meaning
|
-Overall Mise-en-scene has to do with cinematic mood/meaning
|
|
CInematography
|
the technological creation of the film image; from conception of how the image will look, to the arrangement of lights, cameras, film stocks, etc in order to produce the final image
|
|
Telephoto lens
|
Includesa smaller area than the normal lens at the same distance –good for distant subjects where you can’tmove the camera closer
|
|
wide angle lens
|
short focal length
everything in focus
increase sense of depth; images look small to big quickly
magnifies
|
|
Aperture
|
The variable opening produced by the iris-diaphragm through which light passes to the film plane. Measured in f/stops.
|
|
"full" F stop or f/n or f/number, aperture progression
|
f/1.0, f/1.4, f/2.0, f/2.8, f/4, f/5.6, f/8,
f/11, f/16, f/22, f/32, f/45, f/64.
|
|
What is the pinhole effect?
|
Principle of a pinhole camera: light rays from an object pass through a small hole to form an inverted image.
|
|
Illumination
|
-Specular
-Diffused
-Low Key
-High Key
-Determines look/mood/meaning
|
|
Specular Light
|
-Hard Light
-Distinct shadow
-Brighter colors
-Increased Textures
|
|
Diffused Lighting
|
-Scatters the light
-Multiple light sources
-Low contrast
-Undefined shadows
-Muted textures
-Unsaturated Colors
|
|
Psychological effect of telephoto lens
|
- Representative of memories
-alone-ness
-isolation of character
|
|
Long Shot
|
A Long (LS) or Wide Shot - Shows an entire person or object in relation to its surroundings. Sometimes termed a wide shot.
|
|
Medium shot
|
Frames figure from waist up.
Gestures and expression more visible.
|
|
Close-up shot
|
Traditionally shot only showing a specific body part in full.
Ex. Head, hands, feet or small object.
Emphasizes facial expression, details or significant object.
|
|
Camera angle
|
Angle a which the camera is positioned.
Infinite angles but three general types:
Straight-on angle
High angle
Low angle
|
|
Bird's eye
|
-Camera directly overhead
|
|
High Angle
|
A shot from a high angle looking down, general overview
(harmless, insignificant)
|
|
Low Angle Shot
|
A shot that is made with the camera below the action.
It typically places the observer in a position of inferiority.
|
|
canted angle
|
A camera angle in which the camera leans toward screen right or screen left, producing an imbalanced, off center look to the image. Filmmakers often use canted angles to capture a character's subjective feelings of stress or disorientation.
|
|
Film Noir
|
A cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. It was a backlash against President Nixon and big government.
Antiheroes
Corruption
Criminal activity/gangster films
Male action
f…
|
|
film gauge
|
the width of the film stock
|
|
base/emulsion
|
Base side: perforated material to which emulsion is applied, glossy finish
Emulsion side: light sensitive material that is sprayed onto the base, matte finish
|
|
Film latitude
|
The exposure range of a film that will produce acceptable densities.
|
|
Film Speed
|
-Sensitivity of film stock
-Effects image sharpness/color
-Exposure index
|
|
Slow Film Stock
|
film stock that requires a large camera aperture or bright light for appropriate recreation of images; produces images with fine grain and sharp detail.
|
|
fast film stock
|
grainy, highly sensitive to light, it can register an image with little illumination
|
|
Tracking
|
-When camera is put on a track
-Unfixed
|
|
Crane/dolly shot
|
-Camera put on a crane
|
|
Editing
|
-graphic relations
-spatial relations
-temporal relations
-rhythmic relations
|
|
shot/reverse shot
|
a back-and-forth exchange of shots, usually between two characters in conversation, showing the perspective first from one angle and then from its opposite angle
|
|
Master Shot
|
Camera is at a distance, takes in the entire set, and generally the scene is played without interruption. It’s the closest thing to theatrical acting in film.
|
|
Sound Dissolve
|
a transition between two shots in which a sound begins to fade out as the next sound fades in and overlaps the first sound before replacing it
|
|
Cut away
|
-Establish relationships
-Often times access to a characters interiority
-Maintain continuity
|
|
Pitch
|
Refers to frequency
|
|
Pitch
|
Refers to magnitude
|
|
180 degree Rule
|
The primary rule of continuity editing. Axis of action.
|
|
Axis of action
|
An imaginary line that runs through the middle of a filming scene
|
|
Sequence
|
-A series of scenes
|
|
Scenes
|
-A series of shots
|
|
diegetic sound
|
sound that the characters themselves can hear, that exists inside the world of the film, such as music playing when the characters are at a party or crickets chirping or rain falling when they are outside
|
|
Non-Diegetic Sound
|
Sound outside the story space.
|
|
Sound Dissolve
|
a transition between two shots in which a sound begins to fade out as the next sound fades in and overlaps the first sound before replacing it
|
|
Sound Bridge
|
sound or dialogue that leads out of or into the next scene
|
|
Use of Sound effects
|
-Establish location
-mood
-humor
-sound fidelity
-manipulation
|
|
Silence in Film
|
-Used strategically
-Noticed because not usually there
-dreams
-death
-dying
|
|
Genre Film
|
Group of films that share certain narrative elements in common
|
|
stock character (type of character)
|
a stereotypical character that behaves consistently and whom the audience can recognize and classify instantly.
ex. town drunk, bully, class nerd.
|
|
Melodrama
|
A literary form in which events are exaggerated in order to create an extreme emotional response.
|
|
Film Sources
|
-Pre-production tools
|
|
Intertextuality
|
fragments of other text. Using old text to comment on modern text (Rime of Ancient Mariner in Frankenstein)
|
FILM 1502: QUIZ 3