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Study Guide: Midterm
"business triumvirate"
|
1) Producer
2) Distributor
3) Exhibitor |
1st motion picture |
1895, Paris |
3 aspect ratios
|
1) traditional/classical (4:3; 1.33)
2) widescreen (5.5:3; 1.85)
3) cinemascope/panavision (7.05:3; 2.35) |
3 aspects of composition
|
1) framing
2) staging
3) photographing |
3 basic temporal units
|
1) shot
2) scene
3) sequence |
3 kinds of lenses
|
1) normal (50mm)
2) telephoto (+50mm)
3) wide-angle (-50mm) |
3 kinds of makeup
|
1) street makeup
2) character makeup
3) special effects makeup |
3 kinds of montage
|
1) collision (discontinuity, little girl-->penis)
2) thematic (shots linked by event/action/idea)
3) hollywood (images show passage of space/time) |
3 kinds of structure
|
1) linear/aristotelian/classical
2) episodic
3) thematic |
3 point lighting
|
1) key
2) fill
3) back |
3 ways of staging
|
1) proxemic patterns w/in frame
2) planes
3) balance |
3 ways time affects space
|
1) movement
2) pace/timing/tempo
3) rhythm |
4 aspects of photographing
|
1) lens (focal length)
2) proxemic patterns outside frame
3) camera movement
4) angle |
4 faces of film
|
1) art
2) business
3) technology
4) culture |
4 kinds of in-camera framing
|
1) masking
2) oblique
3) split-screen
4) landscape |
4 kinds of special effects
|
1) makeup
2) in-camera effects
3) mechanical effects
4) post-production |
4 properties of persona
|
1) physicality
2) personality
3) talent
4) mythology |
4 rules of classical cutting
|
1) perspectivity
2) avoiding displacement
3) eye contact
4) introduction and resolution |
4 types of players
|
1) non professional
2) actor
3) star
4) star-actor |
4 types of scripts
|
1) Writer's
2) Director's/Shooting
3) Film itself
4) Text script (transcribed from film |
4 ways of framing
|
1) aspect ratio
2) aesthetic
3) off screen space
4) in-camera framing |
4 ways space affects time
|
1) Continuity editing
2) Discontinuity editing
3) classical cutting
4) montage |
5 acting styles
|
1) pantomime/presentational
2) representational/realist
3) method acting
4) university trained
improvisation
5) star turn |
6 elements of visual design
|
1) costume/hair/makeup
2) decor (props/set dressing/set)
3) lighting
4) special effects
5) color
6) title design |
6 proxemic patterns outside frame
|
1) extreme long shot
2) long shot
3) medium long shot
4) medium shot
5) close up
6) extreme close up |
6 rules of continuity editing
|
1) 180 degree line
2) 30 degree angle
3) cut on movement
4) match shot
5) eyeline match
6) shot/reverse shot |
6 things that must be in place to recreate life in motion
|
1) Persistence of vision
2) Still photography
3) Motion Picture Camera
4) Celluloid/film stock
5) Printer
6) Projector |
10 critical criteria for performance |
1) Expressive coherence
2) ensemble
3) relation to setting
4) consistency
5) conveying thoughts
6) playing with/against/behind the beat
7) casting: type/anti-type/miscast
8) rhythm
9) affect
10) complexity |
10 elements of a plot (p. 32) |
1) causality
2) spatial contiguity/temporal continuity
3) goal-oriented protagonist
4) actions in a setting
5) antagonist
6) development: progression/regression; hierarchical arrangement; climax and peripateia
7) suspense
8) unity/coherence
9) ending/closure
10) heterosexual coupling and generic thrust |
kinds of camera movement |
1) zoom
2) tripod (pan, tilt)
3) handheld
4) steadicam
5) dolly
6) crane
7) aerial |
lumiere brothers |
invented cinematograph (1st portable cam/projector in one) |
performance through action |
posture, gesture, business, facial expression, reaction |
performance through dialogue |
words, intonation/beats, pauses/pace, volume, silence |
sound in film |
1927 |
story vs. plot vs. narrative
|
story= what happens
plot=why it happens
narrative=how it happens |
subject vs. theme
|
subject=plot
theme=attitude |
techniques of classical cutting
|
1) action/reaction
2) action/detail of action
3) cutaway
4) multiple p.o.v.s
5) cross-cutting (space/time) |