Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
55 Cards in this Set
- Front
- Back
Panoramic Frontal Tableau
|
-Created by Thomas Edison
-Wide shot, from the front |
|
Parallel Editing
|
-Vsevolod Pudovkin
-Provokes emotional connection -Sympathy |
|
Montage
|
-Linkage (Pudovkin)
-Radicalized Hollywood Classical Editing -Consecutive sequences -Shots perceived sequentially -Connects images |
|
Collision/Juxtaposition (Eisenstein)
|
-Collisions of shots
-creates meaning not contained in the shots -Compared montage to Japanese writing -Graphically symbolic |
|
5 types of Associative Montage
|
-Metric
-Rhythmic -Tonal -Synthesis of M,R,T -Intellectual |
|
Continuity Editing
|
Hollywood - Narrative editing
Classical - Temporal and spatial continuity Invisible |
|
Edit
|
Transition between shots-
-Cut -Fade -Dissolve -Wipe |
|
Spatial Aspects
|
Establishing shot
Camera-Subject Variation -180 Degree Rule/Camera Direction -Eyeline Match -Match Position Cut -Cutaway -Insert/Cut-In |
|
Illusions of Continuity
|
-Editing = manipulation of time/space
-Cuts disrupt time & space -Cuts try to synthesize T & S |
|
Douglass & Harnden Basic Techniques
|
-Match Cut
-Cutaways & Cross-cutting -Cut-ins/Inserts -Off-screen/On-screen action |
|
Mise En Scene/Long-Duration Take
|
What goes into the shot/scene-
-Composition -Lighting -Set/Props -Costume/Make-up -Acting/Blocking |
|
Long-Duration Take
|
-When a scene is recorded in one continuous shot
-extended Panoramic Frontal Tableau |
|
Mise En Scene + Long Duration Take
|
The Sequence Shot-
To maintain and respect spatial & temporal integrity |
|
Composition in Depth
|
-Frequent panning shots and entrances
-Long take tracking shot -Greater realism |
|
Deep Focus
|
-Uses large depth of field
-Foreground, middleground, and background all in focus -Separate planes are all in use |
|
Choreography
|
Emphasizing choreographed movement through mise en scene
|
|
Intrasequence cutting
|
-Simple level = linking sequence shots
-Complex level - creating visual rhythm -Linking of long takes to emphasize rhythym and movement within a long duration cut |
|
Acting
|
-How shots were assembled, not taken
-Actors benefited from montage and other editing techniques |
|
Visual Elements
|
-Appearances
-Gestures -Facial Expressions |
|
Aural Elements
|
-Voice
-Accent -Inflection |
|
Discontinuous
|
-Continuity of Play (linear, same performer)
-Discontinuity of Film (out of sequence, stunt doubles) |
|
Fragmentation
|
-Wholeness of Stage (mise en scene)
-Fragmentation of Editing (compositional framing) -Kuleshov (variety of shots weaved together) |
|
Behaving
|
-Performance of Theater (Stylized approaches, becoming someone else)
-Behavior of scene (Stanislavsky Method, Being oneself) |
|
5 Goals of Continuity Editing
|
-Seamless Invisibility
-Narrative Clarity -Character Identification -Verisimilitude -Optimum Vantage Point |
|
Hollywood's Formal Paradigm
|
-Hollywood's Classical Period (1930-1945)
-Narrative over style ---Preserves illusion of reality ---Voyeurism |
|
Omniscient Viewpoint
|
-All knowing
-Enhances sense of truthfulness |
|
Aumont Comparing Bazin vs. Eisenstein
|
-Bazin--illusion of reality, long duration takes, centrifugal
-Eisenstein--Montage, collisions of shots, manipulation, centripetal |
|
Nouvelle Vague
|
Radial, Revolutionary, Modern, Break from HCE & Hollywood Formal Paradigm
|
|
5 Goals of Continuity Editing
|
-Match Cut
-S/RS structure -Close Up -POV -Exits/Entrances |
|
Jump Cut
|
-Expose the editing
-Ignores the conventions of continuity |
|
Reflexivity
|
-Hallmark of Modernism
-Makes the viewer aware of the filmmaking process |
|
Banality in the everyday
|
Unoriginality amongst the everyday life
|
|
Les Politiques Des Auteurs
|
-"Policy of authors"
-Director as the sole creative force -Film reflects the director's personal view |
|
American New Wave
|
-Hollywood's Americanized version of Nouvelle Vague
-Clear Narrative -Character Identification -Borrowed elements from Nouvelle Vague -Post Classical Hollywood |
|
Dede Allen
|
-Bonnie & Clyde, Dog Day Afternoon
-Shock cutting -extreme contrasts ---jagged, menacing, syncopated rhythm |
|
Sound & Verisimilitude
|
-Natural
-Appropriate -Real -Believable -Unnoticed |
|
Types of sound
|
-Dialogue (Speech)
-Music -Effects (Noise) |
|
Sound's Functions
|
-Engages another sense mode
-Provides information -Shapes an image -Points/focus attention -Redefines silence |
|
Sound Paradox
|
-Image is primary
-Sound is secondary -Sound is more important -Sound sells the image |
|
Fidelity
|
-How honest or faithful a sound is to its source
-Greater distance = lower volume |
|
Sound Editing/Mixing
|
ADR - Replacing human sound
Foley - Creating/replacing object sounds |
|
Diegetic
|
Inside the story space
|
|
On-screen
|
-voices of characters
-Sounds from objects -music from within the story space |
|
Off-screen
|
Takes places in the story but off screen
|
|
Non-diegetic
|
-Sound source is not in the story space
-characters can't hear it -soundtrack music -Voice over narration |
|
Dancyger's Four Approaches to Action Editing
|
-Identification
-Excitation -Conflict -Intensification |
|
Disjunctive Editing
|
-Montage
-Nouvelle Vague -American New Wave -Fragmentation Editing |
|
5 stylistic choices of Disjunctive Editing
|
-Spontaneity/Energy
-Randomness -Discontinuity -Emotion/Mood -Graphic/Text |
|
8 Techniques used in Disjunctive Editing
|
-Music
-Compression -Form/Style over Content -Jump Cutting -Manipulation of Time/Space -Emphasis on CUs -Foreground over Background -Reflexivity |
|
Reduction of Visual Context
|
Moulin Rouge
|
|
Disjunctive Editing Influences
|
-Montage (Any Given Sunday)
-Montage vs. Collage (Requiem For a Dream) -Hollywood Collage (Meet John Doe) ---Slavko Vorkapich -Hollywood Montage = Collage (Driven) -Soviety Montage = Montage -Nouvelle Vague (The Limey) -Post-Classical Hollywood (Babel) -Fragmentation Editing (Natural Born Killers) -Split Screen (24) -Internet, Comic Books, Video Games (Juno) |
|
New School Editing
|
-Emotional Continuity (Feeling State)
---Can be sharp or deep, developmental or dreamlike ---Disconnected sense in a narrative ---Popular in dream sequences |
|
Walter Murch
|
-"The Most With The Least"
-Emotion and story are most important -Avoid overcutting |
|
Non-Linear Narrative
|
-Random
-Multiple Characters -Intuitive -No Resolution -Unpredictable |
|
Philosophy of Non-Linearity
|
-Unpredictable Narrative
-Opposites and counterpoint as structuring device -Less identification with characters -Feeling over action |