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59 Cards in this Set
- Front
- Back
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What is a camera image (“translation” of 3-D into 2-D), how is it made, who controls what the camera sees in TV production?{ |
A camera fundamentally changes theobjects it reproduces, the colors of nature become the colors of video or film.Produced by Director of Photography (DP) in consultation w/ Director &Camera Operator |
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Camera Obscura (what it is, how it works) |
The earliest camera of the eighteenth century, had no lens at all. Just a large, darkened room with a hole in one wall. Light entered through the hole and created an image of the outdoors on the wall opposite the hole. |
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Principles of Perspective (when were these established; what kind of image do they seek to produce?) |
Established in the 1500’s, create theillusion of depth. Placing objectswithin the frame, closer = bigger. |
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4 types of lenses and the types of images they produce, i.e. “normal,” illusion of depth, etc. |
Normal (Represents normal vision) Wide angle(wide view of objects in frame, illusion of depth) Telephoto (magnifies, narrows, less depth) Zoom ( |
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4 types of focus & screening exs. Citizen Kane, Sunset Boulevard & Jurassic Park |
Shallow (one plane in focus), Deep(all in focus), Soft (fuzzy), Racking (Shifiting) |
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3 types of resolution in TV and their respective uses |
Low Resolution for surveillance andhome movies, Standard for daytime broadcast medium quality, High for primetimebroadcast is high quality |
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Resolution (definition and explanation of how it is achieved in both film and video, i.e. relationship between grain of film stock and image quality; relationship between scan lines and video image quality) |
The moreclearly objects in an image appear and the more details one can discern in it,the higher the images definition or resolution |
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NTSC (National Television System Committee) Standards – 525 scan lines (early TV) vs. today’s HDTV (720, 1080 p) |
Scanlines are phosphorescent dots arranged into horizontal lines crossing the TVscreen. |
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3 aspects of color (hue, saturation and brightness) and their definitions |
Hue – Specific color Saturation – Purity of the color Brightness – How bright/dark coloris |
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Black and white (necessity vs. aesthetic choice) & screening exs. Madonna’s “Vogue” and Glee “Vogue” parody |
Necessity is when they had to useit, aesthetic choice is when they choose to use it nowadays because it helpstell the story or has the look they are trying to achieve. |
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Framing (definition and how it affects TV image) |
The framing of the shot determineswhat we can and cannot see. |
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3 types of framing distances and how they are conventionally used in TV, i.e. establishing space, conversations, etc. |
Establishing space is a long shot,conversations are medium shots, and detail and emotional states are close ups |
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“Normal” camera angle in TV (straight or level shot) |
Eye level shot |
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Definitions of and conventional uses of high and low angles |
Low Angle – the camera is lower thanthe filmed object (makes actor appear stronger and more powerful) High Angle – camera is higher thanthe filmed object (looking down on actor weakens them) |
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Fixed camera moves (Pans, tilts, zooms [technically not movement, but achieved with lens]) (ex. The Office’s zooms) vs. Moving camera moves (dollies, cranes and pedestals) (exs. Scenes from Braveheart & Smokin’ Aces in instructional video) |
Fixed camera is where the camerastays in one spot but is aimed left to right or up and down. Moving camera is where the camera is actuallymoving like on a dolly following movement etc. |
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Hand-held vs. Steadicam; how are they done and what are the effects of each? (ex. The Sopranos pilot) |
Hand-held is noticeably unsteady,Steadicam is a trademarked piece of technology that mimics hand-held withouthaving such jittery movements |
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Keying |
Inserting images, colorsinto frame electronically without a computer |
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Linear vs. Non-Linear Editing (how the processes are different) |
Linear editing must be done insequence usually film. Non-linearediting may be done out of sequence, usually digital. |
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Continuity editing (basic definition, how it’s related to Hollywood classicism, what its basic principles are) & screening exs. Gone with the Wind vs. Un Chien Andalou |
Creates unity of time and spacethrough editing. Continuity editingmatches classicism’s narrative coherence with continuities of space andtime. Shots are arranged so that thespectator always has a clear sense of where the characters are and when theshot is happening. |
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180-degree rule (basic definition, how it relates to continuity editing) & screening ex. Scene from Vertigo in instructional video |
When the cameras can only be placedin a 180 degree arc. Helps preservespatial continuity by ensuring similar background behind actors when cuttingfrom one to the other. |
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Shot sequence (what a typical one looks like on TV, its relationship to continuity editing) & screening ex. Flight of the Conchords sequence (editing patterns in the sequence, i.e. external establishing shot, inside establishing shot, how conversations and space dictate editing in the two scenes) |
Shot sequence was built on the ideaof continuity editing. Establishing shotintroduces space and narritive, shot-counter shot used to detail the action ofthe scene, Re-establishing shot a cutback to a longer view of the space to showus again which characters are involved and where they are located. |
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Match cut (basic definition, types of match cuts, i.e. match on action, eyeline, POV, and their purpose) & screening exs. Now, Voyager; Hannibal pilot) |
In a match cut the space and time ofone shot fit that of the preceding shot. One shot matches the next and makes editing less noticeable. |
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Jump cut (basicdefinition, their purposes, common usage) &screening ex. Breathless |
Oppositeof match cut, results in a disruptive gap in space and time, so that somethingseems to be missing. |
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Use of Transitions in editing (basic definition, types of transitions, their purpose) & screening ex. Wayne’s World’s ending |
Story time is not equal to screentime. Transitions are used to shorten story time or change its order withoutconfusing the viewer. Fade, Dissolve, Special effects |
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News stories (their editing scheme, influence of print journalism on editing scheme) ex. Nightline episode re: Lamar Odom |
Reporters opening or lead, thenfirst sound bite of a short piece of audio, then bridge between story elements,a second sound bite providing opinion contrasting with first sound bite, thenthe stand-up where the reporter stands in front of the site of the story andsummarizes it. |
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Sound experiment (ex. Watching The New Girl promo with eyes closed and eyes open) & why watching TV is often “listening” to TV (influence of radio) |
A segment of television makes moresense and is more easily followed if only listening vs watching without sound. |
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3 types of sound on TV and how they are typically edited (tracks, DAW, looping) & screening ex. Ken Burns’s The Civil War voice over and Singin’ in the Rain looping scene |
Speech - Usually recorded live sometimes modified post production then added using looping Music, Sound Effects. |
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Music in TV (what kinds are used & why and how it is prepared; copyright, etc.) & screening exs. I Dream of Jeannie theme; The Wire theme; Freaks and Geeks theme; Last Week Tonight with John Oliver theme |
Composed music is music madespecifically for the show. Copyrighted music is a song already made wherelicensing fees must be paid for broadcasting rights. Alternatives are publicdomain etc. |
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Foley vs. Ambient sound (basic definitions, how they are used) & screening ex. Los Angeles Times segment on Foley artists |
Ambient sound is background soundthat may be recorded during or added later, Foley is artificial sounds that arealways added later. |
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4 purposes of sound on TV (attention,manipulation, flow/transitions, continuity) & screening exs. Seinfeld bass riff; Supernatural live studio audience episode; Duck Amuck; Lost pilot opening sequence; the quality andpurpose of sound in each |
-Capture viewer attention - Manipulate viewer understanding –sound image relationship supports, contradicts or emphasizes certain thingsover others. - Maintaining televisional flow bysegment – fade in/out, cross fade/dissolve, segue (transitions - Maintaining continuity withinscenes – dialogue, music, ambient sound, or laugh track |
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Analog vs. Digital (basic description of how they make recorded sound) |
Analog - electronic “replica” of asound on tape. Digital – Sound wavesconverted into binary numbers combined to create a digital representation ofsound. |
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3 types of microphones (when they are used) |
Overhead boom(narrative/unidirectional)Lavaliere (news/omnidirectional) Hand held (sports/unidirectional) |
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Sound perspective, directionality (basic definitions, how they are created) |
The position of a microphone sets upa relationship between the recording device and the person creating the sound. |
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Basic explanation of multi-channel sound |
Another way to represent soundperspective. Surround sound usesspecific channels for specific types of sound to create a sense of space. |
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How sound is used to create sense of space (framing), time, and narrative |
Forms the boundary between what isoffscreen and what is onscreen. Like avoice heard from an actor that is not onscreen. |
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diegetic vs. non-diegetic sound |
Diegetic sound – sound that occursin the physical world in which the narrative takes place.Non-Diegetic sound – does notoriginate in the physical world, like mood music etc. |
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TV Studies Approach (how it differs from social sciences/mass comm., its 2 main areas of focus, characteristics of research, types of evidence used) |
Differs from social sciences becausecritical interpretation based on qualitive evidence. Text based focus – Authorship, style, genre,semiotics. Discourse-based focus –ideology, political economy, theories of identity |
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Authorship (basic definition in TV and film studies, who constitutes an author in TV (showrunners), how an authorship study should be conducted, problems with the approach in collaborative media like film and TV) & ex. J. J. Abrams |
Authors are considered to bedirectors and showrunners, or producers who are responsible for the ongoingproduction of the program. |
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Genre (basic definition, how we use it—as label, contract, ritual) & exs. Hell on Wheels vs. Firefly ads; Jennifer Lopez Romantic Comedy posters |
Genre refers to the type or kind ofshow you are watching. Western, Drama,etc. We use it to label shows. |
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Blueprint model vs. historical model of genre study (basic definitions, how they work) & exs. Aristotle’s Poetics; the “train film” in early Hollywood; Wild Bill Hickock vs. Deadwood |
Blueprint model - based in theory bydefining genre characteristics with criteria drawn from a preexisting theory. Historical Model - defines thegenre’s characteristics with criteria based on what over the years the TVindustry and most viewers have considered elements of that genre |
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3 emphases that most genre studies use (audience, style, content) & exs. Comedic programs, i.e. Saturday Night Live vs. Saved by the Bell; Fame; and Cop Rock) |
Audienceresponse – did they laugh, cry etc.StyleSubjectmatter/ content – is it in the west during the gold rush? Etc. |
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Mythical function of genre (basic definition of myth, how myths function in society) & ex. Claude Levi-Strauss and the notion of myth as evidence of “collective values” of society |
Genresare contemporary myths, as stories shared by large segments of a culture thatshow evidence of that society’s thought process. Specific codes or conventions that we allrecognize. |
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Ideological function of genre (how genre relates to power, consensus, dominant societal perspectives) |
Tools forsocietal consensus, the way things should be. |
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How genres “evolve”(3 stages and their basic definitions) |
Period ofgenre formation (birth) – Assembling the components of genre throughtrial-and-errorClassicalperiod (heyday) – established codes and conventions Self-reflexiveperiod (death) – Self-awareness of those codes/conventions sound |
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Genre cycles (whatare they) |
Periodsof renewed popularity |
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Semiotics (basic definition) |
"breakingapart” signification process. The science of signs. Signs – any object or sound that expresses ameaning to the person who sees it or hears it. |
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Sign (2 components) |
Signifier and Signified |
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Signifier vs. Signified |
Signifier – Physical aspect of thesignSignified – concept, object,physical setting, or other phenomenon that is represented by the signifier |
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3 types of signs (index, icon, symbol) & their meanings & exs. Fingerprint, John Wayne, Apple Logo, Twin Towers, Cat signs) |
index – the signifier is physicallycaused by the signified icon – sing and signifier resemblessignified symbol – the signifier and sign arelinked solely through cultural convention |
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Syntagmatic vs. paradigmatic organization (definitions, how they contribute to meaning) |
Syntagmatic – organized linearly tomake the meaning (boy bites dog, dog bites boy, or even dog boy bites) Paradigmatic – consists of theassociations we make with the signifier that give meaning to it. (pit bull bites boy, chiwawa bites boy, etc.) |
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Ideology (definition(s) of the term, its connotations, how it is disseminated, according to Marx & Gramsci) |
Basic assumptions that we use tointerpret the world around use communicated through language and other systemsof representation. |
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Base vs. Superstructure (definitions; how they reinforce ideology) |
Base – economic system,infrastructureSuperstructure – Education system,legal system, military, media/televisionTogether they promote dominantideology as common sense |
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Hegemony (what it is and how it is achieved) |
Leadership or dominance, especiallyby one social group over others. Malesare better than females, etc. |
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Hypodermic model vs. Discursive model (what does each assume about how ideology works) & screening ex. Schoolhouse Rock’s “Preamble to The Constitution” and how it disseminates ideology |
Hypodermic – TV injects ideologyinto vulnerable subjects Discursive – Circulates competingdiscourses about an issue |
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Discourse (what it is and how it works on TV,i.e. Stuart Hall’s model of encoding and decoding) |
Discourse – a language or system ofrepresentation that has developed socially in order to make and circulate acoherent set of meanings about an important topic area. |
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Reception Studies (what it is/who it studies (focus on audiences/fans), how it is done (ethnography)) & screening exs. Trekkies; Supernatural fan video (“Bromance”) |
Ethnography – studying viewingpractices anthropologically Fan Studies – how do fans use TVtext in transformative ways? |
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Production Studies (what it is/what it studies) |
A bottom up analysis of the textsand rituals associated with production work |
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Political Economy (what it is/what it studies) |
Study how broader, even globaleconomic pressures shape studios’ and networks’ production of television |
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Discourses of identity (what these are (feminist theory, queer theory, critical race theory), what they assume about dominant TV culture |
Dominant TV culture is middle class,male dominated, white and heterosexual. How do non-middle-class, non-male, non-white and non-heterosexualviewers resist and/find pleasure in it? |
