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58 Cards in this Set
- Front
- Back
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Why is causality an essential part of narrative? |
It helps the viewer to connect the events of a film, create expectations, and understand the progression of a story and why it matters. Without causality, the events would be incomprehensible and meaningless in the bigger picture. |
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What is the given definition of narrative? And, what is the difference between “plot” and “story”? |
A narrative is defined as a chain of events linked by cause and effect and occurring in time and space. A story is the progression of events in chronological order, or how they unfolded, whereas a plot is how the story is presented to the viewer, not necessarily presented in the same time or order as the story happened. |
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In Greek, the term diegesis is used to refer to anything that is part of “world” of the story being narrated (or, in the case of film, shown). With that in mind, what is the meaning ofnondiegetic? List a few examples of nondiegetic elements of film. |
Nondiegetic means it is not part of the world of the story. Nondiegetic elements include music, credits, and superimposed words. |
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What is the distinction between temporal “order,” “duration” and “frequency”? |
Order is how the events are organized in regards to time. Duration is how much of a story is depicted. Frequency is how many times an event is shown. |
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What does Film Art mean by the distinctions between: range: restricted vs. unrestricted story information depth: objective or subjective narrational depth |
Range in a film refers to how much knowledge we have of the setting, the characters, the history, and the events and actions of the place and people. Depth goes beyond that, referring to how much we know about a character in regards to their feelings, point of view, and emotions. |
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Loudness |
Loudness is the volume of the sound and our perception of it in relation to distance and relativity to other sounds. By changing the loudness, certain events can be emphasized. |
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Pitch |
Pitch is how high or low a sound is, which helps the viewer distinguish between different kinds of sound and the source of it, for example, between music and speaking. |
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Timbre |
Timbre is the quality of the sound, which gives the source, or even the film as a whole, a certain feeling. Associations with certain timbres gives expectations for scenes or characters. |
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What considerations go into dialogue, particularly overlaping or not? What is meant by "layering"? |
There are a lot of different techniques to use in interactions or conversations between characters. Showing the person talking or the person listening can change the meaning and mood of the scene. With overlap it can move the focus towards different subjects while maintaining a flow. Layering is having multiple sounds contributing in a scene, for example, background noises like wind or footsteps, along with music and/or dialog. |
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What does Film Art mean by the “rhythm” and “fidelity” of sound? |
Rhythm means that the sound has a pattern or a beat, not necessarily just in music but also in actions or words that contribute to an overall feel of a scene. It can add intensity or make it flow. Fidelity is how well the sound matches up to our expectation of the source. It doesn't mean that the sound is original, but to what extent it matches up to our perceptions. |
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When talking about the “spatial” dimensions of film, what is the distinction betweendiegetic and nondiegetic sound? What other spatial elements of sound are identified and how do they work? |
Diegetic sound is sound that comes from within the world of the film. It can include direct dialog or sound effects that we can visualize, or a narration of a character who is part of the story. It also includes music being played or listened to by the characters. Nondiegetic sound is sound that comes from without the world, most commonly the soundtrack or in comedies the recorded audience laughter. Other elements are internal or external sound-hearing something inside someone's head vs actually spoken words., or perspective which includes loudness and the region from where the sound comes. |
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In terms of the temporality of sound, what is the difference between simultaneous and non-simultaneous sound? |
Simultaneous sound is sound that is occurring at the same moment as the action on the screen. Non-simultaneous sound is sound that has either occurred in the past and is being replayed, or perhaps sound from an event that will take place later in the story. |
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Straight-on angle, high angle, low angle shot |
Straight-on angle: We see figures at a straight-on perspective, on equal footing. high angle: Shows figures or scene from above.low angle: Shows figures or scene from below. |
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Shot scale/distance: Extreme long shot, long shot, medium long shot, medium shot, medium close-up, close-up, extreme close-up |
Extreme long shot: View where humans are very small or not visible. Shot used for displaying landscapes or birds-eye view. long shot:Figures are seen, but the scenery or background is emphasized. medium long shot: Shows figures from about the knee up. There is a balance between figure and background. medium shot: Shows figures from waist up. Makes faces and motions more visible.medium close-up: Shows figure from chest up. close-up: Shows just one aspect of figure to emphasize it (face, hands, small object, etc). extreme close-up: Shows a part of the face or magnifies an object. |
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Mobile framing: Pan, Tilt, Tracking, Crane |
pan: The camera turns to show more of the setting horizontally, but doesn't move. tilt: The camera rotates to show more of the setting vertically. tracking: The camera moves either forward, backward, diagonally, etc. crane: The camera rises above ground level. |
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Long shot vs. long take |
long shot: The perspective from which we see the setting. long take: The duration of a shot. |
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To what end, do the authors suggest, does Jean Renoir use mobile framing in Grand Illusion? |
Mobile framing is used to emphasize themes in the story and to create a more unrestricted narration as the plot unfolds. |
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Why do filmmakers (directors, set designers, etc.) still have to manipulate non-studio locations for mise-en-scène? |
The location and look of a setting is important to mise-en-scène because it sets the background for the action and the overall story, whether the part it plays is large or small. Non-studio locations are manipulated so they fit in with the vision of the film. |
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Highlights and shadows |
Highlights and shadows: A highlight is a patch of brightness that enhances the texture of what is being lit and influences the shape and look of an object. Shadow is a portion of darkness that creates contrast and suggests a certain shape or space. |
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Lighting quality |
Lighting quality: The intensity of the light-whether it is hard or soft-which influences the texture of a scene. |
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Lighting direction |
Lighting direction: The sources of light shining on an object. It can come from behind, ahead, from the sides, the top, or below. The direction of the light changes the shadowing and the brightness of a scene. |
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Three-point lighting |
Three-point lighting: Includes a key light which comes diagonally from the front, a fill light which comes from a place near the camera, and a backlight which comes from behind and above the figure in a scene. This set-up was typical in classical Hollywood and is still often used today because it creates a balance of light and shadow. |
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high-key vs. low-key lighting |
High-key vs. low-key lighting: High-key lighting uses fill light and backlight which makes the contrast between darker and brighter areas not very noticeable. Low-key lighting uses more contrast and darker, more intense shadows. The effect is called chiaroscuro, which is a mixture of extremely bright and extremely dark parts of the image. |
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How does Film Art distinguish between “screen” space and “scene” space? What’s the difference between shallow-space and deep-space composition? |
Screen space is what is actually seen on the screen, the image that makes up the film with it's composition, color and balance, whereas scene space is the three dimensional space with depth and size that actually makes up the scene. Shallow space composition is a shot that suggests little depth and the planes of the scene are only slightly separated. Deep space composition is made up of a large distance between the different planes of a scene. |
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fade-out, fade-in, dissolve, wipe, iris-in/iris-out |
fade-out: A shot that disappears as the screen darkens. fade-in: When the screen goes from dark to light and a shot appears. dissolve: A transition method where two shots blend as the first shot disappears gradually and the second appears gradually. wipe: transition method where a line goes across the screen, replacing the shot with a new one. iris-in: A round mask that opens to begin a scene. iris-out: A round mask that closes to end a scene. |
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Kuleshov effect |
Kuleshov effect: Cutting together portions of space methodically so the viewer assumes a connection or a whole between two shots. |
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flash-back vs. flash-forward |
flash-back: the plot moves back to show previous events and then returns to the present.flash-forward: the plot moves forward to show future events and then returns to the present. |
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180-degree rule |
180-degree rule: maintaining an axis of action so that spatially the shots have continuity. |
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establishing shot, shot/reverse shot, eyeline match, reestablishing shot |
establishing shot: a shot that shows the spatial relations between the main elements of a scene. shot/reverse shot: multiple shots edited together that alternate characters, usually during a conversation. eyeline match: a cut that follows the axis of action principle. In the first shot a person looks off somewhere and the second shot shows whatever the person sees. reestablishing shot: returning to a shot of an entire space after a series of closeups. |
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What are the four relations between shots that the filmmaker can manipulate to artistic ends? |
Graphic relations: patterns of light, shape, volume, and movement between shots.Rhythmic relations: patterns of shot lengths throughout a film. Spatial relations: suggesting unity or connections between two or more spaces to build up the idea of a whole. Temporal relations: consistency between the time of different shots. |
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What is meant by “continuity editing”? |
Continuity editing is a method used to keep a clear and continuous sequence of narration throughout a scene. It involves keeping the same direction, position, and temporal relations between each shot in a sequence so that the scene is spatially consistent and makes sense to the viewer. In a larger sense, in continuity editing, the whole film is shot with similar graphic qualities and lighting and there is balance and symmetry in the frames so that as a whole, there are smooth transitions between each cut and each scene and the story is clear and understandable. |
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What is meant by the term “soviet montage”? |
The idea that a story or film making relies foundationally on the editing. It was made known by Russian filmmakers as they experimented with different methods and pushed them to the limit, creating new filmmaking processes and tools. |
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commedia all'italiana |
1950s, 60s comedies. satirical social commentary stereotypical characters, comic actors, stylized regional issues critique of social customs |
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divorce, italian style |
commedia all'italiana/post neorealism germi 1961 complex narrative structure (flashbacks, imaginary scenes) parody of filmmaking (recording infidelity) pov narration-fefe's voiceover fefe-marcello mastroianni rosalina-daniela rocca angela-stefania sandrelli |
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hiroshima, mon amour |
alain resnais 1959 freud in cinema transition techniques, kuleshov effect, relations between shots actress in japan-tragic events-how does one tell about it? remembering, repeating, and working through elle-emmanuelle riva lui-eiji okada |
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the 400 blows |
new wave cinema truffaut 1959 critical, financial success allegory of new wave cinema as radical movement, critique of mainstream cinema antoine as misfit, through mise en scene, dialog antoine-jean-pierre leaud mom-claire maurier dad-albert remy |
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new wave cinema |
innovation in system of representation neither classical cutting or classical storytelling filmmaker as critic, theorist first generation of filmmakers grounded in film history self reflexive- parody, hommage, metacinema reaction against tradition of quality |
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night and fog |
alain resnais 1955 documentary or antidocumentary? film stock mobile frame editing:graphic relations b&w vs color |
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cinema verite |
1960s provocation precipitate crisis instigator involvement avowed participant reflexive filming questioning, commenting artificial circumstances bringing hidden truth to the surface |
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bicycle thieves |
de sica 1948 neorealism non professional actors framing, cinematography show changing relationship between father and son deep focus photography, mobile camera, long takes make point about oppressiveness of modern society antonio-lamberto maggiorani bruno-enzo staiola |
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rome, open city |
rossellini 1944-46 influenced by french realism of 30s based on "true" story flaws of italian life christian humanism-mise en scene exploits symbolic system of christianity (torture, firing squad) |
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neorealism |
under occupation troubles of fascism location shooting, non-professional actors, simple characters and plot cinema of fact everyday life, believable characters uncover italian suffering |
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la strada |
fellini 1954 post-neorealism subliminal level anti-linear plot psychological progression, psychological realism at a symbolic level beauty and the beast fairy tale? gelsomina as christian figure? zampano-anthony quinn gelsomina-giulietta masina |
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post neorealism |
modernism/postmodernism underscore limits of realism professional actors, performance culture individual psychology/subjectivity vs sociological/collective concerns problems with the real |
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le corbeau |
clouzot, 1943 french cinema under german occupation anonymous letters tear apart community expressionistic/resembles poetic realism anti-authoritarian, anti-nazi |
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french cinema under german occupation |
politics-the third republic, occupied north vs unoccupied/vichy france (lib, eg, fra vs travail, fam, patrie) dimished and divided production vichy, COIC north:continental films stiff acting, allegory |
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pepe le moko |
duvivier, 1937 poetic realism ancestor=19th roman populaire/policier (big city crime, working class, underworld) haunts (place blanche, moulin rouge) french gangster film, colonial film trapped hero in enclosed modern world pepe: jean gabin gaby: mireille balin ines: line noro |
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poetic realism |
cinematic mood/view of world working class subjects-trapped in bourgeois system fog of existence: interwar nostalgia |
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marius |
pagnol, 1931 playwright, novelist, filmmaker south of france sound film regional accents sound vs gesture marius: pierre fresnay fanny: orane demazis |
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le million |
rene clair, 1931 succesful transition to sound musical comedy hiding modernist representation cynicism, ironic detachment, criminal mastermind as god figure michel-rene lefevre prosper-jean louis allibert granpere tulipe-paul ollivier |
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sound cinema |
audience appreciation vs directors dislike debate:pure cinema or recorded theater? reconfigures editing, acting, directing realism rises characterization and narrative |
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a trip to the moon |
melies 1902 fantasy script, exaggeration, set exploring unknown conscience of audience |
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lumiere films |
late 1890s staged events point of view, depth common subjects workers leaving the lumiere factory the sprinkler sprinkled baby's breakfast |
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la grande illusion |
renoir, 1937 poetic realism marechal-jean gabin rosenthal-marcel dalio captain de bouldieu-pierre fresnay von rauffenstein-erich von stroheim class vs nationality and politics human relationships |
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cleo from 5 to 7 |
varda 1962 new wave feminism existentialism cleo-corinne marchand |
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the artist |
hazanavicius, 2011 black and white sound vs silent films |
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la sapienza |
green 2014 architecture rediscovering self |
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girlhood |
sciamma, 2014 self image |
