Intro Film Midterm More Flashcards

Front 1

When was Stagecoach released?

Back 1

1939

Front 2

Who was the screen writer for Stagecoach

Back 2

Dudley Nichols

Front 3

Who does John Wayne play in Stage Coach?

Back 3

Ringo or Ron

Front 4

Crossing the axis of action/ 180 Degree rule

Back 4

see course document on blackboard for a good example I took screen shots of! This is a difficult concept to understand so please check out the example I provided.

Front 5

Who directed the Cabinet of Dr. Caligari

Back 5

Robert Weine

Front 6

Who were the screenwriters for the Cabinet of Dr. Caligari?

Back 6

Carl Mayer, and Hans Janowitz

Front 7

Who were the set designers for the Cabinet of Dr. Caligari?

Back 7

Hermann Warm, Walter Rohrrs (sp?), and Walter Reimann

Front 8

When was the Cabinet of Dr. Caligari released?

Back 8

1921

Front 9

What studio released the cabinet of Dr. Caligari?

Back 9

Decla

Front 10

In what Country was the Cabinet of Dr. Caligari produced?

Back 10

Germany

Front 11

Who plays Dr. Caligari?

Back 11

Werner Krauss

Front 12

What is the narrative in the Cabinet of Dr. Caligari like?

Back 12

It's straightforward

Front 13

What is the style like in Caligari?

Back 13

-Perspectives = skewed
-Set is expressive
-try to touch upon 2ndary readings on a question like this

Front 14

low angle shot:

Back 14

the camera appears to be looking up at an actor

Front 15

Who directed The Passion of Joan of Arc?

Back 15

Carl Theodore Dreyer

Front 16

What company produced Joan of Arc?

Back 16

Societe Generale de Film

Front 17

In what country was the Passion of Joan of Arc edited?

Back 17

Germany

Front 18

What company edited The Passion of Joan of Arc?

Back 18

UFA

Front 19

What is the Nationality of the director of Joan of Arc?

Back 19

Danish

Front 20

Where was the Passion of Joan of Arc filmed?

Back 20

Paris

Front 21

referential meaning =

definition and example

Back 21

allusion to particular pieces of shared prior knowledge outside the film which the viewer is expected to recognize.

example: The Civil War in the Birth of a Nation

Front 22

explicit meaning =

Back 22

meaning expressed overtly, usually in language and often near the film's beginning or end.

Front 23

implicit meaning =

Back 23

meaning left tacit, for the viewer to discover upon analysis or reflection.

Front 24

symptomatic/ideological meaning =

Back 24

meaning which the film divulges, often "against its will", by virtue of its historical or social context.

Front 25

medium close up

Back 25

a framing in which the scale of the object shown is fairly large; a human figure seen from the chest up fill most of the screen.

Front 26

mise-en-scene

Back 26

all the elements placed in front of the camera to be photographed, that is, part of the cinematic process that take place on the set, as opposed to montage, which takes place afterward. It includes the settings and props, lighting, costumes and make-up, and figure behavior. Mise-en-scene tends to be very important to realists, montage to expressionists.

Front 27

montage

Back 27

a synonym for editing.
an approach to editing developed by the Soviet filmmakers of the 1920's; it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either one by itself.Also called montage of attraction
dynamic cutting - a highly stylized form of editing, often with the purpose of providing a lot of information in a short period of time.

Front 28

non-diegetic sound

Back 28

sound outside of the world of the film

Front 29

180 degree system

Back 29

the continuity approach to editing which dictates that the camera should stay on one side of the action to ensure consistent spatial relations between objects to the right and left of the frame. The 180-degree line is also called axis of action.

Front 30

Point of View Shot

Back 30

a shot taken with the camera placed approximately where the character's eyes would be, representing what the character sees; usually cut in before or after a shot of the character looking.

keep this in mind when analyzing clips during the exam

Front 31

Who directed Modern times?

Back 31

Charlie Chaplin

Front 32

What Studio Produced Modern Times?

Back 32

Charles Chaplin Productions

Front 33

When was Modern Times released?

Back 33

1936

Front 34

Summarize the way Modern Times sends its message:

Back 34

Chaplin satirizes the "high class"

Front 35

academy aspect ratio

Back 35

a term for standardized shape of film frame established by the Academy of Motion Pictures and Arts and Sciences. It's 35 mm.

Front 36

rotoscope

Back 36

a machine that projects live-action motion picture film frames one by one onto a drawing pad so that an animator can trace the figures in each frame. The aim is to achieve more realistic movement in an animated cartoon.

Front 37

Edwin S. Porter

Back 37

directed The Great Train Robbery

Front 38

axis of action

Back 38

In the continuity editing system, the imaginary line that passes from side to side through a main actors, defining the spatial relations of all the elements of the scene as being to the right or the left. It is also called the 180-degree line. When the camera crosses this axis at a cut, those spatial relations are reversed thereby confusing the audience. It is one of cardinal rules of continuity editing not to cross this axis during a sequence.

Front 39

camera angle

Back 39

the position of the frame in relation to the subject it shows. A high angle is when camera is looking down, low angle when looking up.

Front 40

close up

Back 40

framing in which the scale of the object shown is relatively large, most commonly a person's head seen from the neck up, or an object of a comparable size that fills most of the screen.

Front 41

continuity editing

Back 41

system of cutting to maintain continuous and narrative action. It relies upon matching screen direction, position, and temporal relations from shot to shot to give spatial and temporal unity between shots

Front 42

crosscutting

Back 42

editing that alternates shots of two or more lines of action occuring in different places, usually simultaneous.

Front 43

diegesis

Back 43

in a narrative film, the world of the film's story. It includes events that are presumed to have occurred and actions and spaces not shown onscreen.

Front 44

diegetic sound

Back 44

any voice, musical passage, or sound effect presented as originating from a source within the fllm's world. See nondiegetic sound.

Front 45

establishing shot

Back 45

a shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene.

Front 46

expressionism

Back 46

an approach that makes liberal use of technical devices and artstic distortion and in which the personality of the director is always paramount and obvious. See German expressionism and formalism.

Front 47

film gauge

Back 47

The width of the film strip, measured in millimeters. 35mm is most commonly used filmstock.

Front 48

hard lighting

Back 48

lighting that creates sharp-edged shadows.

Front 49

intellectual montage

Back 49

the juxtaposition of a series of images to create an abstract idea not present in any image.

Front 50

iris =

Back 50

round, moving mask that contracts to close down to end an scene (iris-out) or emphasize a detail, or opens to begin a scene (iris-in) or to reveal more space around a detail.

Front 51

match on action =

Back 51

one action is carried continuously on in two shots, beginning in one and continuing in the next

Front 52

reaction shot *

Back 52

a shot that cuts away from the main scene or speaker in order to show a character's reaction to it.

Front 53

Carl Laemmle

Back 53

Involved with IMP & Universal

Front 54

Wipe

Back 54

transition in which a line passes across the screen, replacing one image with another

Front 55

Who Directed Metropolis

Back 55

Fritz Lang

Front 56

Who was the Cinematographer for Metropolis?

Back 56

Karl Freund / Gunther Rittan(sp?)

Front 57

Who wrote the script for Metropolis?

Back 57

Lang based on a novel

Front 58

Which studio released Metropolis?

Back 58

UFA

Front 59

When was Metropolis released

Back 59

1927

Front 60

Why did some foreign directors move from their countries to the US? Give an example

Back 60

WWII
This will probably be on the test b.c Prof. Riggio emphasized this issue in class

ex: Fritz Lang came to the U.S.

Front 61

What's the difference between a dissolve and a fade out?

Back 61

A fade out gets darker before the new image sifts in over the old one

Front 62

What is the name of the main male character in the clips we saw from Metropolis?

Back 62

Frederson

Front 63

Who plays the main male character in the clips we saw from Metropolis?

Back 63

Gustave Froelish

Front 64

What special effects were used in Metropolis?

Back 64

-mirrors
-exposing film many times

Front 65

Who Directed the Battleship Potemkin?

Back 65

Eisenstein

Front 66

In what country was Potemkin released?

Back 66

Russia

Front 67

When was Potemkin released

Back 67

1925

Front 68

Why did German directors flee to U.S. other than the war?

Back 68

see Cooke's article for answer. American filmmakes tried to convince European directors etc. to come to America or at least help Americans with their films.

Front 69

Who plays Francis in Caligari?

Back 69

Conrad Wright