Film Final- Chapters 6-12
Terms
undefined, object
copy deck
- categorical form of documentaries
- organizing information about the world being show in the movie in categories/subcategories
- timbre
- harmonic components of sound to give it a certain tone quality. the "texture/feel" of the sound
- match on action
- shows the continuation of movement across two shots
- arguments from source
- arguments that rely on what are seen as reliable sources
- cycles
- batch of genre films that have intense popularity and influence over a distinct period. occurs when a successful film produces a burst of imitations
- empty frames
- covers elided time
- onscreen/offscreen diegetic sound
- depends on whether the source is inside or outside the frame
- german expressionism
- 1919-1926. film image became graphic art. depended heavily on mise en scene. play of light and dark that has actually been painted onto the set
- temporal ellipsis
- omits seconds, minutes, hours, days, years or centuries
- sneaking in/sneaking out
- musical score grows louder when no dialogue, and fades down where there is
- crosscutting
- emphasize actions taking place in separate planes. constructs a variety of spaces in a film
- establishment/breakdown/establishment
- most common pattern of spatial editing in classic continuity style
- classical hollywood cinema
- 1908-1927. emergence of narrative continuity and development of basic continuity principles
- jump cut
- 2 shots of the same subject are cut together but do not have enough of a difference between camera distance and angle; there is a noticeable jump on screen
- pitch
- frequency of sound vibrations affects the pitch of sound. helps distinguish music and speech from noises
- rhetorical form
- filmmaker tries to persuade the audience to believe in his argument about something in debate
- sound mixing
- guiding the viewer's attention with a particular sound
- elliptical editing
- presents actions in such a way that it consumes less time on screen then it does in the story
- mockumentaries
- imitates conventions of documentaries but does not try to fool the audience into believing it's real
- sound
- shapes how we perceive images, directs our attention within images, cues us to form expectations, gives a new value to silence
- eye line match
- shot 1 shows someone looking offscreen at something; shot 2 is what is being looked at
- clay animation
- sculptor creates objects/characters using plasticine. the positions of the characters are slightly remolded between exposures
- compilation film
- assembles images from archival sources
- crosscutting
- alternates shots from one line of action in one place with shots of other events in other places
- western film
- emerged in early cinema history. central theme of genre is conflict between civilized order and the lawless frontier
- punctuation shot change
- signals that sometime has been omitted. used with a dissolve, wipe or fade
- graphic relations
- form of editing that focuses on graphic configurations independent of the shots relation to the time and space of the story
- horror film
- most recognizable by intended emotional effect on audience. heavy make-up is a prominent iconographic element
- genre iconography
- recurring symbolic images that carry meaning from film to film
- cheat cut
- mismatch slightly the positions of characters or objects
- establishing shot
- shows the overall space
- direct cinema
- records an ongoing event as it happens with minimal influence by the filmmaker
- diegetic sound simultaneous in story with images
- noise, music, speech that comes from space in story that occurs at the same time as image
- Temporal Continuity
- duration is in complete continuity (plot time=story time) or elided (story time=greater than plot time)
- shot/reverse shot
- cuts back and forth between one end of the axis and the other
- kuleshov effect
- basing the arrangement of a whole space when only a portion of it is shown
- re-establishing shot
- re-establishes the overall space
- overlapping editing
- expands story time. the action from the end of one shot is partly repeated at the beginning of the next
- diegetic sound earlier in story than image
- sound come from an earlier point in the story than action visible on screen
- flashbacks
- one more shots out of their presumed story order. editing moves from the present event to a past event and then back to the present event
- diegetic sound
- sounds that has a source in the story world
- axis of action
- line in which the space of the scene in constructed. determines the half circle in which the camera can be placed to film the action. mise en scene and camera work together to establish the semi-circular space
- rhythmic relations
- form of editing that allows the filmmaker to determine the duration of each shot to accentuate a moment or decentaute a moment
- dialogue overlapp
- used in editing a conversation with shot/reverse shot. smooths down the visual change of shot
- graphic and rhythmic editing
- shot 1 and 2 are joined based on graphic and rhythmic qualities despite their time and space
- associational form
- suggests ideas by grouping images that may not have any immediate logical connection; we have to find a way to connect them
- experimental film
- challenges orthodox film subject matter and style and form of film. any sort of footage may be used
- spatial relations between shot 1 and shot 2
- type of editing that can juxtapose two points in space and imply a relationship between them
- subject centered arguments
- arguments about subject matter
- rhythm
- beat, pulse, tempo, pace
- spatial and temporal discontinuity
- uses spatial continuity in ambiguous ways
- offscreen sound
- crucial to our film experience, creates the illusion of a bigger space. shapes our expectations of scene development. can make a film's narrative restricted or not restricted
- internal diegetic sound
- sound that comes from inside the character's mind
- genre
- kind or type
- non-diegetic/internal diegetic sounds
- sounds overs. they do not come from real space in the scene
- cut out animation
- flat puppets with movable joints. filmmaker manipulates cut out images frame by frame to create moving collages
- documentary
- aims to present factual information about the world. states an opinion/idea or suggests a solution to a problem
- abstract form
- organizing entire film's system around colour, shapes, sizes and movements
- fade in
- shot gradually lightens from black
- pixilation animation
- frame by frame, jerky movement of people/ordinary objects
- sound later than image
- images onscreen are occurring in the past, while sound is occuring during present/future time
- viewer centered arguments
- arguments that appeal to the viewer's emotions
- fidelity
- extent to which sound is faithful to the source we think it's from
- film style
- technical choices the filmmaker chooses and adheres to throughout the film. results from historical constraints and choices. plans progression of story. points out story parrallels
- graphic match
- editing graphics to achieve smooth continuity or abrupt contrast
- dramatic sound stream
- combination of sounds to enhance unrestricted objective narration
- musical film
- came into being in response to technical innovation
- french impressionism and surrealism
- 1918-1930. relies on cinematography and editing. narration gives psychological depth. heavy use of point of view shots
- computer animation
- images created on computers and then transfered onto film
- flash-forward
- editing moves from the present event to a future event and then returns to the present
- synchronous sound
- matching sound with image in projection (hear at the same time we see the source of the sound)
- non-diegetic sound
- sound that comes from a source outside the story world
- loudness
- sound we hear from vibrations in the air. the amplitude the vibrations produce is the sense of loudness we hear
- sound bridge
- lingering sound briefly from the end of one scene onto another
- group style
- consistent use of techniques across the work of several filmmakers
- asynchronous sound
- the sounds don't match with images on screen
- external diegetic sound
- sound we assume has a physical source in the scene
- continuity editing
- allows space, time and action to continue in a smooth flow over a series of shots
- space
- sound has spatial dimensions because it comes from a source
- wipe
- shot 2 replaces shot 1 by a boundary line moving across the screen
- fade out
- shot gradually darkens at the end to black
- cutaway
- a shot of another event elsewhere that will not last as long as the elided action
- dissolve
- briefly superimposes the end of Shot 1 and the beginning of shot 2
- montage sequence
- brief portions of footage joined by dissolves and music to create few moments of film out of lengthy series of action
- italian neorealism
- 1942-1951. post war period. revealing temporal social conditions. looser narratives- open ended slice of life. narrative relations. cinematography and editing won't match up as neatly. end with limited closure. location shooting. non- actors star in the films
- interview/talking head
- records testimonies about events or social movements
- cut
- most common way of joining two shots
- single frame films
- each shot is only one frame long
- model/puppet animation
- characters are made and moved using wires, string etc.
- non-simultaneous sound
- sound we hear that has occurred or will occur later in the story than the events we're seeing
- sound perspective
- characteristic of diegetic sound. sense of spatial distance and location for sound
- temporal relations between shot 1 and shot 2
- form of editing where the filmmaker can manipulate the plot's story time and temporal succession
- drawn animation
- characters are drawn on a sheet of celluloid called a cel; photograph; than redrawn slightly different and photographed to show movement
- portrait documentary
- centres on scenes from the life of a compelling person
- disparities
- filmmaker edits dialogue by cutting against natural speech rhythms. a change of rhythm may shift our expectations
- simultaneous sound
- sound takes place at the same time in terms of story events
- film movement
- film produced at a particular time period. has a specific industrial structure