Term
|
Definition
- Characterized by symbolism and extensive use of mise-en-scene - to add mood and deeper meaning - everyone part of frame forms a painting or balance
- 1920s-1930s - lack of money leads to dependence on symbolism - The Cabinet of Dr. Caligari (1920) and Nosferatu (1922) [image][image] [image]
|
|
|
Term
| French Impressionism (1918-1930) |
|
Definition
- Characterized by psychological depth of the narrative; film's emphasis on the character's consciousness - Use style and editing to portray states of mind and mental processes - POV shots, distortions representing states of mind, rhymic editing for emotions
|
|
|
Term
| French Surrealism (1924-1929) |
|
Definition
- Characterized by lack of narrative or stylistic logic, by bizzare or evocative images, lack of cause and effect - Revealed what happens in the subconscious - Free of morality
|
|
|
Term
|
Definition
- Characterized by deliberate juxtaposition or combining of shots - Sergei Eisenstein like juxatpositions to jolt the spectator - Potemkin (1925) - 1924-1930
|
|
|
Term
| The Classical Hollywood Cinema after the coming of sound: what arose |
|
Definition
- The musical - Color and techincolor - Clear, classic Hollywood narrative - Style meant to promote narrative
|
|
|
Term
|
Definition
- Directors consist of young French film critics for the Cahier du Cinema - Called "New Wave" because of the jolt of youthful energy and new techniques - (1959-1964) --------
- Characteristics: - Casual, umpolished look - On-location shooting and lighting - Tracking shots
- Humorous references to other films - Unconventional plot sequences - Ambiguous endings ---- - Famous New Wave Auteurs: Truffaut, Godard
|
|
|
Term
| Loudness (Perceptual Property) |
|
Definition
- The amplitude of sound vibrations - Can afftect perceived distance
|
|
|
Term
| Pitch (Perceptual Property) |
|
Definition
- Frequency of sound vibrations - Perceived highness of lowness of tone
- Can be used to distinguish noise from voice and music - Can create drama or change in mood
|
|
|
Term
| Timbre (Perceptual Property) |
|
Definition
- Sound texture or feel; "harmonic" components, tone, or color - Ex: Nasal or mellow voices - Sound coming from objects usually has a distinct timbre used to create a scene
|
|
|
Term
|
Definition
- Combining sounds into an audio "stream," juxtaposition as well as forming a pattern
|
|
|
Term
|
Definition
- When a string of dialogue continues across a cut/multiple shots - Used for continuity editing
|
|
|
Term
|
Definition
- Elements: beat/pulse, tempo, and a pattern of accents/emphasis - Works on our bodies at deep levels - Coordinated with rhythm of images/editing - Disparity in sound and editing and image rhythm to create certain emphasis or effect
|
|
|
Term
|
Definition
- how faithful a sound is to its source
|
|
|
Term
|
Definition
- The spacial dimension of a sound is defined by where it comes from (its source) |
|
|
Term
|
Definition
- Sound that has a source in the story world |
|
|
Term
|
Definition
- Sound coming from a source outside the story world
|
|
|
Term
|
Definition
- Sound that has a physical source within the scene
|
|
|
Term
|
Definition
- Sound that comes from the mind of the character
|
|
|
Term
|
Definition
- Nondiegetic and internal diegetic sounds, because they do not come from the real space of the scene
|
|
|
Term
|
Definition
- Spacial distance of sound from spectator |
|
|
Term
|
Definition
- Sound that matches with an image |
|
|
Term
|
Definition
- Sound that doesn't match, or is out-of-sync, with the image |
|
|
Term
|
Definition
- Sound that is happening in the time that the image is happening
|
|
|
Term
|
Definition
- When sound from one scene lingers or carries into the next - Creates smooth transitions/continuity
|
|
|
Term
|
Definition
- "Writing in (with?) movement" - How a film is filmed as opposed to what is filmed (mise-en-scene, the subject the camera photographs); choosing the shot
- Like the art of photography - 3 Factors: - Photographic aspects of the shot (how everything in it looks?)
- Framing of the shot - Duration of the shot
|
|
|
Term
|
Definition
- Visual qualities of film (such as color, texture, contrast, etc)
|
|
|
Term
| Film Stocks (how affects cinematography) |
|
Definition
- Different chemical qualities of different emulsions change the level of contrast - Color film stocks vary in color contrasts - Labratory processes are also used to add color
|
|
|
Term
|
Definition
- How much light passes through the camera lens
|
|
|
Term
|
Definition
- Slice of glass or gelatin put in front of camera lens to reduce certain frequencies of light from reaching the film |
|
|
Term
|
Definition
- Slow frame rate, makes motions seem faster
|
|
|
Term
|
Definition
|
|
Term
|
Definition
- Controls perception of perspective, or how close or far away objects seem
|
|
|
Term
|
Definition
- Aspect of lens to that determines perceived depth, magnification, and scale of things in the image |
|
|
Term
|
Definition
- Short focal length = 35mm - Bulges lines at edges of frame outwards, squeezing more area into one frame - Exaggerates depth - Makes people seem to cover distance faster when going from background to foreground
|
|
|
Term
|
Definition
- Middle focal length = 35-50mm - Avoids perspective distortion - Lines remain straight, areas not streched
|
|
|
Term
|
Definition
- Long focal length - Pushes objects close together - Makes spacial planes conjoin, so image is almost 2-D - Reduces distance - Makes subject seem to take longer to cover shorter distance
|
|
|
Term
|
Definition
- range of distances before the lens within which objects can be photographed in sharp focus
|
|
|
Term
|
Definition
- the use of faster film, shorter focal lenses, and more intense lighting to yield a greater depth of field - More objects at greater distances get sharp focus - Contract-signing scene from Citizen Kane
|
|
|
Term
|
Definition
- Switching focus from foreground to background, and vice versa
|
|
|
Term
|
Definition
- Laying one image over another - Creates illusion of two planes being adjacent
|
|
|
Term
|
Definition
- Combining strips of film or other images into a single shot - Through "projection process" and "matte process"
|
|
|
Term
|
Definition
- Projecting an image from behind a translucent screen and then filming the actors in front of the screen from the front - Does not create convincing depth cues very often
|
|
|
Term
|
Definition
- Projects image through two way mirror, which in turn hits a highly reflective screen behind the actors |
|
|
Term
|
Definition
- Type of composite shot process where a matte painting or landscape is filmed and then combined with footage of the action - Most used process up until the 90s
|
|
|
Term
|
Definition
- The border of the image, what is in the shot - Provides a certain point of view or vantage point onto the material within the image
|
|
|
Term
|
Definition
- Ratio of frame width to frame height
|
|
|
Term
|
Definition
- 1.33:1 (width : height)
|
|
|
Term
|
Definition
- Process used to make wide-screen aspect ratios - ? Covering the top and bottom of the film?
|
|
|
Term
|
Definition
- Stan Brackage - 1959 (1950s)
- USA
|
|
|
Term
|
Definition
- Alfred Hitchcock - Great Britain - 1936 (1930s)
|
|
|
Term
| Edison and Lumiere Shorts |
|
Definition
|
|
Term
| George Melies Short films |
|
Definition
|
|
Term
|
Definition
- D.W. Griffith - 1915 - USA
|
|
|
Term
|
Definition
- Charlie Chaplin - 1921 - USA
|
|
|
Term
|
Definition
|
|
Term
|
Definition
- Sergei Eisenstein - 1925 - USSR - "Oddessa Steps Sequence"
|
|
|
Term
|
Definition
- Fritz Lang - 1927 - Germany - "The Vision of Moloch"
|
|
|
Term
|
Definition
- Yasujiro Ozu - 1932 - Japan
|
|
|
Term
|
Definition
- Vincent Minelli - 1946 - USA
|
|
|
Term
|
Definition
- Alfred Hitchcock - USA - 1943
|
|
|
Term
|
Definition
- Vittorio De Sica - Italy - 1948
|
|
|
Term
|
Definition
- Satyajit Ray - India - 1956
|
|
|
Term
|
Definition
- Francois Truffaut - France - 1959
|
|
|
Term
|
Definition
- Robert Bresson - France - 1967
|
|
|
