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| the arrangement of light and dark elements in a pictorial composition; in film, it is achieved by flat, high-contrasting lighting. |
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| the fictional world of the film (its adjectival form, "diegetic," means pertaining to the world of film); a term reserved for discussion of narrative fiction, not documentaries |
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| (literally, "double-goer"): ghostly double, "evil twin," soul-less other |
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| events that exceeded the scope of rational, logical explanation; the is, a realm of storytelling that includes the magical, spiritual, mystical, supernatural, or metaphysical; events or experiences that transcend our understanding of the mundane, material world |
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| examination of the outward shape or structure (form) of a work of art; examination of the arrangement of elements of a work of art; in film, this entails looking at how something is shot and cut together, how it is lit, how sound is used, etc. |
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| broad label for a representational style that attempts to draw attention to the form/shape/structure/design of the work of art; the formalist artist is interested in the transformation or creative manipulation of the physical world (rather than imitation) and/or of his/her materials, via distortion, fragmentation, or abstraction of space-time. |
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| category or classification of a story type, grouped according to shard narrative patterns, subject matter and recognizable conventions (convention:a narrative device [type of character, style, situation, or story element] that has become established, accepted, and thereby expected by the audience) |
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| (literally, "putting-in-the-scene"): composition within the frame (the arrangement of all the visual elements within an individual shot, i.e., the characters, props, set design, lighting make-up, camera angle, camera movement, depth of field) |
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| a recurrent thematic or visual element within a work of art. |
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movement (film or art movement)
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a broad tendency or trend during a particular period of time identifiable or unified by shared thematic and formal characteristics
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broad label for arepresentational style that attempts to present a world that for the most part mirrors the space-time of the world around us; in other words, the realist style is greatly concerned with imitation, that is, with faithfully reflecting the external, physical world;
In film: think of the film-frame as a window |
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| examination of the issues or ideas expressed by a work of art; this entails looking at story or genre, as well as a film's formal elements |
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| "agitation"/propaganda newsreels or shorts that were distributed (usually by "agit-vehicles") to promote Bolshevik or Communist Party ideology. |
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modernist art movement popular in USSR, mid-teens to late '20s; it fuses art with politics; its main stylistic characteristic is awareness of structure or form; some thematic principles/tenets of the Constructivist movement are:
-art should be used to create socially useful objects, not for contemplation or its own sake
-a Constructivist artist is like an engineer whose duty it is to help build a better society;
-a Constructivist artwork is akin to a functional machine, assembled from parts. |
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| the juxtaposition of shots of different bodies or body-parts to give the illusion of a single unified body. |
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| the juxtaposition of shots of separate or distant locations to give the illusion of spatial continuity (spatio-temporal unity). |
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intellectual or associative montage |
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| the juxtaposition of images not for the purpose of creating spatio-temporal continuity within a scene, but rather to make a thematic point, convey an abstract idea, or imply a conceptual parallel (metaphor). |
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Kino-glaz (lit. "film-eye") doctrine/method |
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| for Dziga Vertov, a documentary filmmaking process that enables the audience "a new way of seeing, via the filmmaker's methods of creatively shooting, organizing, and editing the footage: capture "life unawares" but transform that space-time photographically; organize the footage thematically; edit the footage according to the Theory of Intervals. |
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| overall meaning is derived through context, i.e., while an individual shot has some meaning as a photographic record of something, it acquires larger meaning in juxtaposition to the other shots around it. |
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| in its general sense, a French term for "editing"; more specifically, as articulated by various Soviet filmmaker/theorists of the 1920s, a dynamic approach to editing that endeavors to control a film's structure, meaning and effects. |
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| one that refers to or foregrounds the process of filmmaking itself, through its narrative content and/or its technique. |
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a montage theory developed by Dziga Vertov; an "interval: is an editorial cut, or, in other words, the transition from one shot ( what Vertov would call a visual stimulus") to another;
-Vertov's theory asserts that where the cuts/transitions are made and the frequency of them determine the dynamic rhythm of the artistic whole (a sequence or entire film). |
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| term for a silent film adaptation of a literary or theatrical classic. |
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| refers to the all the unique qualities and capabilities of the motion picture medium, to the beauty of the cinematic image in general, to the revelatory quality or emotional value of a close-up, to the beauty of captured movement or rhythm created through montage. |
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| refers to a film company's ownership of production studio(s), distribution agencies, and exhibition venues. |
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| processes that depend on chance operations/events or randomness |
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| (lit., mad or crazy love): obsessive lust, transgressive or forbidden sexuality |
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| a type of editing that links separate images not for the sake of dramatic continuity but rather to convey a thematic point or abstract idea. |
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form cut (a.k.a. graphic match): |
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| the juxtaposition of images governed by compositional similarity (geometric shape or direction of movement within the frame); often implies a thematic connection between the two (or more) juxtaposed shots. |
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iconoclasm (n.; adjectival form is "iconoclastic"): |
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| attacking established beliefs or institutions. |
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oneiric structure ("oneiric," from the Greek, meaning "dream-like"): |
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Definition
| refers to certain sequences or entire films that blur the distinction between diegetic waking reality and diegetic dream/hallucination/fantasy/ nightmare; it is achieved through the cinematic subversion of rational space-time (in like manner to the spatio-tempral discontinuity of our dreams) |
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parody (n., adjectival form is "parodic"): |
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a form of ridicule for comic effect |
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Film
"The Cabinet of Dr. Caligari" |
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-German Expressionism
-dir.Robert Wiene, 1919 |
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Film
The Man with the Movie Camera
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Constructivism
Dziga Vertov 1929 |
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Film
The Passion of Joan of Arc |
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Early European Avant-Garde:
French Impressionist Mov.
The "International Style"
dir., Carl Theodor Dreyer
1928 |
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The Dada Movement
dir., Rene Clair 1924
-screened at Dada ballet Relache (Performance suspended) by Francis Picabia |
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An Andalusian Dog;
co-dir., Luis Bunuel/Salvador Dali
1928/29
Surrealism |
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