Karteikarten
film basic notes
Karten in diesem Stapel (88)
- 1mediumA medium is a communications technology, or form of expression, that stores
and transmits information. - 2medium specificityMedium specicity relates to the characteristics that make one form of media
unique from others - 3medium specific characteristics of cinemaThe cinema preserves both space and time
- It is a prosthetic of the human sensory apparatus
- It is able to show us things outside the realm of our perception
- It functions as a form of evidence: this happened then - 4contentThe subject of an artwork.” In other words, the story or information
conveyed through a medium - 5form: “The means by which a subject is expressed.” In other words, all of the
medium-specific elements that shape the story or information that is conveyed. - 6motifA recurring visual, sound, or narrative element that imparts meaning or
signicance. - 7narrative strucutresetup->inciting incident->conflict and obstacles/rising action and stakes->crisis->climax->resolution
- 8self reflexive artart reflects back on or
refers to itself; esp. (of a literary or
other creative work) that consciously
calls attention to itself or its own
processes or production; self referential. - 9establishing shotshows location/background info
- 10extreme long shotshows person + background
- 11long shotshows person + background
- 12medium long shotcuts off person legs
- 13medium shotup to person torso
- 14medium close shotface and shoulders
- 15close upshows face only
- 16extreme close upshows small details
- 17framingborders of screen
- 18open framingstuff lies beyond screen
- 19closed framingscreen is the border of the reality the people are in
- 20eye levelhigh angle low angle
- 21dutch anglesimilar to low angle
- 22birds eye viewangle from a bird
- 23backlightbehind person
- 24key lightmain light
- 25fill lightdetails light
- 26high key lightbright
- 27low key lightdark
- 28high contrastcolours extremely different
- 29low contrastcolors blur together slightly
- 30mise en sceneThe arrangement of what appears in front of the
camera. It can include set design, lighting, costumes, props, character
placement, and movement.” - Bill Nichols, Engaging Cinema, p - 31four elements of mise en scenedesign lighting composition movement
- 32designSetting, decor, and props
2) Costume, makeup, and hairstyle - 33composition“A shot’s composition is the organization, distribution, balance, and general
relationship of objects and gures, as well as of light, shade, line, color, and
movement within the frame.” - L@ - 34rule of thirdsframe seperated into 9 boxes
- 35eye roomroom for character to see smth
- 36lead roomroom to walk
- 37movement typesfigure movement, camera movemnt
- 38camera movementspan, tilt, tracking shot, zoom, handheld, steadicam
- 39signifier vs signifiedwhat is present to the viewer vs what its representing
- 40continuity editingsequence of events edited to unfold naturally
- 41pov shotseeing something from characters pov
- 42match actionshots from different angles showing continuous action
- 43shot reverse shotpeople talking
- 44graphic matchshapes that match through different shots
- 45parallel editingwhen two actions happening at the same time
- 46discontinuity editingdisrupts continuity rules
- 47soviet montageshows two things related symbolically but not happening at the smae time
- 48kuleshov effectshowing a shot of somethign then someones face could make that first thing influence what the audience thinks the person is thinking
- 49associative editinguses juxtaposition to contrast 2 things
- 50extra diegetic insertadding a shot that seems unrelated but makes the audience feel a certain way
- 51jump cutshots move forward in time
- 52reallityReal existence; what is real rather than imagined or desired; the
aggregate of real things or existences; that which underlies and is the truth of
appearances or phenomena - 53realismThe construction of a cinematic world that bears strong
resemblance to the world with which viewers are already familiar.” - 54formalizsmAn approach to style and storytelling that values
conspicuously expressive form over the unobtrusive form associated with
realism.” - 55ideologyA shared set of beliefs, practices, and discourses that shape what thoughts
and actions are available to an individual subject - 56primary vs secondary identificationspectator identifies w the look of the camera vs spectator identifies w main characters
- 57patriarchyThe predominance of men in positions of power and inuence in
society, with cultural values and norms favouring men. - 58heteronormativitythe privileging of biologically determined gender roles
and heterosexuality. - 59counter cinema: Any film that, rather than reinforcing the dominant ideology, seeks to
undermine it in some way. - 60racismis any prejudice against someone because of their race, when those
views are reinforced by systems of power - 61intersectionality“shed[s] light on the ways in which experiences in both race
and gender intertwine to uniquely impact the lives of black women and women
of colour.” It has since “expanded to include class, ability, and sexuality as
well. - 62colonialsimThe process by which Western powers “reached a position of
economic, military, political and cultural domination in much of Asia, Africa, and
Latin America. - 63third worldThe colonized, neo-colonized or de-colonized nations of the
world whose economic and political structures have been shaped and deformed
within the colonial process - 64colonial pov“The besieged wagon train or fort is the focus of our attention
and sympathy, and from this centre our familiars sally out against unknown
attackers characterized by inexplicable customs and irrational hostility. - 65post colonial pov“One of the crucial innovations of Battle of Algiers was to invert
this imagery of encirclement and exploit the identicatory mechanisms of cinema on
behalf of the colonised rather than the coloniser - 66genre“Genre movies are those commercial feature lms which, through repetition and
variation, tell familiar stories with familiar characters in familiar situations.” - 67iconography“Iconography involves the process of narrative and visual coding that results from
the repetition of a popular lm story. A white hat in a Western or a top hat in a
musical, for instance, is signicant because it has come to serve a specic
symbolic function within the narrative system. - 68ideological attitud“Each genre’s implicit system of values and beliefs—its ideology or world view—
determines its cast of characters, its problems (dramatic conicts), and the solutions to
those problems - 69manifest destinyThe idea that the North
American continent is a divine gift to the settlers
who colonize it. As Americans moved westward
across the country they cultivated the land and
spread the word of God, thus transforming the
wilderness into an earthly paradise where the
mistakes of the old world would not be
repeated. The belief in Manifest Destiny helped
to justify the stealing of Indigenous land. - 70self reflexive iconographyConstant exposure to a previous succession of lms have led the audience to
recognize certain formal elements as charged with an accretion of meaning. Some
critics like to refer to them as ‘icons. - 71revisionist westernA revisionist western takes the iconography of the genre and uses it to question the
ideological attitude that predominated in the classical western. - 72auteur theoryidea that the director or filmmakers are the authors of a film
- 733 circles of auteur theoryOuter Circle: “the first premise of the auteur theory is the technical competence
of a director as a criterion of value.” (516)
Middle Circle: “The second premise of the auteur theory is the distinguishable
personality of the director as a criterion of value. Over a group of films, a director
must exhibit certain recurrent characteristics of style, which serve as his
signature.” (516)
Inner Circle: “The third and ultimate premise of the auteur theory is concerned
with interior meaning, the ultimate glory of the cinema as an art. Interior meaning
is extrapolated from the tension between a director's personality and his
material.” (516 - 74national cinemaspecify coherence and unity. proclaim unique identity and stable set of meanings. identification hegemonising mythologising process involving production and assignation of a particular set of meanings and attempt to contain or prevent potential proliferation of other meanings
- 75ecocinemaSome critics argue that independent lyrical and activist documentaries, rather than commercial films, are the most effective at inspiring eco-political discourse and action, making them true examples of ecocinema. Others, however, believe that the impact of films on individuals is more ambiguous, making it difficult to define ecocinema precisely. Ultimately, all films, when examined through an ecocritical lens, can reveal valuable insights into cinema’s relationship with the environment
- 76rel science fictiopn and ecocinemaBoth are concerned with the future
• Both engage with the unintended consequences of
science and technology
• Both have anxious to apocalyptic outlooks - 77form characteristics of documentariesVoice of God narration
- Talking heads
- Newsreel or other found footage
- Shaky, handheld camera - 78content characteristics for documentariesClaims about the real world rather than a ctional one
- Information conveyed to persuade via logic and rhetoric
- Positions itself as authority, audience as interested novices
- Backs authority up with appeals to experts - 79expository documentaryDocumentaries that are guided by a voice of authority. Most common
mode. - 80poetic documentariesstresses form or pattern over an explicit argument although it could have a implicit perspective of the historical world
- 81observational documentariesFly on the wall or direct cinema(no interference from filmmaker)
- 82participatory documentariesFilmmaker engages w the subject appearing on screen
- 83reflexive documentairesLooks at filmmaking process itself and questions the idea of truth in documentaries
- 84performative documentariesfocuses on personal experiences to explores broader social issues
- 85avant garde“A poetic emphasis dominates lms by the avant-garde… Poetic lm draws attention
to its form as much or more than to what it refers to externally. The impact of poetic
work is more expressive and emotional than rational.” - 86mimeticimitation of something in cinema critiquing it
- 87autobiographical exp filmfilmmakers themselves
- 88theoretical exp filmnature, structure, function of film itself
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- film film art 1 Karteikarten am film basic notes, erstellt von hasdfhfsd gsdhhgsdh am 02/04/2025.
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