Karteikarten
Film Midterm #2
Karten in diesem Stapel (60)
- 1narrative function of camerareframing is the most ordinary camera function that aids the narrative
if the movement is not motivated by the characters it has to be motivated by something else
used to reveal something
can be used to show important detail
can be used to link characters together without explicitly stating it
camera can be used to explore a space and the audience will explore the space with it > sometimes subtle, sometimes not - 2name the four types of relations between two shotsgraphic, rhythmic, spacial, temporal
- 3graphiccan be used to link images or to create a contrast
Psycho > sink drain dissolves to close up of eye (her life going down the drain)
2001 > bone is thrown into air, dissolves into a spaceship hundreds of thousands of years later (bone thrown into air as new tool that connects to modern tool of the spaceship/bomb/tool/item)
matching on movement > character sitting then gets up from chair and you cut to wider shot of completing the movement and leaving the room (cutting on movement)
cheat cuts > manipulating some elements and using others for continuity, hiding the cut - 4rhythmicpacing
number of cuts in a scene/per minute can itself create a rhythm
think music video and cutting on the beats - 5spatial - Kuleshov Effectcreated experiment > putting together a series of unrelated shots (famous russian actor with static medium close up of his face, alternated with random objects)
allegedly the reactions were very positive, and people thought the actor was very talented, even though the image had never changed and was never part of the filming process
no surviving example of this film, though recreations have been made
results proved that already in early 20s people were making assumptions about relationships between shots (cause and effect), spatial continuity, and default reading happening in the absence of an establishing shot
definition of kuleshov effect > any series of shots which, in the absence of an establishing shot, cause the spectator to infer a spatial whole, even though we only see portions of that space.
also com - 6temporal (scene vs. sequence)duration > in the case of editing refers to the time that is implied and elapses between one shot and the next
scene > a series of shots that take place in a single location and that deal with a single action > screen time = story time
sequence > a unit of film construction consisting of one or more scenes > screen time is shorter than story time
think of narrative time and narrative space as two logical variables in the construction of film sequences
tendency in classical cinema period to use dissolves, or fades to black > to make it clear that one scene ends and another begins, usually implying the passage of time
eclipses will occur between scenes or in montages
order, frequency, duration of shots.
Order: chronological order, except for flashbacks.
Frequency: each event is shown only once (except for flashbacks).
Duration: usually, screen time < story time. - 7montage sequencea segment of film that summarizes a topic or compresses a passage of time into brief symbolic or typical images
frequently dissolves, fades, superimpositions, and wipes are used to link the images in a montage sequence - 8analytical editingrefers to the practice of beginning a scene by establishing the space (wide shot)
then analytical editing suggests breaking down the scene into progressively tighter/closer shots
example: wide shot, medium long shot, close up
before you end a scene you have to complete the scene with an establishing shot
modern day films will not usually follow with an establishing before cutting away, though the beginning establishing shot is still common to give the audience a sense of space - 9contiguous spacecharacter movement: match screen direction
think eyeline matches, must match screen direction
axis of action/breaking the line of action
not in front of the characters or behind them, but rather goes through both characters to link them
can tell a POV shot by direct mode of address > one character looking directly into the camera as if looking at the other character in the conversation > not often used because it can break the illusion of fiction
Methods are required to ensure that separate shots are perceived as spatially contiguous - 10eyeline matchingCharacter looks offscreen: this motivates an eyeline match
- 11non-contiguous spacessimultaneous > crosscutting
in great train robbery > cut between the train and the robbers back to the train station and the man being freed by the young girl > one of the first examples of crosscutting
non-simultaneous > parallel editing
show young couple’s wedding, then have sequence between cuts back and forth of that wedding and the parent’s wedding > going back and forth in time between these two events shows parallel editing b/c doesn’t happen simultaneously - 12180 degree rule180 degree rule
can show the characters from a variety of angles but only from one side of the axis line
if you cross the line, it breaks the continuity and creates confusion in the audience > if characters apparently keep switching positions on the screen it can be jarring and distract from the action
or axis of action: the camera cannot cross the axis, since characters would appear to have changed positions, which can be spatially confusing. - 13name the five types of camera movementpan, tilt, crane, track, zoom
- 14establishing shotThe earliest device to create clear narrative space.
- 1530 degree rulea subset of the 180-degree rule, it requires that every camera position be varied by at least 30-degrees from the previous one.
- 16what practices operate together and why?These practices (point-of-view editing, eyeline matches, shot/reverse-shots and 180-degree rule) operate together as a system to guarantee the dominance of psychological motivation in creating narrative space.
- 17jump cut (Art Cinema Style)deliberately disorienting
looks as though a single take has been broken up, may look like a mistake
impression is only created because it is different from the Hollywood style
can be jarring because you don’t know if there has also been a temporal change as well
a violation of the 30 degree rule > when you cut from one angle to the next, you have to vary the angle by at least 30 degrees, otherwise it might be misperceived
the jump cut is an elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant. The jump cut can also be defined as a violation of the 30-degree rule - 18soviet Montagetypage > an actor’s appearance or behaviour that is meant to characterize his or her’s character group or class
trying to create a better world by changing it, film offered an opportunity to do that - 19Sergei Conflict in Editingshots are not so much building blocks, but rather, thought of them as neutral, separate elements where the meaning from them arose from their collision or the conflict from them
meaning comes from juxtaposing them and a third meaning results from it > the third does not exist in the film, only our mind
also looked at onscreen vs. offscreen space
idea of conflict is not just between shots but within them as well (movements, graphics, planes, directions, lighting, lines, foreground/background etc.) - 20five kinds of conflict editinggraphic conflict
conflict of planes
conflict in directions
lighting
event and duration
audio-visual counterpoint, etc... - 21Sergei five kinds of montage editingMetric: editing according to the length of shots (following a musical beat, for instance).
Rhythmic: editing according to the content of shots, such as sweeping movements or characters marching: movement within the frame.
Tonal: editing based on the dominant emotional tone of shots, including elements such as lighting.
Overtonal: editing based on non-dominant residual tones.
Intellectual: editing according to the intellectual content of the images, to create visual metaphors, and communicate ideas rather than feelings. - 22where does idea of conflict originate?The idea of conflict originates in Marxist thought: all history is viewed as a class struggle between capitalists and workers.
- 23temporal discontinuityTemporal discontinuity: the flashforward is an alteration of story order in which the plot presentation moves forward to future events, then returns to the present.
Historical alternative to Hollywood continuity: Soviet montage. Lev Kuleshov's famous experiment results in what is known as the Kuleshov effect: in the absence of an establishing shot, the spectator will infer that any series of shots are spatially contiguous, on the basis of seeing only portions of that space. - 24define mise-en-sceneall the elements places in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behaviour
literally everything you see in the frame > even improv scenes etc. > because if it gets included in the final cut then it is intentional
common understanding of realism as “true to life” distinctions - 25aspects of realism in filmform vs. content
generic plausibility
historical and cultural differences
evaluative usage - 26form vs. contentform > has to do with the surface appearance of things (sets, costumes etc.)
content > relating to people, values, etc. - 27general plausibilitydifferent genres develop their own conventions, what you expect to happen in that genre (degree of familiarity as to how things will unfold)
comedies have certain things that action movies maybe don’t
there is always a reason
western vs. musical > if in a western a cowboy is humiliated that is serious, have a duel and one of them dies > imagine that same situation in a musical, do you expect the humiliated person to kill the other person who humiliated them?
plausible, convincing, expected
our expectations of genres define what is “realistic” in that specific genre
realism is a rhetorical effect > tell it in a way that is convincing, expected > trying to get them to believe the story - 28historical and cultural differenceswhat is realistic in 50s isn’t realistic today
similarly what is realistic in some countries are not in others
time and space > expectations within genres or within film in general will change over the decades
films made today that are considered realistic won’t necessarily be in years down the line
cultural differences > have different expectations - 29evaluative usagerealism = good as opposed to similar to reality
used in an evaluative sense
that film was good because it was so realistic or vice verse - 30designprocess where the look of the settings, props, lighting, and actors id determined
-shaping the overall design - 31compositionorganization, distribution, balance, general relationship between actors and objects within the space of each shot
- 32mise-en-scene in sapcemovement
colour contrast
compositional balance
depth cues - 33colour contrastCertain colours may be repeated or contrasted to carry symbolic and emotional meaning, and to foreshadow narrative events
- 34movementsupport the narrative as well as help
develop the thematic unity of a film
- movement refers to all other actions of the actor, including gestures - 35figuresany significant things that move on the screen
people. animals, objects - 36Arial perspectiveA cue for suggesting represented depth in the image by presenting objects in the distance less distinctly than those in the foreground.
- 37size diminutionA cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects.
- 38shallow spaceStaging the action in relatively few planes of depth; the opposite of deep space.
- 39deep spacestaging the action in many planes of depth
- 40Adrian Bazin film techniquesLong shot: filmmaker doesn't tell you what to look at.
Long take: filmmaker doesn't manipulate meaning through editing.
Deep focus: viewer free to choose which plane to focus on.
Camera movement: kinetic engagement in the fictional world similar to reality.
Natural lighting: shows us people and objects as they are in reality, no phony glamour shots and soft focus.
Short (wide) lens: preserves depth of field and does not flatten perspective. - 41adrian bazin(1918-1958): French film theorist, promoter of realism in film.
Bazin defined realism in film by the use of certain film techniques - 42bazin's concepts of aesthetic traditions in film historysee table on UR Courses
- 43attached shadowsshadows cast by an object onto itself (shadow of nose on face, for ex.)
- 44cast shadowsshadows cast by an object onto a separate object (venetian blinds on the wall, for ex.)
- 45lighting propertiesquality, direction, source, colour
- 46qualityhard or soft
main source of light comes from one direction, only one source of light
hard lighting has very distinct shadows > light source is typically not diffused
soft lighting has soft, less abrupt shadows > typically done through diffusion of the light source - 47directionfrontal lighting > like flash photography, lit from the front of the camera, no shadows, creates washed out look, no sense of depth (3 dimension)
side lighting > standard, natural settings, only lighting on half of face
backlighting > creates silhouette, sense of mystery/suspense
underlighting > halloween lighting, used in horror movies. distorts features
top lighting > used to highlight certain features, hard to read character’s expressions - 48sourcemotivated lighting (diegetic) or unmotivated studio lighting.
-also called available or studio lighting
often motivated by the settings, trying to make it look realistic
changes without motivation, no need other than style typically - 49colourdifferences between colour tones of varies light sources (candles are orange/yellow, while fluorescent lights are blue/green)
- 50three point lightingKey light: main source of light, such as the sun;
Fill light: fills in shadows created by key light;
Backlight: separates figure from background. - 51low key lightinghigh contrast between light and dark areas. Used for horror stories, mysteries... (a.k.a. chiaroscuro in art history).
-just key light - 52high key lightinglow contrast between light and dark areas. Used for musicals, comedies...
-key and fill lights - 53actingvary according to
film genre
type of character
character types, think typecasting, specific functions to perform in the film, tend to be more one dimensional (mafia hoodlum, mad scientist)
individualized acting > protagonists, main characters, those with more screen time > gives those actors more of opportunity to show range of emotions and therefore the acting is individualized, more three dimensional
acting style and performance also shaped by the editing, framing, soundtrack, etc. - 54german expressionismpainted sets, excessive acting, graphic design, thematic content
1920-1927 - 55painted setsThe use of painted sets showing distorted landscapes and objects meant to exteriorize the characters' feelings of anguish and despair.
- 56excessive actingExcessive acting, abrupt and unnatural movements and facial expressions.
- 57graphic designEmphasis on graphic design, on two-dimensionality of image rather than illusionism or realism of perspective and three-dimensionality.
- 58thematic contentThematic content: preoccupation with subjectivity, fantasy, legend, supernaturalism, but also morbidity and pessimism about Human nature.
- 59potemkin-sergei eisenstein
1925 - 60bicycle theifvittorio de sica
1948
Informationen
- Beschreibung
- Karteikarten am Film Midterm #2, erstellt von Rigel Smith am 16/11/2016.
- Erstellt von
- Rigel Smith
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