Flashcards
Film Final Prep
Cards in this deck (54)
- 1three elements of soundMusic
Dialogue
Sound Effects - 2overlapping dialogue vs. dialogue overlap-overlapping dialogue is talking simultaneously, over each other
-dialogue overlap is dialogue on soundtrack overlaps the cut between two thoughts (look up better def)
dialogue overlap is technique of continuity editing, encouraged to focus on dialogue and characters and what they are saying - 3Three real world sound propertiesThree real world sound properties:
Loudness (amplitude, volume)
Pitch (frequency, height)
Timbre (harmonic components, texture or "feel") - 4reverbratio between direct and reflected sound.
- 5four sound dimensions used in filmRhythm
Fidelity
Space
Time - 6rhythmpattern of beats
- 7fidelitydoesn’t refer to sound quality, but rather the perceived appropriateness of a sound to its source > appropriateness of sound and its matching image
- 8sound bridgesound bridge > sound used to link two separate scenes (woman screaming then train whistle)
two types of sound bridges
sound anticipates the image, hear the sound, then see the image
image anticipates the sound, see the image then hear the sound - 9spacerefers to sound’s perceived source > what produces it?
diegetic
objective/external (dialogue everyone can hear is objective, physically onscreen of offscreen)
subjective/internal (point of audition
thoughts that only one character can hear is subjective)
non-diegetic (the sound does not come from the story world) - 10timesynchronous or non-synchronous with the image
asynchronous sound > poor dubbing, doesn’t match the image
simultaneous or non-simultaneous in the story world
sound may anticipate an image or the image may anticipate the sound - 11film music: principles of compositionInvisibility
Inaudibility
Signifier of emotion
Narrative cueing
Continuity
Unity
(A given film score may violate any of the principles above, providing the violation is at the service of the other principles.) - 12InvisibilityInvisibility: the technical apparatus of nondiegetic music must not be visible (microphones, instruments...)
- 13InaudibilityInaudibility: Music is not meant to be heard consciously. As such it should subordinate itself to dialogue, to visuals - i.e. to the primary vehicles of the narrative.
- 14Signifier of emotionSignifier of emotion: Film music is meant to signify emotion in itself, in addition to evoking specific moods.
- 15Narrative cueingNarrative cueing: referential/narrative: music indicates POV, supplies formal demarcations, establishes setting and characters.
- 16ContinuityContinuity: music provides formal and rhythmic continuity between shots, in transitions between scenes, by filling in "gaps."
- 17UnityUnity: via repetition and variation of musical material and instrumentation, music aids in the construction of formal and narrative unity.
- 18content vs. formcontent > what a film says (themes, the moral of the tale)
form > how it says it (style, narrative structure) - 19Formal expectationssuspense, surprise and curiosity are examples of psychological states filmmakers elicit from spectators when they shape the formal organization of their films.
- 20Conventionsformal expectations in films arise partly from spectators' experience of the "real world", but mostly from their knowledge of film conventions: narrative conventions, stylistic conventions, generic conventions, etc...
- 21Emotionsformal expectations can elicit various emotional reactions from viewers, and it is useful to make a distinction between the emotions represented in films (often via fictional characters) and the emotions felt by spectators (who may or may not identify with the characters).
- 22Meaning in film arises from a triadic relationship between film, spectator and context:-film's meaning is not contained in the film itself, (it is either an object or material event)
-doesn't say anything without a spectator to interpret it.
-meaning of a film is the result of the spectator's psychological processes: a series of stimuli (a film being projected) trigger a number of mental activities which are partly physiological (the perception of movement), but mostly acquired culturally (narrative).
-The spatial and temporal contexts in which the film is screened also determines its meaning. The same film may mean different things to different people in different cultures, or even different things to the same person in different circumstances and at different times in his/her life. - 23Four different levels of meaningReferential meaning
Explicit meaning
Implicit meaning
Symptomatic meaning - 24referential meaning-this is a strictly descriptive plot summary
-concerns the aspects of a story that can correspond to things that we are familiar with in the real world
-in stagecoach >a stagecoach travelling from Arizona to New Mexico surviving an attack - 25explicit meaning-the stated message or moral of a film
-what the filmmaker is trying to say
-stagecoach > dr. Boon makes comment that Ringo and Dallas have been saved from the blessings of civilization, might be the filmmakers comment, using character to express that point - 26Implicit meaning-this is the realm of interpretation
-filmmaker is not upfront/not even aware of hidden meanings within the film
-stagecoach > critics have disagreed over depiction of native americans, whether realistic for the period or vilified to make the white, pioneer characters look more heroic - 27Symptomatic meaning-the values promoted in the film which reflect its ideology
-where the sociological reading of the film, take film as a symptom of period in which it was made
-what values does it promote of its time period?
-stagecoach > president roosevelt had accused big banks of causing the great depression dso john ford presents the banker in a negative light, echoing the president - 28judgements of tastejudgements of taste > subjective, relative
aesthetic judgements > objective, universal - 29aesthetic criteria-Realistic criterion
Moral criterion
Coherence
Intensity of effect
Complexity
Originality
cfilms that only show one criterion may not be as good/strong as films that show multiple of these criteria - 30realistic criterion-"people wouldn't do that in real life".
-difference between what is realistic in a given genre and what is realistic for real life - 31mral criterion-a film's moral stance regarding violence or any moral isssue can be singled out as the only criterion for evaluation.
-perceived moral stance is often singled out for evaluation
only willing to examine one particular point and ignore the rest essentially - 32coherence-does the film have an apparent sense of structure?
-balanced, have good form?
-does it not have any solid pattern? Disjointed? - 33intensity of effect-does the film contains striking or vivid images or scenes?
-images that stand-out for being beautiful, provocative? something that makes you notice them - 34complexity-does the film have many interacting narative and stylistic elements?
-all things being equal, sometimes a complex film can be considered a complex film in terms of overall form
sub genre > puzzle film/complex narratives (hard to follow they’re so complex, considered like a brain teaser) - 35Originality?-does the film contains images or scenes that are different, fresh, new?
-applies to arts in general
filmmaker made a film that is more than just formulaic, include a new twist, innovative
even name of “new wave” movement makes us think it has originality just by the title - 36Two different approaches to thinking and writing about film:Film criticism: evaluation (judging whether the film is good or bad)
Film theory: explanation (understanding how it works). - 37Four steps to analyzing film style:Determine the organizational structure of the film, its narrative or non-narrative formal system.
Identify the salient techniques used.
Trace out patterns of techniques within the whole film.
Propose functions for the salient techniques and the patterns they form. - 38non-narrative form of organizing filmscategorical
rhetorical
abstract
associational
These four strategies are formal principles (ways of presenting audio-visual material) they do not represent specific film genres. any documentary may use any or all of these types - 39categoricalform divides its subject into categories or themes, and these categories tend to be conventional or common sensical ones. Example: the travelogue, dividing its subject (Canada) into seasons.
-way of dividing the images into categories - 40rhetoricalan explicit argument is made about a topic. All the elements in the film are presented as evidence to support that argument. The goal is to persuade the viewer. Examples: a nature documentary by National Geographic, a political propaganda film, or a television advertisement.
-Basic attributes of rhetorical form: direct mode of address; topic is a matter of opinion; topic is a matter of taste; the pragmatic effect of the argument; rhetorician is a reliable or trustworthy figure. - 41abstractform concerns sounds and images that are combined for their graphic and acoustic qualities, from a strictly aesthetic point of view. Example: avant-garde or experimental films
- 42associationala juxtaposition of images and sounds for the purpose of making an implicit observation about a given subject, by creating connections that the viewer may notice and compare. Examples: the poetic documentary and/or the film essay.
-connects images on a thematic level as opposed to making visual graphic connections between things that look similar - 43Avante-garde two important pointsdefamiliarization
make us think about how we perceive (see, hear) the world around us
-reflexivity
make us appreciate the reality of the material nature of a film as a medium > celluloid, film frames, projected light on a screen etc.
-howing that our perception of reality is mediated. - 44surrealismSurrealism was a splinter group that emerged from the Dada movement. The surrealists were interested in insanity, sleep, the world of children, different states of mind.
- 45dialogue overlapIn editing a scene, arranging the cut so that a bit of dialogue coming from shot A is heard under a shot that shows another character or another element in the scene.
- 46sound overAny sound that is not represented as coming from the space and time of the images on the screen. This includes both nonsimultaneous diegetic sound and nondiegetic sounds.
- 47sound perspectiveThe sense of a sound's position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information.
- 48mixingMixing
Combining two or more sound tracks by recording them onto a single one. - 49genreVarious types of films that audiences and filmmakers recognize by their familiar narrative conventions. Common genres are musical, gangster, and Western films.
- 50mockumentaryfake documentary
- 51forgotten silverpeter jackson
1997 - 52un chien andalou1929
-luis bunuel and salvador dali - 53ballet mechanique-fernand leger
-1924 - 54breathlessjean-luc godard
-1959
Information
- Description
- Flashcards on Film Final Prep, created by Rigel Smith on 13/12/2016.
- Created by
- Rigel Smith
- Views
- 5
- Rating