Flashcards
AHVS 295
Flashcards do conjunto (33)
- 1InvisibilityHidden techniques that manipulate a viewer's interpretation without calling attention to itself. (Real-time cuts) (Low Angles = Power) (Cuts in action = unnoticeable)
Continuity = A very Hollywood style - 2Cultural InvisibilityThe same commercial instinct that inspires filmmakers to use seamless continuity also compels
them to favour stories and themes that reinforce
viewers' shared belief systems. - 3Implicit VS Explicit MeaningAn implicit meaning, which lies below the surface of a movie’s story and presentation, is closest to our everyday sense of the word meaning. It is an association, connection, or inference that a viewer makes on the basis of the explicit meanings available on the surface of the movie.
- 4Viewer ExpectationsWe must also be aware of the role expectations play in how movies are made, marketed, and received. Our experience is shaped by what we have been told about that movie before by previews, commercials, reviews, interviews, and word of mouth. Expectations specific to a particular performer or filmmaker can also alter the way we perceive a movie.
- 5Formal AnalysisFormal analysis dissects cinematography, sound, composition, design, movement, performance, and editing orchestrated by creative artists. The movie meaning expressed ranges from narrative information like where and when a scene takes place to more subtle implied meaning, such as mood, tone, significance, or what a character is thinking or feeling
- 6Alternative Analysis StylesDifferent lenses will reach different meanings. The formal approach uses objective film techniques to analyze the narrative. These others analyze society.
Feminist Approach: Gender
Social / Economic Approach: Class
Social / Cultural Approach: Ideological - 7SequenceA series of
shots unified by theme or purpose - 8SceneComplete units of plot
action - 9ShotThe product of one uninterrupted run
of the camera - 10ContentThe subject of an
artwork (what the work is about) - 11FormThe means by which that subject is expressed and experienced; Form enables the artist to shape our particular experience and interpretation of that content.
- 12Cinematic LanguageThe tools and techniques that filmmakers use to convey meaning and mood to the viewer, including lighting, mise-en-scène, cinematography, performance, editing, and sound
- 13Parallel EditingThe intercutting of two or more lines of action that occur simultaneously, a very familiar convention in chase or rescue
sequences. One example of a pattern in films. (ABCACBCBAC) - 14Consecutive sequencesA pattern of editing that organizes several clips that evoke the same emotion or touch on the same theme in a row (AAAAA). This style allows a more dramatic impact when a clip breaks the pattern. (aaaaa B!!)
- 15Persistence of VisionThe process by which the human brain retains an image for a fraction of a second longer than the eye records it.
- 16Phi PhenomenonThe illusion of movement created by events that succeed each other
rapidly. (24 frames per second) - 17Critical Flicker FusionOccurs when a single light flickers on and off with such speed that the
individual pulses of light fuse together to give the illusion of continuous light - 18Manipulation of SpaceMovies can move seamlessly from one space to another or make space move (as when the camera turns around or away from its subject, changing the physical or emotional relationship between the viewer and the subject). Those techniques are manipulated to imply space (back of a bar) or connections (exterior establishing shot taken miles away from set of interior where story is told).
- 19Manipulation of TimeMovies can record real-time in its chronological passing as well as subjective versions of time passing—slow motion, for example, or extreme compression of vast swaths of time.
EX. A ten-minute sequence can show what happened within a whole day or what happened in five minutes. - 20RealismAn interest in or concern for the actual or real, a tendency to view or represent things as they really are
- 21AntirealismAn interest in or concern for
the abstract, speculative, or fantastic - 22VerisimilitudeThe movie’s vision seems internally consistent, giving you a sense that in the world on-screen, things
could be just like that - 23NarrationThe act of telling a story.
- 24NarratorWho or what tells a story.
- 25Primary Narrator"The camera"
Visuals are the primary narrator. What we see is what we interpret. - 26First-Person NarratorA character in the narrative who typically imparts information in the form of voice-over narration.
Sometimes contrasts the primary narrator. - 27Third-Person NarratorNarration expressed by a voice imposed from outside of the narrative. They know all and can thus provide objective context to any situation
- 28OmniscientKnows all. No restriction. Can provide anyone's perspective or even information no character knows.
- 29Restricted NarratorLimited to the perspective and knowledge of one character.
- 30Storyconsists of (1) all the
narrative events that are explicitly presented onscreen plus (2) all the events that are implicit or that we infer to have happened but are not explicitly presented - 31Plotconsists of the specific actions and
events that the filmmakers select and the order in which they arrange those events so as to effectively convey the narrative to the viewer. Includes non-diegetic elements. Is not necessarily chronological. - 32Plot Durationthe elapsed time of those
events within the story that the film explicitly presents - 33Designthe process by which the look of the settings, props, lighting, and actors is determined
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- FlashCards sobre AHVS 295, criado por Mariapaula AR em 26-11-2020.
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