TFM 160 Final (Voytilla) Exam Questions and Answers
2023 Solved
Implicit Meaning
lies beneath the surface of a movie's story & presentation
Explicit Meaning
available on the surface of the movie
Form
means by which the subject is expressed and experienced (how it is presented). Form
sets up audience expectation. Form supplies the methods & techniques necessary to
present it to the audience.
Content
The subject of an artwork (what it is about). Content provides something to express.
Formal Analysis
dissects the complex synthesis of cinematography, sound, composition, design,
movement, performance, & editing by the creative artists involved with making the
movie; every element in every frame is there for a reason. Formal analysis is different
because it inspects the technical aspects of the movie rather than the "meaning" of the
film.
Cinematic Invisibility?
Cultural invisibility?
Cinematic Invisibility: The TECHNIQUES and STRATEGIES employed by the
filmmakers that are HIDDEN from the audience due to the passive experience and fast
moving pictures of the film medium.
Cultural Invisibility: also the CULTURAL MORES and PREJUDICES can go unnoticed
under the surface of a movie. These are employed by the filmmaker to reinforce the
casual viewer's subconscious beliefs or worldviews.
Theme
Central idea/message.
a shared, public idea.
Realism
an interest in or concern for the actual or real, a tendency to view or represent things as
they really are (Lumie res)
Anti-realism
an interest in or concern for the abstract, speculative, or fantastic (Melies).
Cinematic Language:
The accepted systems, methods, or conventions by which the movies communicate
with the viewer
Versimilitude (IDK)
a convincing appearance of truth. Convince the viewer the things they are seeing are
really there. Expectations of reality change over time and across cultures.
What are the three fundamental principles of film form?
,-movies depend on light
-movies provide an illusion of movement
-movies manipulate space and time in unique ways
How do movies manipulate space?
How do movies manipulate time?
How do movies manipulate space?
-Movies manipulate space because they can move seamlessly from one space to
another (example: from Milan to the Moon!), or make space move (as when the camera
turns around or away for its subject, changing the physical, psychological, or emotional
relationship between the viewer and the subject).
-Also by giving the viewer multiple perspectives all the time. This includes being able to
see this aerially or follow a conversation from the perspective of many people.
How do movies manipulate time?
-Movies manipulate time by only showing that parts they wish you to see. They can
flash-forward, flash-back, freeze frame, interrupt to enter a thought, or even show
events out of order, contrary to the way that humans experience real life.
-Movies manipulate time passing with SLOW MOTION or extreme compression of vast
swaths of time. The Cinema also condensed time within scenes. Crosscutting is crucial
to show events occurring at the same time. Time may also be frozen temporarily: this is
known as the FREEZE-FRAME.
genre
categorization of narrative films by the stories they tell and the ways they tell them.
3 categories/types of movies
1) Narrative-
fiction, purpose is to entertain, cinematic structure and can be realistic or unrealistic
2) Documentary-
nonfiction, purpose is to inform
3) Experimental-
defy categorization and convention, avant-garde, pushing the boundaries of traditional
movies, innovative, they do not tell a story.
How does animation differ from the other three basic types of movies?
>Conventional photography is different. Different mechanisms to create the multitude of
still images that motion pictures require.
>Process is the only difference between animation and filmmaking that relies on
conventional photography.
3 main types of animation
Traditional (hand drawn) Animation
Stop-Motion Animation
Computer Generated Imagery (CGI)
Omniscent Narration
providing a third person view of all aspects. it knows all and can tell us whatever it
wants us to know. Has unrestricted access to all aspects of the narrative. It can provide
any character's experiences and perceptions, as well as information that no other
character knows.
Restricted Narration
, limits the information provided to the audience to knowing what the character knows as
they finds out.
Voice-over narration
When we hear the character's voice over the picture without actually seeing the
character speak the words
It is considered diegetic if the voice over narration is the character speaking, who
appears on screen and it is their thoughts being said that no one else hears
It is non-diegetic if that same character is talking directly to the audience
-breaks the "fourth wall" that traditionally separates the viewer from the two-dimensional
fiction on-screen. It goes beyond the first-person narrative and voice-over narration.
This is when the first-person narrator character interrupts the narrative.
Direct Address Narration
interrupting the narrative to speak directly to the audience
Ex) The Office
Protagonist
-the primary character who pursues the goal
Antagonist
Person, people, creature or force responsible for obstructing our protagonist
anti-hero
unsympathetic protagonist chasing less than noble cause
inciting incident (catalyst)
it is the event that begins a story's problem that sets the rest of the narrative in motion.
rising action
the narrative build up where the conflict intensifies and the goal remains out of reach
crisis
story has reached a turning point and it is working it's way toward resolution
A critical turning point in a story when the protagonist must engage a seemingly
insurmountable obstacle.
climax
when the protagonist face a major obstacle (highest point of conflict)
resolution
Goal is either gained or lost and moves toward conclusion
story
All of the explicit and implicit narrative events in the story and the diegesis or total world
in which the story occurs
plot
The specific actions and events and the order in which the events are arranged to
convey the narrative to the viewer, including the non-diegetic elements - fundamental
decision filmmakers make about HOW to relay story information.
diegesis
every part of the story: characters, objects, settings and sounds from the world of the
story.
diegetic element
2023 Solved
Implicit Meaning
lies beneath the surface of a movie's story & presentation
Explicit Meaning
available on the surface of the movie
Form
means by which the subject is expressed and experienced (how it is presented). Form
sets up audience expectation. Form supplies the methods & techniques necessary to
present it to the audience.
Content
The subject of an artwork (what it is about). Content provides something to express.
Formal Analysis
dissects the complex synthesis of cinematography, sound, composition, design,
movement, performance, & editing by the creative artists involved with making the
movie; every element in every frame is there for a reason. Formal analysis is different
because it inspects the technical aspects of the movie rather than the "meaning" of the
film.
Cinematic Invisibility?
Cultural invisibility?
Cinematic Invisibility: The TECHNIQUES and STRATEGIES employed by the
filmmakers that are HIDDEN from the audience due to the passive experience and fast
moving pictures of the film medium.
Cultural Invisibility: also the CULTURAL MORES and PREJUDICES can go unnoticed
under the surface of a movie. These are employed by the filmmaker to reinforce the
casual viewer's subconscious beliefs or worldviews.
Theme
Central idea/message.
a shared, public idea.
Realism
an interest in or concern for the actual or real, a tendency to view or represent things as
they really are (Lumie res)
Anti-realism
an interest in or concern for the abstract, speculative, or fantastic (Melies).
Cinematic Language:
The accepted systems, methods, or conventions by which the movies communicate
with the viewer
Versimilitude (IDK)
a convincing appearance of truth. Convince the viewer the things they are seeing are
really there. Expectations of reality change over time and across cultures.
What are the three fundamental principles of film form?
,-movies depend on light
-movies provide an illusion of movement
-movies manipulate space and time in unique ways
How do movies manipulate space?
How do movies manipulate time?
How do movies manipulate space?
-Movies manipulate space because they can move seamlessly from one space to
another (example: from Milan to the Moon!), or make space move (as when the camera
turns around or away for its subject, changing the physical, psychological, or emotional
relationship between the viewer and the subject).
-Also by giving the viewer multiple perspectives all the time. This includes being able to
see this aerially or follow a conversation from the perspective of many people.
How do movies manipulate time?
-Movies manipulate time by only showing that parts they wish you to see. They can
flash-forward, flash-back, freeze frame, interrupt to enter a thought, or even show
events out of order, contrary to the way that humans experience real life.
-Movies manipulate time passing with SLOW MOTION or extreme compression of vast
swaths of time. The Cinema also condensed time within scenes. Crosscutting is crucial
to show events occurring at the same time. Time may also be frozen temporarily: this is
known as the FREEZE-FRAME.
genre
categorization of narrative films by the stories they tell and the ways they tell them.
3 categories/types of movies
1) Narrative-
fiction, purpose is to entertain, cinematic structure and can be realistic or unrealistic
2) Documentary-
nonfiction, purpose is to inform
3) Experimental-
defy categorization and convention, avant-garde, pushing the boundaries of traditional
movies, innovative, they do not tell a story.
How does animation differ from the other three basic types of movies?
>Conventional photography is different. Different mechanisms to create the multitude of
still images that motion pictures require.
>Process is the only difference between animation and filmmaking that relies on
conventional photography.
3 main types of animation
Traditional (hand drawn) Animation
Stop-Motion Animation
Computer Generated Imagery (CGI)
Omniscent Narration
providing a third person view of all aspects. it knows all and can tell us whatever it
wants us to know. Has unrestricted access to all aspects of the narrative. It can provide
any character's experiences and perceptions, as well as information that no other
character knows.
Restricted Narration
, limits the information provided to the audience to knowing what the character knows as
they finds out.
Voice-over narration
When we hear the character's voice over the picture without actually seeing the
character speak the words
It is considered diegetic if the voice over narration is the character speaking, who
appears on screen and it is their thoughts being said that no one else hears
It is non-diegetic if that same character is talking directly to the audience
-breaks the "fourth wall" that traditionally separates the viewer from the two-dimensional
fiction on-screen. It goes beyond the first-person narrative and voice-over narration.
This is when the first-person narrator character interrupts the narrative.
Direct Address Narration
interrupting the narrative to speak directly to the audience
Ex) The Office
Protagonist
-the primary character who pursues the goal
Antagonist
Person, people, creature or force responsible for obstructing our protagonist
anti-hero
unsympathetic protagonist chasing less than noble cause
inciting incident (catalyst)
it is the event that begins a story's problem that sets the rest of the narrative in motion.
rising action
the narrative build up where the conflict intensifies and the goal remains out of reach
crisis
story has reached a turning point and it is working it's way toward resolution
A critical turning point in a story when the protagonist must engage a seemingly
insurmountable obstacle.
climax
when the protagonist face a major obstacle (highest point of conflict)
resolution
Goal is either gained or lost and moves toward conclusion
story
All of the explicit and implicit narrative events in the story and the diegesis or total world
in which the story occurs
plot
The specific actions and events and the order in which the events are arranged to
convey the narrative to the viewer, including the non-diegetic elements - fundamental
decision filmmakers make about HOW to relay story information.
diegesis
every part of the story: characters, objects, settings and sounds from the world of the
story.
diegetic element
