SDSU TFM 160 SPRING 2018 EXAM #1 WITH 100% CORRECT ANSWERS

Implicit meaning Lies below the surface of the movie's story and presentation, is closest to our everyday sense of the word meaning. Explicit meaning Association, connection, or interference that a viewer makes on the basis of the explicit meanings available on the surface of the movie. Formal Analysis It dissects the complex synthesis of cinematography, sound, composition, design, movement, performance, and editing orchestrated by creative artists like screenwriters, directors, cinematographers, actors, editors, sound designers, and art directors as well as the many crafts people who implement their vision. Shot One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of the film stock in the camera. Cut A direct change from one shot to another as a result of cutting; that is, the precise point at which 'shot A' ends and 'shot B' begins. Editing The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema. Close-Up A shot that often shows a part of the body filling the frame traditionally a face, but possibly, a hand, eye, or mouth. Fade In/ Fade Out Transitional devices in which a shot fades in from a black field on a black-andwhite film or from a color field on a color film, or fades out to a black field ( or a color field). Low Angle shot Is made with the camera made below the action and that typically places the observer in a position of inferiority. Cutting on Action A Continuity editing technique that smooths the transition between shots portraying a single action from different camera angles. The editor ends the first shot in the middle of a continuing action and begins at the subsequent shot at approximately the same point in the same matching action. Protagonist The primary character whose pursuit of the goal provides the structural foundation of a movie's story. Motif A recurring visual, sound, or narrative's element that imparts meaning or significance. Theme A shard, public idea, such as metaphor, an adage, a myth, a familiar conflict, or personal type. Realism Concern for the actual or real, a tendency to view or represent things as they really are. Anti-Realism An interest in or concern for the actual or real, a tendency to view or represent things as they really are. Verisimilitude an illusion or reality or a believable alternative reality within the imaginative world of even the most fanciful movie. Persistence of vision The process by which the human brain retains an imager a fiction of a second longer than the eye records it. Phi Phenomenon The illusion of movement created by events that succeed each other rapidly, as when two adjacent lights flash on and off alternately and we seem to see a single light shifting back and forth. this cognitive phenomenon is a part of the reason we see movies as continuously moving images tater than as a successive series of still image. Critical Flicker Fusion A phenomenon that occurs when a single light flickers on and off with such speed that then individual pulses of light fuse together to give the illusion of continuous light. (24fps). Parallel editing Also called, "Crosscutting and Intercutting", although the three terms have slightly different meaning. The intercutting of two or more lines of action that occur simultaneously; a veery familiar convention in chase or rescue sequences. Cinematic Language In the world of movies, 'Form' is cinematic language the tools and techniques that filmmakers use to convey meaning and mood to the viewer, including lighting, misseenscène, cinematography, performance, editing, and sound-- in other words, the content of most this textbook. Genre The categorization of narrative Films by form, content, or both. Factual Film A documentary film that seeks to educate viewers about common interests, rather than persuading them with particular ideas. Persuasive Film A documentary film concerned with presenting a particular perspective on social issues; or with corporate and governmental injustice. Propoganda Film A documentary film that systematically disseminates deceptive or distorted information. Analog A medium of film in which the camera creates an image by recording through a camera lens the original light given off by the subject and stores this image on a roll of negative film stock. (Opposite of digital) Processing The second stage of creating motion pictures in which a laboratory technician washes exposed film (which contains a negative image) with processing chemicals. Processing is preceded by shooting and followed by projecting. Projecting The third stage of creating motion in which a device shoots through the film a beam of light intense enough to project a large image on the movie-theater screen. Preceded by shooting and processing. Format Also called ' Gauge'. The dimensions of a film stock and its perforations, the size and shape of the image as seen on the screen. Formats extend from Super 8mm through 70mm (and beyond into such specializations such as IMAX), but they are generally limited to three standard gauges: Super 8mm, 16mm, and 35mm. Film-Sotck Length The number of feet ( or meters) of film stock or the number of reels being used in a particular film. Film-Stock Speed the rate at which film must move through the camera to correctly capture an image; very fast film requires little light to capture and fix the image; very slow film requires a lot of light. Exposure Exposing the recording media( film or digital media) in a camera to light, to produce a latent image on it, the quality of which is determined primarily by the source and amount of light. the cinematogryapher can further control that image b the choice of lens and film stock, use of filters, and the aperture that regulates the amount of light passing through the lens. Resolution The concluding narrative events that follow the climax and celebrate or otherwise reflect upon story outcomes.