TFM QUIZ 4 STUDY GUIDE SDSU TFM160 WITH 100% CORRECT ANSWERS.

mplicit Meaning Lies below the surface of a movie's story and presentation Explicit Meaning An association, connection, or inference that a viewer makes on the basis available on the surface of the movie Form Means by which a subject is expressed and experienced Content The subject of an artwork (what the work is about) Theme Unifying idea that the film expresses through its narrative and imagery Formal Analysis Analytical approach primarily concerned with film form Omniscient Narration third person narration with Unrestricted access to all aspects of the narrative Voice-over Narration We hear a character's voice over the picture without actually seeing the character speak the words Allows us to hear one narration- from the first-person character narrator- while simultaneously watching the narration provided by our narrator camera Protagonist Primary character who pursues the goal Sometimes referred to as the hero (or heroine), but this term can be misleading, since engaging narratives do not necessarily depend on worthy goals or brace and sympathetic characters Antagonist The person, people, creature, or force responsible for obstructing our protagonist Sometimes, the identity and nature of the antagonist are clear-cut Nature of the antagonist is much more variable Anti-Hero Seemingly unsympathetic protagonists chasing less than noble goals Diegesis The total world of the story- the events, characters, objects, settings, and sounds that form the world in which the story occurs Diegetic Element the elements that make up the diegesis Nondiegetic Element those things we see and hear on the screen that come from the outside the world of the story such as score music (music not originating from the world of the story), titles and credits (words superimposed on the images-on-screen), and voice-over comments from a third-person voice-over narrator Inciting Incident (Catalyst) Presents the character with the goal that will drive the rest of the narrative Rising Action Narrative typically builds toward a peak, a breaking point of sorts, as the conflict intensifies and the goal remains out of reach The tension it provokes enhances our engagement with the ongoing narrative Crisis Our protagonist must face a seemingly insurmountable obstacle, and our story must reach a turning point and work its way toward resolution and the third and final act The goal is in its greatest jeopardy, and an affirmative answer to the central questions seems all but impossible Climax Protagonist faces this major obstacle In the process, the protagonist must take a great risk, make a significant sacrifice, or overcome a personal flaw Resolution Once the goal is either gained or lost Narrative wraps up loose ends and moves toward a conclusion Surprise Being taken unawares, can be shocking, and our emotional response to it is generally short-lived Suspense More drawn out (and, some would say, more enjoyable) experience, one that we may seek out even when we know what happens in a movie What is the difference between surprise and suspense? A __________ is being taken unaware, can be shocking, and our emotional response to it is generally short-lived. A __________ is more drawn out experience, one that we may seek out even when we know what happens in a movie. What are the two types of suspense, as explored in class? Time- the bomb is about to go off Space- the killer is in the house Mise-en-Scène "Staging or putting on an action or scene" Everything you see on the screen was put there for a reason: to help tell the story Overall look and feel of a movie- the sum of everything the audience sees, hears, and experiences while viewing it Subtly influences our mood as we watch Kinesis What moves on the screen Composition Organization, distribution, balance, and general relationship of actors and objects within the space of each shot Framing What we see on the screen Blocking The director and his team must plan the positions and movements of the actors and the cameras for each scene and, in rehearsals, familiarize the cast and camera operators with their plan In the early stages of __________, the director often places pieces of tape on the floor to indicate the position of the camera and the actors; once crew and cast are familiar with their positions, the tape is removed Rule of Thirds Takes the form of a grid pattern that, when superimposed on the image, divides it into horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds that break up those planes into further elements This grid assists the designer and cinematographer in visualizing the overall potential of the height, width, and depth of any cinematic space Deep Space Composition A total visual composition that places significant information or subjects on all three planes of the frame and thus creates an illusion of depth Low-key Lighting When no little or no fill light is used, the ratio between bright illumination and deep shadow is very high Its contrast between light and dark often imply ethical judgements High-key Lighting Produces an image with very little contrast between the darks and the lights Its even, flat illumination does not call particular attention to the subject being photographed Deep-focus cinematography Using the short-focal-length lens, keeps all three planes in sharp focus Long Take Gives directors and actors the opportunity to create senses of unusual length as well s a broader and deeper field of composition Encourages ensemble acting that calls attention to acting, not editing between shots set up one camera position and everything associated with it shot One uninterrupted run of the camera The recording on film, video, or other medium resulting from that run take number of times a particular shot is taken What are the names of the most commonly used shots used in a movie? Extreme long shot, Long shot, Medium long shot, Medium shot, Close-up, Medium close-up, Extreme close-up Extreme long shot typically photographed at a great distance, the subject is often a wide view of a location, which usually includes general background information long shot generally contains the full body of one or more characters (almost filling the frame, but also showing some of the surrounding area above, and to the sides of the frame) medium long shot neither a medium nor a long shot, but one in between. It is used to photograph one or more characters, usually from the knees up, as well as some of the background This indispensable shot permits the director to place two characters in conversation and to shoot them from a variety of angles medium shot usually shows a character from the waist up Most frequently used type of shot because it replicates our human experience of proximity without intimacy close-up the camera pays very close attention to the subject When focused on a face, the close-up can provide an exclusive view of the character's