SDSU TFM-160 FINAL REVIEW TEST QUESTIONS WITH 100% CORRECT ANSWERS

implicit meaning meaning expressed by a film that reflects beliefs on the part of filmmakers, characters, or the time and place of the movie's setting. explicit meaning everything that a movie presents on its surface. Brainpower Read More Previous Play Next Rewind 10 seconds Move forward 10 seconds Unmute 0:03 / 0:15 Full screen form the means by which a subject is expressed. The form for poetry is words; for drama, it is speech and action; for movies, it is sound and picture content the subject of an artwork formal analysis film analysis that examines how a scene or sequence uses formal elements-narrative, wise-en-scene, cinematography, editing, sound, and so on - to convey the story, mood, and meaning theme a shared, public idea, such as a metaphor, an adage, a myth, a familiar conflict, or personality type realism an interest in or concern for the actual or real; a tendency to view or represent things as they really are antirealism a treatment that is against or the opposite of realism. However, realism and antirealism (like realism and fantasy) are not strict polarities cinematic language the accepted systems, methods, or conventions by which the movies communicate with the viewer 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 genre the categorization of narrative films by form, content, or both. Examples of genres are musical, comedy, biography, Western what are the three categories of movies explored in the reading and their general characteristics? -Narrative: Fiction, purpose is to entertain, cinematic structure and can be realistic or unrealistic -Documentary: nonfiction, purpose is to inform -Experimental: defy categorization and convention, avant-garde, pushing the boundaries of traditional movies, innovative, they do not tell a story what are the three basic types of animation? -Traditional (hand drawn) animation -stop-motion animation -computer generated imagery omniscient narration the narrator knows all and can tell us whatever it wants us to know. Omniscient narration has unrestricted access to all aspects of the narrative. restricted narration Limits the information it provides the audience to things known only to a single character. Encourages the audience to identify with the character's singular perspective on perplexing and frightening events - and invites us to participate in the gradual unlocking of the narrative's secrets. protagonist The primary character whose pursuit of the goal provides the structural foundation of a movie's story. antagonist The character, creature, or force that obstructs or resists the protagonist's pursuit of her or his goal. anti-hero an outwardly unsympathetic protagonist pursuing a morally objectionable or otherwise undesirable goal. inciting incident (catalyst) the narrative event that presents the protagonist with a goal that sets the rest of the narrative in motion. rising action the development of the action of the narrative toward a climax crisis a critical turning point in a story when the protagonist must engage a seemingly insurmountable obstacle climax the highest point of conflict in a conventional narrative; the protagonist's ultimate attempt to attain the goal. resolution the concluding narrative events that follow the climax and celebrate, or otherwise reflect upon, story outcomes. story in a movie, all the events we see or hear on the screen, as well s all the events that are implicit or infer to have happened but are not explicit presented. plot the specific actions and events that filmmakers select, and the order in which they arrange those events and actions to effectively convey on-screen the movie's narrative to a viewer. what is meant by the diegesis of a story? What is the difference between diegetic and nondiegetic elements in the plot? -Diegesis: every part of the story (characters, objects, settings and sounds from the word of the story) -Diegetic element: what we see and read on the screen that comes from INSIDE the world of the story (voices of the characters, sounds made by the objects in the story, music being played by a character) -Non-diegetic Element: what we see and hear on the screen that comes OUTSIDE of the world of the story (old music, narrator commentary, sounds made during post production) what is the difference between story and plot? story is everything involved inside and outside the movie, plot is the events that take place within the movie. which of the following is the most common relationship of screen duration to plot duration: summary relationship, real time, or stretch relationship? define each one. -Summary relationship: a time relationship in which screen duration is shorter than plot duration (me and earl and the dying girl) -Stretch relationship: a time relationship in which screen duration is longer than plot duration -Real time relationship: screen duration = plot duration what is the difference between surprise and suspense? -surprise: being taken unaware (audience and characters unaware) -suspense: more drawn out experience of anxiety brought on by partial uncertainty what are the two types of suspense, as explored in class? space and time Mise-en-Scene Also known as staging. The overall look and feel of a movie - the sum of everything the audience sees, hears, and experiences while viewing it. composition the organization, distribution, balance, and general relationship of stationary objects and figures - as well as of light, shade, line, and color - within the frame framing the process by which the cinematographer determines what will appear within the borders of the moving image (the frame) during a shot. kinesis the aspect of composition that takes into account everything that moves on the screen rule of thirds a principle of composition that enables filmmakers to maximize the potential of the image, balance its elements, and create the illusion of depth. A grid pattern, when superimposed on the image, divides the image into horizontal thirds representing the foreground, middle ground, and background planes, and into vertical thirds that break up those planes into additional elements. blocking the actual physical relationships among figures and settings. Also, the process during rehearsal of establishing those relationships deep space composition an approach to composition within the frame that places figures in all three planes (background, middle ground, and foreground) of the frame, thus creating an illusion of depth. Deep space composition is often, though not always, shot with deep-focus cinematography. on-screen space vs. off-screen space -On-screen space: cinematic space that exists inside the frame -Off-screen space: cinematic space that exists outside the frame what are the two major visual components of mine-en-scene? -design: the process by which the look of the settings, props, lighting and actors are determined. Set design, decor, prop selection, lighting setup, costumes, makeup and hair. (focus of the 3D space). -Composition: the organization, distribution balance and general relationship of actors and objects within the space of each shot. (composition of the 2D Frame "mise-en-shot") what is composition? what are the two major elements of composition? - Part of the visualizing, planning and designing process of a movie -framing: what we see on screen -kinesis: what moves on the screen what are the two basic types of movement we see on-screen? - the movement of objects and characters within the frame - the apparent movement of the frame itself three-point lighting perhaps the best known lighting convention in feature filmmaking, a system that employs three sources of light - key light, fill light, and backlight - each aimed from a different direction and position in relation to the subject. key light also known as main light or source light The brightest light falling on a subject. fill light lighting, positioned at the opposite side of the camera from the key light, that can fill in the shadows created by the brighter key light. Fill light may also come from a reflector board. backlight lighting, usually positioned behind and in line with the subject and the camera, used to create highlights on the subject as a means of separating it from the background and increasing its appearance of the three-demensionality lighting ratio the relationship and balance between illumination and shadow - the balance between key light and fill light. If the ratio is high, shadows are deep, and the result is called low-key lighting. If the ratio is low, shadows are faint or nonexistent and illumination is even, and the result is call high-key lighting. low-key lighting lighting that creates strong contrasts; sharp dark shadows, and an overall gloom atmosphere. Its contrasts between light and dark often imply ethical judgements high-key lighting lighting that produces an image with very little contrast between darks and lights. Its even, flat illumination expresses virtually no opinion about the subject being photographed. halloween lighting lighting from underneath a character creates eerie, ominous shadows on the actor's face by reversing the normal placement of illumination and shadow. deep-focus cinematography the process of rendering the figures on all planes (background, middle ground, and fore ground) of a deep-space composition in focus. shooting angle the level and height of the camera in relation to the subject being photographed. The five basic camera angles produce aerial-view shots, Dutch-angle shots, eye-level shots, high-angle shots, and low-angle shots. eye-level shot a shot that is made from the observer's eye level and usually implies that the observer's attitude is neutral toward the subject being photographed. high-angle shot also known as high shot or down shot. A shot that is made with the camera above the action, and typically implies the observer's sense of superiority to the subject being photographed. low-angle shot also known as low shot. A shot that is made with the camera below the action, and typically places the observer in a position of inferiority. dutch-angle shot also known as dutch shot or oblique-angle shot. A shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance long take also known as sequence shot. A shot that can last anywhere from 1 to 10 minutes. Between 1930 and 1960, the average length of a shot was 8 to 11 seconds; today, it's 6 to 7 seconds, signifying that directors are telling their stories with a tighter space. what are the differences among a "setup", a "shot", and a "take"? -set up: one camera position and everything associated with it -shot: one uninterrupted run of the camera -take: the number of times a particular shot is taken who is the director of photography? what are their general duties? -Cinematographer. Specifically refers to the art and technique of film photography, the capture of images, and lighting effects, or to the person expert in and responsible for capturing or recording-photographing images for a film, through the selection of visual recording derives, camera angles, film stock, lenses, framing, ad arrangement of lighting; -The chief cinematographer is responsible for a movie what are the names of the most commonly used shots in a movie? Be able to describe them based on proximity. --Close-up: Subject, usually face or body part, is completely vulnerable, facial expressions are extremely significant. Background plays no direct role. --Extreme Close-up: Single object or body part (e.g. lighter, lips). Emphasizes detail; used to show importance or value of an object, makes the audience wonder about its significance. --Medium Shot: Subjects from the waist up. Background much less significant, emotions and subject details much more noticeable. --Medium Long shot (American Shot): Subjects filmed from the knees up. --Full Shot: Reduced background often shows human subject(s) from head to toe. More Detail about subjects is more explicit. Often used for fights, embraces or physical comedy --Long shot: shows whom, what and where. Often an establishing shot. Subjects are generally recognizable, but not dominating. --Extreme Long shot: Background information is pertinent, specific subjects are not the focus. Often used to establish location