SDSU TFM 160 TEST QUESTIONS WITH VERIFIED SOLUTIONS.

Implicit Meaning below the surface of a movie's story and presentation, is closest to our everyday sense of the word meaning Explicit Meaning association, connection, or inference that a viewer makes on the basis of the explicit meanings available on the surface of the movie. Brainpower Read More Previous Play Next Rewind 10 seconds Move forward 10 seconds Unmute 0:01 / 0:15 Full screen 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 craftspeople who implement their vision. Alternate Approaches to Analysis expose implicit and hidden meanings that inform our understanding of cinema's function within popular culture as well as the influence of popular culture on movies. (uses interpretation, focuses on content) 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 Transitions from one shot to the next allow a movie to move the viewer through time and space 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 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 movies story. Motif a recurring visual, sound, or narrative element that imparts meaning or significance Theme a shared, public idea, such as a metaphor, and adage, a myth, a familiar conflict, or personal type. Realism is an interest in or concern for the actual or real, a tendency to view or represent things as they really are. Antirealism an interest in or concern for the abstract, speculative, or fantastic. Verisimilitude an illusion of 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 image for a fraction 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 part of the reason we see movies as continuously moving images rather than as a successive series of still images Critical Flicker Fusion A phenomenon that occurs 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. Parallel Editing Also called crosscutting and intercutting, although the three terms have slightly different meanings. The intercutting of two or more lines of action that occur simultaneously; a very familiar convention in chase or res- cue 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, miseenscène, cinematography, performance, editing, and sound—in other words, the content of most of this textbook. Genre The categorization of narrative Films by form, content, or both Factual Film A documentary Film that usually presents people, places, or processes in a straightforward way meant to entertain and instruct without unduly influencing audiences Instructional 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. Propaganda 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 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 pictures 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, and the size and shape of the image frame 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-Stock 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 cinematographer can further control that image by the choice of lens and film stock, use of filters, and the aperture that regulates the amount of light passing through the lens