CTVA 300
A hundred and eighty rule - ANS-suggests that all pictures in a scene should be taken from
the same facet of the imaginary line that links the topics in a multi-situation scene. The
purpose of this "rule" is to maintain a clean spatial relationship between these subjects.
According to this unit, what camera height is common in the movies of Ozu Yasujiro? What
is the
digicam attitude of those photographs? - ANS-Low height, regular angle
Actual song - ANS-while sure objects flow, they without a doubt leave a seen track or line in
the back of them
Anamorphic Lens - ANS-Anamorphic lenses take extremely huge fields of view and squeeze
their information onto the 1.33 movie stock.
Aspect ratio - ANS-pair of numbers indicating the size dating between the width and top of a
frame
At what points do horizontal lines dominate the linear design of The Outsiders? What is(are)
the
characteristic(s) of those horizontals? - ANS-PonyBoy and Johnny hiding out within the
deserted church
The occasional peaceful horizontals, like those within the scene in the nation-state, are also
associated inside the film with Ponyboy's moments of nostalgia or his recollections of
happier instances.
The horizontal and vertical traces work because of their inherent loss of strength. They sign
a extra peaceful world.
At what points do vertical traces dominate the linear layout of The Outsiders? What is(are)
the
feature(s) of those verticals? - ANS-In Darrell's Home
a STRUCTURING element within the movie. It indicates a exchange in the visible rhythm of
the film.
The lively, adventurous energy of the film's default diagonals is replaced with the aid of
greater static, more potent, greater authoritative verticals whenever Darrell is around.
Axis - ANS-many items have an invisible axis that runs thru them and that is perceived as a
line
simple shapes - ANS-circle, rectangular, triangle
a form can simplest be classified as fundamental if its unseen facets can be expected
correctly with the aid of examining the seen aspects
the primary form of an object can be revealed by reducing it to a silhouette
, camera height - ANS-The function of the camera above the ground & with regards to the
problem.
Canted digicam - ANS-leaning or tilting of the camera on its side, not absolutely degree
centered composition - ANS-when the issue of the photo coincides with the geometric center
of the body, prepared in a symmetrical way, can seem mechanical or contrived
close up - ANS-frames a face in order that it fills at the least three/four of the space from the
body's top to its bottom
Closure - ANS-primary points of interest in a image create imaginary lines the viewer
connects the dots, or number one points to provide lines
Composition - ANS-arrangement of gadgets, shapes, humans, something in the body
continuity shots - ANS-The two pictures are continuous since we see in shot B some thing
this is additionally a part of shot A
Contour - ANS-obvious line around the border of any 3 dimensional object
curved line - ANS-oblique, passive, pertaining to nature, childlike, romantic, gentle, natural,
secure, and flexible
decentered composition - ANS-pics built around a visible challenge or item now not
positioned at body's geometric middle
Describe Lev Kuleshov's modifying experiments. What do they propose about the character
of
filmmaking? - ANS-The point, of route, is that it isn't the overall performance that has
decided Kuleshov's target audience's emotional engagement in his movies, however the
juxtaposition of photos. The audience builds memories, emotions, feelings, from time to time
even ideas, from the materials (sounds and photos in a positive collection) that the
filmmakers offer them. These substances may be extra or much less explicit, more or much
less enigmatic re the target audience, however they're despite the fact that nonetheless most
effective raw materials.
Kuleshov used two photographs of a Russian actor with a shot of something else in among
and confirmed the films to his class and was praised on every occasion.
Describe the picks Dreyer made in casting The Passion of Joan of Arc. How do the ones
choices
fluctuate from those made via Bresson in casting his 1960 The Trial of Joan of Arc? Or
Rivette's
1993 Joan, the Maid? - ANS-the casting is idiosyncratic
casting selections, which emphasize the grotesque functions of the clerics, contrast with the
choice to forged a Joan (Maria Falconetti, underneath) whose capabilities are extra
A hundred and eighty rule - ANS-suggests that all pictures in a scene should be taken from
the same facet of the imaginary line that links the topics in a multi-situation scene. The
purpose of this "rule" is to maintain a clean spatial relationship between these subjects.
According to this unit, what camera height is common in the movies of Ozu Yasujiro? What
is the
digicam attitude of those photographs? - ANS-Low height, regular angle
Actual song - ANS-while sure objects flow, they without a doubt leave a seen track or line in
the back of them
Anamorphic Lens - ANS-Anamorphic lenses take extremely huge fields of view and squeeze
their information onto the 1.33 movie stock.
Aspect ratio - ANS-pair of numbers indicating the size dating between the width and top of a
frame
At what points do horizontal lines dominate the linear design of The Outsiders? What is(are)
the
characteristic(s) of those horizontals? - ANS-PonyBoy and Johnny hiding out within the
deserted church
The occasional peaceful horizontals, like those within the scene in the nation-state, are also
associated inside the film with Ponyboy's moments of nostalgia or his recollections of
happier instances.
The horizontal and vertical traces work because of their inherent loss of strength. They sign
a extra peaceful world.
At what points do vertical traces dominate the linear layout of The Outsiders? What is(are)
the
feature(s) of those verticals? - ANS-In Darrell's Home
a STRUCTURING element within the movie. It indicates a exchange in the visible rhythm of
the film.
The lively, adventurous energy of the film's default diagonals is replaced with the aid of
greater static, more potent, greater authoritative verticals whenever Darrell is around.
Axis - ANS-many items have an invisible axis that runs thru them and that is perceived as a
line
simple shapes - ANS-circle, rectangular, triangle
a form can simplest be classified as fundamental if its unseen facets can be expected
correctly with the aid of examining the seen aspects
the primary form of an object can be revealed by reducing it to a silhouette
, camera height - ANS-The function of the camera above the ground & with regards to the
problem.
Canted digicam - ANS-leaning or tilting of the camera on its side, not absolutely degree
centered composition - ANS-when the issue of the photo coincides with the geometric center
of the body, prepared in a symmetrical way, can seem mechanical or contrived
close up - ANS-frames a face in order that it fills at the least three/four of the space from the
body's top to its bottom
Closure - ANS-primary points of interest in a image create imaginary lines the viewer
connects the dots, or number one points to provide lines
Composition - ANS-arrangement of gadgets, shapes, humans, something in the body
continuity shots - ANS-The two pictures are continuous since we see in shot B some thing
this is additionally a part of shot A
Contour - ANS-obvious line around the border of any 3 dimensional object
curved line - ANS-oblique, passive, pertaining to nature, childlike, romantic, gentle, natural,
secure, and flexible
decentered composition - ANS-pics built around a visible challenge or item now not
positioned at body's geometric middle
Describe Lev Kuleshov's modifying experiments. What do they propose about the character
of
filmmaking? - ANS-The point, of route, is that it isn't the overall performance that has
decided Kuleshov's target audience's emotional engagement in his movies, however the
juxtaposition of photos. The audience builds memories, emotions, feelings, from time to time
even ideas, from the materials (sounds and photos in a positive collection) that the
filmmakers offer them. These substances may be extra or much less explicit, more or much
less enigmatic re the target audience, however they're despite the fact that nonetheless most
effective raw materials.
Kuleshov used two photographs of a Russian actor with a shot of something else in among
and confirmed the films to his class and was praised on every occasion.
Describe the picks Dreyer made in casting The Passion of Joan of Arc. How do the ones
choices
fluctuate from those made via Bresson in casting his 1960 The Trial of Joan of Arc? Or
Rivette's
1993 Joan, the Maid? - ANS-the casting is idiosyncratic
casting selections, which emphasize the grotesque functions of the clerics, contrast with the
choice to forged a Joan (Maria Falconetti, underneath) whose capabilities are extra
