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Midterm 1

by: Naomi Kolovich

Midterm 1 English 2263

Naomi Kolovich
GPA 3.88
Intro to Film
Andrew Kinne

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About this Document

chapter 1 - chapter 5 in Looking at Movies (fourth edition)
Intro to Film
Andrew Kinne
Study Guide
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This 5 page Study Guide was uploaded by Naomi Kolovich on Sunday February 22, 2015. The Study Guide belongs to English 2263 at Ohio State University taught by Andrew Kinne in Spring2015. Since its upload, it has received 79 views. For similar materials see Intro to Film in Foreign Language at Ohio State University.

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Date Created: 02/22/15
English 2263 Intro the Film Studies Midterm 1 chapter 1 Shot one unbroken span of action captured by a uninterrupted run of motion picture camera Editing joining together different shots Cinematic Language accepted systems methods or conventions by which movies communicate with viewers Explicit meaning the sum of the things that a movie presents on its surface Implicit meaning what we typically denote by what does it meanquot an association connection or inference that a viewer makes on the basis of the explicit story and form of a film Themes shared public ideas metaphors adages myths and familiar con icts and personality types chapter 2 Patterns patterns of actions or words or of technical elements such as color schemes sounds the length of shots short or long cuts and the movement of the camera these can help create possible meanings questions Parallel editing showing different lines of action ie actions that were filmed at different times so that they are represented as occurring simultaneously Form versus Content MacGuffin an object document or secret that is vitally important to the characters and thus motivates their actions but it turns out to be not as significant to the overall narrative as we probably at first imagined it sets up an audience expectation and then thwarts this expectation term coined by Hitchcock Movies moving pictures the illusion of movement This illusion depends on the persistence of vision the human brain retains an image for a fraction of a second longer than the eye records it It also depends on the phi phenomenon illusion of movement created by events that succeed each other rapidly this is related to critical icker fusion a single light ickering on and off so quickly that the human eye sees it as continuously on Mediation the camera mediates between the exterior world and our interior subjective views of and thoughts about the world Realism focuses on the actual or real Antirealism focuses on the abstract speculative or fantastic Versimilitude the appearance of truth movies convince the audience that the things seen onscreen are really therequot in the sense that the movie s vision is internally consistent giving a sense that in the world onscreen things could be just like that This can apply to realistic and antirealistic films audiences standards for verisimilitude change chapter 3 3 major types of films 1 narrative 2 documentary and 3 experimental Narrative a a story told in any medium b a type of movie versus documentary or experimental c structure the way a story is told d a broad abstract concept that includes the others but also includes any selection and arrangement of events in implicitly causeandeffect relationships Hybrid Movies combine aspects of narrative documentary and experimental films Genre a way of categorizing narratives films by the kinds of stories they tell and the ways they tell them Genre conventions often include Theme Setting Presentation using similar cinematic language Character Types Story Formulas Stars Six Major American Genres Gangster Film Noir Science Fiction Horror The Western The Musical Film Noir chapter 4 Story v Plot the story is an abstraction for the viewer something we must create the plot is the structure for presenting everything we see and hear in film Ex Cinderella has one story but each movie about Cinderella has different plots Diegetic Elements everything that makes up the world of the story on the screen its diegesis Nondiegetic Elements things we see or hear that come from outside the world of the story background music titles and credits or voiceover comments from an omniscient narrator Exposition Rising Action Climax Falling Action Denoument Chronological plot order Nonchronological plot order Major events crucial to the story these events are hubs branching points in the plot structure that force characters to choose between alternate paths Minor events satellites add texture and complexity but are not essential they are subordinate events Duration Story duration the amount of time that the implied story takes to occur ex in Titanic 19121997 Plot Duration the elapsed time of events within the story that the film explicity presents 1912 1997 two separate times Screen duration movie s running time onscreen 3 hours Summary time Real Time Strech Time Surprise v Suspense Repetition the number of times a story element reoccurs in a plot more frequent repetitions suggest greater importance Familiar Image an image periodically repeated in a movie with or without variations to help build meaning by helping the audience locate conscious choices being made by the filmmakers Characters Flat characters 2 dimensional Round characters 3 dimensional Major characters v minor character marginal characters are even less important Protagonists versus Antagonists Narration and Narrators the camera itself functions as narrator to an extent visual narration can be omniscient unrestricted from no character s point of view giving us third personquot view of all the actions and characters or restricted limited revealing information to the audience only as a specific character learns it Voice over narration can be either from an objective narrator not a character in the movie or a first person narrator narrated by an actual character in the movie Directaddress narration when a character breaks the fourth wallquot and addresses the audience directly chapter 5 Miseensc ne the overall look and feel of the movie including sound it includes two major visual components 1 design 2 composition 1 design production designer a setting the environment in which the action takes place on location or on a set soundstage d cor colors and textures of the interior decorating and properties props objects b lighting c costume makeup hairstyle 2 composition figures any significant things that move on screen framing what we see on screen kinesis 1 movement of objects and characters within the frame 2 the apparent movement of the frame Open frame designed to depict a world where characters move freely within an open recognizable environment characters of realistic films characters may move freely in and out of the frame Closed frame designed to imply that other forces eg fate social educational or economic background or a repressive government have robbed characters of their ability to move and act freely characteristic of antirealistic films Blocking planning the positions and movement of the actions and cameras and rehearsing those movements


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