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Chapter 12 Film/Cinema Full Note Section

by: Mubeen Hyder

Chapter 12 Film/Cinema Full Note Section ARTS 1301

Marketplace > University of Texas at Dallas > Art > ARTS 1301 > Chapter 12 Film Cinema Full Note Section
Mubeen Hyder
Exploration of the Arts
Winston Stone

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About this Document

Chapter 12 was an extremely long section filled with various pieces of information. I read through the chapter and analyzed the fundamentals of each concept and took notes on the most emphasized an...
Exploration of the Arts
Winston Stone
Class Notes
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This 4 page Class Notes was uploaded by Mubeen Hyder on Tuesday October 27, 2015. The Class Notes belongs to ARTS 1301 at University of Texas at Dallas taught by Winston Stone in Fall 2015. Since its upload, it has received 161 views. For similar materials see Exploration of the Arts in Art at University of Texas at Dallas.


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Date Created: 10/27/15
Explorations of the Arts and Humanities 1301 Textbook The Humanities T hrouqh the Arts by F David Martin 83 Lee A Jacobus 9th Edition Note Section Chapter 12 FilmCinema o the earliest film was black amp white projected at 24 framessecond 0 they were originally silent but live music or some form of instrumentation accompanied them 0 originally projected in outdoors social clubs general buildings etc before theatres 0 color films became standard in the 19405 and 19505 0 digital production is the standard TODAY 0 post2013 is all digital 0 David Cook A History of Narrative Film Cook explains that subject matter in films is rivaled by literature 0 audiences usually enjoy film rather than analyze it o Ingmar Bergman The 7th Seal movie about chess with death 0 film generally involves a lot of collaborative effort 0 Auteur author a DW Griffith amp Sergei Eisenstein 2 of the greatest early geniuses in film They were known to take total control of film making production control 4 of the Greatest Films Ever Made Griffith amp Eisenstein were responsible for everything CI The Birth ofa Nation Griffith El Intolerance Griffith El Battleship Potemkin Eisenstein El Ivan the Terrible Eisenstein Different Forms of Shots shot single exposure of camera without break repressional shot focus on objects moving away processional shot focus on objects moving towards Establishing shot distant shot establishing locations and figures Closeup important object fills screen characters face Long shot camera is distant from everything Medium shot a medium closeup not too farnot too close Following shot camera is moving with a figure at the same pace Point of View shot the camera records from the character s perspective Tracking shot shot where camera moves forwards backwards or sideways Crane shot camera is on a crane moving either upward or downward Handheld shot camera being carried on special harness Different Forms of Cuts Continuity cut shots edited to portray a narrative continuity Jump cut moves directly from one shot to another Cutin an immediate move from a wide shot to a close shot of the same scene Crosscutting alternating shots of 2 or more actions taking place in different places Different Forms of Fades Dissolve one scene disappearing slowly while the next scene appears under it Fade a dark screen growing brighter to reveal a shot or a bright screen growing darker to end a shot Wipe transition between shots with a linewipe across the screen Graphic match joining 2 shots that have similar composition makeup Montage sequence a sequence of images dramatically connected but physically disconnected Shot reverse shot 2 shots The first where the character is looking at something and a reverse shot showing what the character sees Films are rarely shot sequentially Film scenes are shot out of order and later put together the editor puts shots together after the film is finished Yasujiro Ozu considered one of the finest japanese directors Director of Tokyo Children 0 images can be made without dialogue 0 Participation in film is often involuntary we gravitate towards charactersheros because we identify and see aspects of our personalities within them 2 Tvpes of Participation in Film El nonfilmic selfindulgence depends on selfjustifying fantasies El acutefilmic revolves from acute awareness of details amp their interrelationships informative Language of the Camera El images are projected at 24 frames per second El persistence of vision merges these images together Wavs a Film Can Achieve Motion characters move camera moves camera lense zoom 0 Many filmmakers design each frame as careful as a photograph o for some painters the still frames must be equal to a painting 0 many people think that moving images have the highest power of artistic medium reflect life 0 Al Jolson39s The Jazz Sinqer 1927 introduced sound to the film world 0 Sergei Eisenstein amp others feared that sound would kill the artistic quality of film and filmmaking 0 Saving Private Rvan by Steven Spielberg featured some of the most cinematic sounds of all time o The most contemporary film is the marriage of sight and sound contemporarynew recent presenttime o Federico Fellini39s 8 12 is relevant to a psychic turmoil of creativity o The most respected amp famous directors are the ones pushing the medium creating new lanes No work of art can be fully understood without an external sourcemedium This means that more sources such as a guide online review knowledge of a specific history etc is required to COMPLETELY understand a piece of art 0 experimentation pushes greatness


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