Cinema Studies Final

macro editing

overall scene-to-scene editing

micro editing

shot-to-shot editing

graphic relations

if two shots graphically match or contrast

rhythmic relations

relative duration of adjacent shots

spacial relations

how adjacent shots relate in space

temporal relations

if shots are consecutive or jump back and forth in time

Kuleshov effect

mental effect on viewer based on relation between consecutive shots

constructive editing

creates a sense of spacial relations without showing whole space

continuity editing

makes time/progression clear; makes editing invisible

loudness

relative to surrounding sounds for viewer; associated with space and distance

four parts of sound form

rhythm, fidelity, space, time

fidelity

extent to which sound is faithful to it’s source as we understand it

three main types of film music

score, needle-drops, performance

leit motif

identifiable and recurring musical pattern

cel animation

seperates film into background and character cels to make long-form animation easier

seven cel animation steps

storyboarding, layouts, backgrounds, key animation, in-betweens, analogue inking, photographic capture

rotoscope

traces live action people or elements into drawings

Bill Nichols’ six modes of documentary

poetic, expository, participatory, performative, reflexive, observational

categorical form

intent to understand

rhetorical form

intent to convince

experimental cinema

anything outside of traditional narrative oriented cinema

abstract form

organized around abstract qualities like colors or movement

associational form

suggests ideas and emotions by assembling images that don’t have any logical connection

transnational cinema

a way of understanding cinema in a global context

national cinema

idea that movies are made within nation states for people within those borders

tautology

saying the same thing twice

diasporic cinema

films made by members of a diaspora whose films focus on aspects of the immigrant experience