Untitled Flashcards Set

Mise-en-scene

All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior.

shot

one uninterrupted run of the camera

subject to camera distance

the distance between the camera and the subject of the shot

close-up

A framing in which the scale of the object shown is relatively large; most commonly, a person's head seen from the neck up, or an object of a comparable size that fills most of the screen.

medium shot

waist up

three-quarter shot

knees up

full (body) shot

entire human body

long shot

a framing technique used to capture the environment and full body of subject

eye-level shot

A shot taken at the height of normal vision.

low angle shot

A shot in which the subject is photographed from below.

high angle shot

A shot in which the subject is photographed from above.

bird's eye view

A shot in which the camera photographs a scene from directly overhead.

Dutch tilt/canted angle

when the camera tilts itself

Lexiconning

a process by which films are shortened for broadcasting on television

composition

the precise arrangements of object and characters within the frame

Aspect Ratio

Relationship of an object's width to its height

shot scale

relationship between the camera (lens) and the subject of the image
(ex. close up, medium shot, etc. all the different kind of camera behaviors)

Pan Camera Movement

Horizontal movement from a fixed position

Tilt (vertical pan)

Camera is stationary but tilts up and down

moving shot

Placing the camera on a moving object

Tracking shot (dolly shot)

camera moves parallel to the ground

crane shot

when the camera moves up and down through space

hand-held camera

Used as a convention of realism - The use of the camera operator's body as a camera support, either holding it by hand or using a harness.

Steadicam

mounted camera on a apparatus which fits onto a camera operator's body (via a vest)

Zoom

shifting the total length of the lens from wide angle to telephoto or from telephoto to wide angle, but the camera itself does not move

Telephoto vs. Wide Angle

telephoto range tends to make space seem flatter while wide angle range enhances the sense of depth

motivated camera movement

prompted by the characters and events in the film

unmotivated camera movement

pertain to the filmmaker's commentary on characters and events

editing within the shot

An arrangement and sequential presentation of discrete pieces of information within a single shot

long shot (time)

the shot continues without a cut for an unusually long time

Noel Burch 6 zones of offscreen space

1) offscreen right
2) offscreen left
3) offscreen top
4) offscreen bottom
5) behind the set
6) behind the camera

Diegetic sound

pertain to the world of the film's story, only characters can hear it

Nondiegetic sound

the space behind the set, characters cannot hear it

Heritage Film

a conservative trend in contemporary cinema to depict a nation's past as idealized, rooted in tradition, and remembered with nostalgia and emotion

transitions

filmmakers link individual shots to one another in a process called editing or cutting

montage

A quick succession of images or impressions used to express an idea.

matching action

occurs when a physical action in one shot continues into the next shot

eyeline match

a cut that follows a shot of a character looking offscreen with a shot of a subject whose screen position matches the gaze of the character in the first shot

graphic match

cutting from one shape in the first shot to a similar - in the same relative position in the frame - in the second shot

180 degree system

A traditional rule for filming action so that the camera does not cross an imaginary 180-degree line. It is meant to create a stable spatial orientation for all action filmed.

shot/reverse shot

A shot of one subject, then another, then back to the first. It is often used for conversation or reaction shots.

cinematography

the photography of motion pictures

anamorphic lens

A lens for making widescreen films using regular Academy ratio frame size. The camera lens takes in a wide field of view and squeezes it onto the frame, and a similar projector lens unsqueezes the image onto a wide theater screen.

Panavision

The 35mm anamorphic format that replaced CinemaScope; its aspect ratio is 2.35:1.

Masking

Covering the top and/or bottom of the image with an aperture plate to create a widescreen effect.

Keylight

aims directly at subject - most likely the main character or object in the shot - and is the brightest light source for the shot

high-key lighting

it's intense - Illumination that creates strong contrast between light and dark areas of the shot - shadows are minimized

semantic

what is typically expected in a certain genre of film

fill light

a softer light that eliminates extreme shadows caused by the key light. (light in yo face)

Backlight

Lighting, usually positioned behind and in line with the subject and the camera, used to create highlights on the subject as a means of separating it from the background and increasing its appearance of three-dimensionality. (silhouette)

toplighting

lighting coming from above a person or an object, usually in order to outline the upper areas of the figure or to separate it more clearly from the background

film stock

raw, unexposed footage

categories:
1) gauge
2) type
3) exposure index:

negative film

a photographic film that will invert images color, after development

black and white negative

has dark areas in place of light areas and vice versa

color negative

has magenta in place of green, yellow in place of blue, and cyan in place of red

intermediate stocks

internegative and interpostive are used during postproduction

exposure index

films sensitivity to light aka film speed

slow film

Film that needs much more light to produce a properly exposed image

Fast film

Film that requires less light

Tinting

dyeing the film's base black and white

toning

dyeing one component in the emulsion

depth of field

Distance between the nearest and furthest points at which the screen image is in reasonably sharp focus.

deep focus

when the foreground and background are equally in focus

wide angle lens

a lens that allows for a wider angle of view and that can increase the illusion of depth within the shot

rack focus shot (focus pull)

Changes the plane of focus within the shot by way of a change in focus, rather than by way of a zoom.

Genre

a major category or type of film

convention

widely used and accepted device in an art form

repetition

repetition of genre conventions from film to film provides a built in structure, a recognizable framework

low-key lighting

uses a hard light source to enhance shadows in your scene

syntactic

structuring and ordering

Film Noir (black film/dark film)

a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace

Nanook of the North - Nanook

Atanarjuat: The Fast Runner - Atanarjuat, Atuat, Oki

Sami Blood - Elle Marja, Njenna, Niklas

The Passion of Joan of Arc - Joan

Persona - Alma, Elisabet

Let the Right Ones In - Eli, Oskar, Hakan

Films watched in class - Main Characters

sequence shot

single shot may serve, somewhat paradoxically as its own sequence or scene

pan

when the camera itself is stationary but pivots on its axis from side to side

cut

the simplest transition - a director trims each shot down to the length she wants and she attaches the 2 strips of film together with a piece of tape - can be done electronically

editing

a matter of active decision making - the product of human choice

fade in

The picture gradually appears on the screen

fade out

a shot that gradually disappears as the screen darkens

iris in

opening the circle to reveal more of the image

iris out

Ending a scene with a closing circle that comes in from the edges of the screen. Similar to an iris of the eye contracting.

Dissolve

A transition that seems to dissolve the first image as the second image appears.

wipe transition

When one video clip replaces another by traveling from one side of the frame to the other or through a shape

classical Hollywood style goals

to keep audience so wrapped up in fictional world created on screen that they came to be conscious of watching a movie and instead believe they're witnessing something real

continuity editing

aka invisible editing: a set of editing practices that establish spatial and/or temporal continuity between shots

editing matches

to downplay jarring effects of cutting

Glance-Object Match

an eye-line match that occurs between a human being and the object he or she is supposed to be looking at

zoom lens

A lens that is capable of shifting from wide-angle to telephoto and bac

Four Elements of Sequence Analysis

1. Identify the film title and release year.

2. Analyze formal and stylistic elements (cinematography, mise-en-scène, editing, sound).

3. Connect the sequence to the film as a whole (thematic or formal development).

4. Relate to broader course themes (genre logic, director’s style, historical context).

Formal Elements to Focus on in Analysis

• Cinematography: Camera angles, framing, lighting, shot types.

• Mise-en-scène: Setting, costume, props, character placement.

• Editing: Cuts, transitions, pacing, continuity.

• Sound: Dialogue, music, sound effects, silence.

Key Characteristics of the Early American Film Industry

• Oligopoly structure (dominated by few major studios).

• Vertical integration (control over production, distribution, exhibition).

• Genre system (films made based on genre expectations).

• Contract system (actors and directors under long-term contracts).

Changes in the Film Industry (Late 1920s–1930s)

• Transition from silent films to sound.

• More sophisticated storytelling and realism.

• Rise of continuity editing and classical Hollywood style.

• Expansion of genre films and the star system.

Big Five Studios of Classical Hollywood

1. MGM (Loew’s)

2. RKO (Radio-Keith-Orpheum)

3. Paramount Pictures

4. Warner Bros.

5. 20th Century Fox

Businesses the Big Five Were Involved In

• Production

• Distribution

• Exhibition (theater ownership)

Little Three Studios

1. Universal Pictures

2. Columbia Pictures

3. United Artists

Difference Between Big Five and Little Three

• The Little Three did not own theater chains; they focused on production and distribution only.

Purpose of Genre in Film

• Establishes a contract between artists and audiences.

• Defines a film’s world and its rules.

• Highlights societal absurdities or issues.

Key Elements of the Western Genre (Lee Clark Mitchell)

• Characters: Ranchers, sheriffs, outlaws, cavalry, saloon girls.

• Props: Guns, badges, horses, ten-gallon hats.

• Settings: Small towns, deserts, saloons, wilderness.

• Problems: Civilization vs. frontier, law vs. justice, masculinity, violence.

Core Theme of the Western Genre (Jane Tompkins)

• Reflects men’s fear of losing mastery and identity.

• About reinventing masculinity and control.

Marx Brothers’ Comedic Style

• Anarchic, surreal humor.

• Satirical take on authority vs. chaos.

• Vaudeville roots with ethnic humor and slapstick.

• Blends comedy with musical performances and loose narratives.

Henri Bergson’s Theory of Comedy

• Comedy arises from “something mechanical encrusted upon the living.”

• Tension between human imagination and rigid social conventions.

• Humor happens when people act mechanically or seem out of place.

Purpose of Lighting in Classical Hollywood Films

• Serves narrative clarity and realism or glamour.

• Emphasizes mood, character details, or genre-specific styles.

Four Impacts of Basic Lighting Conventions

1. Effects lighting: Light sources within the scene.

2. Composition: Highlights details or spatial depth.

3. Figure lighting: Emphasizes bodies and faces.

4. Genre/scene: Supports the tone (e.g., low-key lighting in gangster films).

Significance of The Jazz Singer (1927)

• First major film with synchronized sound (part-talkie).

• Marked the transition from silent films to talkies.

• Led to the dominance of sound films by 1932.

Why 1939 Was a Landmark Year for Classical Hollywood Cinema

• Released iconic films: Gone with the Wind, The Wizard of Oz, Stagecoach, Mr. Smith Goes to Washington.

• Represented the peak of classical storytelling and production quality.

Frank Capra’s Contribution to American Cinema

• Known for optimistic, humanistic films (Mr. Smith Goes to Washington).

• Explored themes of American values, democracy, and individual morality.

• Defined an idealized version of America, according to some critics.
  
  
  Early Cinema: Key Characteristics

  • Technology as Entertainment:

    • Novelty of Moving Pictures: Early cinema captivated audiences with the technological marvel of moving images.

    • Operational Aesthetic: Audience fascination with how the technology worked.

    • Modernity as Spectacle: Technology offered new ways to experience the modern world.

  • Realism + Magic:

    • Realism of photography mixed with technology’s ability to create magic tricks.

  • Actuality:

    • Scenes from Everyday Life: Early films focused on things like sports (boxing), real-life events (suicides, shipwrecks, etc.).

    • Ripped from the Headlines: Stories were often based on current events.

  • Presentation Style:

    • Modeled on theater (camera as audience).

    • Frontal Composition: Flat, shallow space; little to no camera movement.

    • Single Shot Films: Films often were one shot long due to technical limitations.

  • Fairground Attractions:

    • Early cinema often combined with carnival-style performances, like phantom rides.

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  Purpose of Early Cinema (Latham Eidoloscope, 1895):

  • Aimed to provide life-sized, immersive presentations of everyday activities, sports, crime, and dramatic events like circuses or shipwrecks.

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  Key Themes 1893-1920s

  • Cinema as a New Technology:

    • Initially part of a larger industry, uncertain use but quickly became popular entertainment.

    • Industrial Production of Entertainment: Efficient production, best performers for all audiences.

  • Why Did Movies Become Mass Entertainment So Quickly?:

    • Factors: market demand, industrialization, urbanization, immigration, and migration.

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  Origins of the Classical Studio System:

  • Exhibition Primacy: Early film studios, like MGM and Paramount, were started by theater owners.

  • Two-headed Companies: Production was seen as a cost center, exhibition was the profit center.

  • Early studios were focused on exhibition and controlling production costs.

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  Form of Early Silent Film (1893-1908)

  • Early films: mostly one-shot, short films (one minute or so).

  • 1895-1900: Transition to longer films, projection for larger audiences.

  • Multi-reel Projection: Allowed for multiple short films to be shown in a program.

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  Early Experiments with Narrative:

  1. Edwin S. Porter: Introduced the story film (1895-1908).

  2. D.W. Griffith: Developed proto-classical narrative techniques (until 1917).

  3. Classical Hollywood Cinema: Emerged around 1917.

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  Vaudeville and Early Cinema:

  • Vaudeville Influence:

    • Stage shows with a variety of acts (comedy, magic, acrobatics).

    • Transitioned into film as movie theaters adopted vaudeville-style performances (1900s).

  • Vaudeville’s Impact on Early Cinema:

    • Early cinema combined variety acts with films.

    • Film as both a narrative and a performance medium.

  • Vaudeville Show Structure:

    • 8-14 acts (8-20 minutes each).

    • Self-contained Acts: No ongoing narrative between acts.

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  Classical Hollywood Cinema (CHC):

  • Primacy of Narrative:

    • Films focus on a clear narrative with a cause-and-effect structure.

  • Editing and Cinematography:

    • Editing emphasizes clarity and efficient storytelling (match on action, shot/reverse shot).

    • Invisible Artifice: Editing and cuts are designed not to disrupt the story.

  • Space and Objects Support Narrative: Elements in a scene serve to enhance the story.

  • "Walk-and-Talk" and “Stand-and-Deliver”: Standard forms of conversation-driven action.

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  The Gangster Genre:

  • Gangster Formula:

    1. Opposition to Society: Main character defies social order.

    2. Conflict with Society: Focus on lawlessness and social rules.

    3. Metaphor for Broader Themes: Gangster as a symbol of societal rejection.

  • Gangster as Tragic Hero:

    • A figure doomed by success, as success often involves crime, aggression, and violence.

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  Structure of Classical Hollywood Cinema:

  1. Narrative as Primary Objective.

  2. Clear and Unambiguous Story: Emotionally appealing to broad audiences.

  3. Consistency of Time and Place: Helps maintain realism.

  4. Invisible Editing: To create seamless transitions and maintain immersion.

  • 180-Degree System: Rules for consistent spatial orientation to avoid confusion.

    • Axis of Action: Establishes the line between two characters’ perspectives.

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  Hollywood & Early Studio System:

  • Why Hollywood?:

    • Favorable weather for shooting, varied landscapes, cheap land, and labor.

    • Distance from legal and moral concerns (e.g., patent wars, moral panics).

  • First Studios: Nestor in 1911, early growth of Hollywood as the center of film production by 1915.

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  Genres and Production in 1930s:

  • Major Genres: Prestige, musicals, comedy, social problem films (gangster, crime, prison), horror.

  • Budget Differences:

    • High-budget prestige films vs. low-budget B-movies.

  • Logic of Genres:

    • Common language for audiences and filmmakers.

    • Product Identity: Studios used genres to inform customers and generate instant recognition
      
      
      The Great Train Robbery (1903) – Directed by Edwin S. Porter, this silent Western is one of the earliest narrative films, depicting a group of outlaws who rob a train and are pursued by lawmen. It’s groundbreaking in its use of editing and narrative structure.

    • One Week (1920) – A slapstick comedy directed by and starring Buster Keaton. A newlywed couple receives a gift of a house kit, but when the pieces are mixed up, the man has to try to assemble it with disastrous and humorous results.

    • Modern Times (1936) – A Charlie Chaplin classic that tackles the dehumanizing effects of industrialization and the Great Depression, with Chaplin's iconic "Little Tramp" struggling to survive in a fast-paced, mechanized world.

    • Scarface (1932) – Directed by Howard Hawks, this crime film stars Paul Muni as a ruthless gangster in Prohibition-era Chicago. It’s a gritty, violent portrayal of the rise and fall of a criminal empire, with strong influences on later gangster films.

    • Little Caesar (1931) – A classic gangster film directed by Mervyn LeRoy, starring Edward G. Robinson as a small-time criminal who rises to power in the world of organized crime, but eventually meets a tragic end.

    • Duck Soup (1933) – A Marx Brothers comedy directed by Leo McCarey. Set in the fictional country of Freedonia, Groucho Marx plays a dictator in this zany, fast-paced political satire that parodies government and war.

    • It Happened One Night (1934) – Directed by Frank Capra, this romantic comedy stars Clark Gable and Claudette Colbert as a spoiled heiress and a newspaper reporter who end up on a cross-country journey, falling in love along the way. It won five Academy Awards, including Best Picture.

    • Stagecoach (1939) – Directed by John Ford, this Western stars John Wayne as a former outlaw on a stagecoach ride through dangerous territory. It's a landmark film in the Western genre, known for its compelling characters and the introduction of John Wayne as a star.

    • Citizen Kane (1941) – Orson Welles' masterpiece, regarded as one of the greatest films ever made. The story follows the life of wealthy newspaper magnate Charles Foster Kane, exploring themes of power, corruption, and the elusive nature of truth, told through a series of flashbacks.

    • Rebecca (1940) – Directed by Alfred Hitchcock, this psychological thriller is about a young bride who is haunted by the memory of her husband's first wife, Rebecca, whose presence looms large in their mansion, Manderley.

    • Casablanca (1942) – Directed by Michael Curtiz, this romantic drama set during World War II stars Humphrey Bogart as an American expatriate in Morocco who must choose between helping his former lover (Ingrid Bergman) and her husband escape the Nazis or keeping his own personal interests intact.

    • To Have and Have Not (1944) – Directed by Howard Hawks, this film stars Humphrey Bogart and Lauren Bacall in their first on-screen pairing. Set in the Caribbean, it’s a tale of a cynical boat captain who helps resistance fighters, while developing a romance with a mysterious woman.

    • Double Indemnity (1944) – Directed by Billy Wilder, this film noir follows an insurance salesman (Fred MacMurray) who conspires with a femme fatale (Barbara Stanwyck) to murder her husband and collect a life insurance payout, only to be caught in a web of deception.

    • High Noon (1952) – Directed by Fred Zinnemann, this Western stars Gary Cooper as a lawman who faces a gang of outlaws alone when the town turns its back on him. It’s a tense, character-driven film about duty, honor, and courage.

    • The Hitch-Hiker (1953) – Directed by Ida Lupino, this film noir follows two friends who pick up a hitchhiker, only to discover that he is a murderous fugitive. It’s a tense thriller that focuses on the psychological tension between the characters.

    • Written on the Wind (1956) – Directed by Douglas Sirk, this melodrama centers on a wealthy but dysfunctional family, exploring themes of love, betrayal, and tragedy. It’s known for its lush cinematography and dramatic performances.