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| when a movie can give a convincing appearance of truth regardless if it is realistc/antirealistic. Makes the ppl, place, thing in the movies are real there. |
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| images, action, or dialogue necessary to give the audience the background of the characters and the nature of their situation. |
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| the development of the action of the narrative toward a climax. |
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| the narrative’s turning point |
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| the events that follow the climax and bring the narrative from climax to conclusion. |
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| :day-new-mawn) the resolution or conclusion of the narrative. |
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| the amount of time that the implied story takes to occur (ex: 1 week) |
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| the elapsed time of those events within the story that the film explicitly presents (aka the elapsed time of the plot) (ex: 4 days out of the week) |
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| the movie’s running time onscreen (ex: 1 hour 15 min) |
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| omplex and 3-dimensional, possessing several traits, sometimes even contradictory ones. Lifelike and believable |
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| 1-dimensional, possessing one or very few discernible traits, and their motivations and actions are generally predictable. (ex: Frodo of Lord of the Rings) |
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| Omniscient point of view: |
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| (aka unrestricted) 3rd person view of all aspects of the movie’s action or characters |
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| Restricted point of view: |
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| reveals info to the audience only as a specific character learns of it |
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staging or putting on an action or scene”
1.setting and decor
2. subject
3.composition |
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| setting and decor:( : mise-en- Scene) |
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| indicate place and time, realistic/ non realistic, props |
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| subjects:(: mise-en- Scene) |
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| face, body, and epxression of the actor. costume, makeup, hairstyle. |
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| composition:: (mise-en- Scene) |
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process of visualizing and planning the design of a movie.
-Relationship of stationary object and figures as well of light, shades, line, and color within the frame.
-aspects of composition: framing(what we see on screen) and kinesis ( what moves on screen)
Open frame: is design to depict a world where characters move freely within an open, recognizable environment.
Close frame: is the design to imply that other forces( i.e.: fate, social, educational, economical background, or repressive gov…)has robbed the characters of their ability to move and act freely, focusing solely on the object. |
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| 3-point system, includes key light( primary light)- shadow casting), fill light( on opposite side of key light soften the detail, backlight-less essential, position behind or above the actor usually create highlights around the border of the subject) this system allow cinematographers to balance the relationship between light and shadow |
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| (high light / dark contrast)= gloomy atmosphere horror, mystery, psychological dramas, crime stories, and film noirs. |
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| (low light to dark contrast) little contrast between illumination and shadow (diffuse), i.e. dramas, musicals, comedy, adventure films. |
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| shot types:extreme long shot, long shot,medium shot, medium close up, close up, extreme close up. |
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| extreme long shot-emphasize on scenery, long shot-capture the whole body, medium long shot- capture from the knee up, allow manipulation of camera angles, medium shot-capture more of the face than mls (medium long shot)from waist up, replicate human experience of proximity, medium close up- chest up, close- up- focus on the characters face, representing emotion and state of mind, and extreme close up-small detail fill the screen. The closer the “camera” is to the image the more emotionally involve the viewer will be with the subject. |
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eye lvl shot, high angle, low angle, dutch angle/oblique shot, aerial view:
-eye level shot: "normal view"
High angle- aka high shot or down shot, observers sense of superiority. Camera is above the action so it is as if the viewers are looking down on the action. Low angle- camera is below the action; observers fell helpless in the presence of a superior force. Dutch angle – tilt shot, the camera is tilted, giving the impression that the world in the frame is out of balance. Aerial view aka bird’s eye view shot implies the observer’s omniscience. |
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pan shot, tilt shot, dolly shot/ tracking shot, zoom shot, crane shot
pan shot- horizontal movement
tilt shot: vertical movement
dolly/track shot: camera moves with action
zoom shot: effect of the lens
crane shot: camera moves in multiple directions |
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| Maximus( gladiator 2000- Ridley Scott) |
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| Proximo ( gladiator 2000- Ridley Scott) |
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| Commodus( gladiator 2000- Ridley Scott) |
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| Lucilla( gladiator 2000- Ridley Scott) |
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| Marcus Aurelius ( gladiator 2000- Ridley Scott) |
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| Lucius Verus ( gladiator 2000- Ridley Scott) |
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| Cleopatra ( Cleopatra 1963- Joseph L. Mankiewicz) |
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| Marc Antony ( Cleopatra 1963- Joseph L. Mankiewicz) |
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| Julius Caesar( Cleopatra 1963- Joseph L. Mankiewicz) |
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| Cicero( Cleopatra 1963- Joseph L. Mankiewicz) |
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| Vorenus ( Rome 2005-Bruno Heller) |
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| pullo ( Rome 2005-Bruno Heller) |
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| Mark Antony ( Rome 2005-Bruno Heller) |
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| Niobe ( Rome 2005-Bruno Heller) |
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| Atia (Rome 2005 Bruno Heller) |
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| Gaius Octavian ( Rome 2005-Bruno Heller) |
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| Caesar ( Rome 2005-Bruno Heller) |
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| Spartacus (Spartacus 1960-stanley Kubrick replacement for anthony Mann) |
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| Crassus (Spartacus 1960-stanley Kubrick replacement for anthony Mann) |
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| Varinia (Spartacus 1960-stanley Kubrick replacement for anthony Mann) |
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| Gracchus (Spartacus 1960-stanley Kubrick replacement for anthony Mann) |
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| Julius Caesar (Spartacus 1960-stanley Kubrick replacement for anthony Mann) |
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| director: jean rodenberry |
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