Term
| Dates for German Expressionism and golden age of German Cinema |
|
Definition
|
|
Term
| German Expressionism (definition) |
|
Definition
| Refers to the time after WWI during the reign of the Weimer Republic where the government sponsored UFA studio, and German filmmakers were able to make very expressive, Avante Gard films. |
|
|
Term
| Expressionism (definition) |
|
Definition
| An artistic work that encompasses an emotion in every aspect of the work. For example, an expressionist film will have the sets and backgrounds reflecting the overall emotion of the scene. |
|
|
Term
| Traits of German Expressionism (4) |
|
Definition
| (1) Distorted, exaggerated sets (2) Unnatural spaces (3) Oblique angles (4) Stylized acting, costumes and makeup |
|
|
Term
| The Cabinet of Dr. Caligari (1920) (year, director and why it is characteristic of german expressionism) |
|
Definition
| 1920, Robert Weine, High contrast lighting, gothic font, non-realistic sets, etc.. |
|
|
Term
| Metropolis (year, director and characteristics) |
|
Definition
| 1927, Fritz Lang, first full length sic-fi movie, etc.. |
|
|
Term
| Nosferatu (year, director, characteristics) |
|
Definition
| 1922, FW Murnau, 1st horror movie |
|
|
Term
| When did sound in movies begin, and with what film? |
|
Definition
|
|
Term
|
Definition
| sounds relate to something originating from the world of the scene, ex: footsteps |
|
|
Term
| Non-Diagetic sound + example |
|
Definition
| sounds that do not relate to the world of the scene, ex: soundtrack, narration |
|
|
Term
|
Definition
| diagetic, and we can see where the sound is coming from |
|
|
Term
|
Definition
| diagetic, but the source is not visible on frame |
|
|
Term
| Concept of Sound Design (4 assumptions) |
|
Definition
| (1) Sound must be integral to all 3 phases of production (2) Sound is potentially as expressive as its images (3) Image and sound can create different worlds (4) Image and sound are co-expressive |
|
|
Term
| What physical characteristic of sound is connected to the perpetual characteristic: Pitch |
|
Definition
|
|
Term
| What physical characteristic of sound is connected to the perpetual characteristic: Loudness |
|
Definition
|
|
Term
| What physical characteristic of sound is connected to the perpetual characteristic: Quality |
|
Definition
|
|
Term
|
Definition
| when we hear what we assume to be a character's thoughts, either random thoughts or monologue |
|
|
Term
|
Definition
| comes from a place within the story that we assume the characters can hear |
|
|
Term
|
Definition
| comes from the background of the scene |
|
|
Term
|
Definition
| artificially created sounds, see Foley Sounds |
|
|
Term
|
Definition
| (1) Vocal Sounds (dialogue) (2) Enviromental sounds (3) Music (4) Silence |
|
|
Term
| The Player (year, director and characteristics relating to sound design) |
|
Definition
| 1992, Robert Altman, in the single long take in the first scene characters were individually mic'ed so that they could begin talking before the camera is on them and after the camera has moved on, and the fade in and out can be decided in postproduction |
|
|
Term
| The Birds (year, director, and sound characteristics) |
|
Definition
| 1963, Alfred Hitchcock, no soundtrack, adds to realism |
|
|
Term
| Eraserhead (year, director, relation to sound) |
|
Definition
| 1977, David Lynch, ambiant sounds elevated to dramatic levels is meant to make visually dull scenes more interesting |
|
|
Term
| Apocalypse Now (year, director, sound) |
|
Definition
| 1979, Francis Ford Copula, Confusion between diagetic and non-diagetic adds effect |
|
|
Term
| The conversation (year, director, sound, EDITOR) |
|
Definition
| 1974, Francis Ford Copula, Walter Murch, different inflection upon review |
|
|
Term
| Zatoichi (year, director, sound) |
|
Definition
| 2003, Koffice, Katano, Mixes Diagetic and Non-Diagetic |
|
|
Term
|
Definition
| from the French word, meaning 'To assemble or put together" |
|
|
Term
| The knowledge that an object still exists when not visible on frame |
|
Definition
|
|
Term
|
Definition
| editing that smooths out scenes and makes it easy for the audience to follow action |
|
|
Term
| Name the 8 Editing techniques that maintain Continuity |
|
Definition
| Shot/ Reverse shot, match cut, match on action cut, graphic match cut, eye-line match cut, parallel editing, intercutting, POV editing |
|
|
Term
|
Definition
|
|
Term
|
Definition
shot A and B are matched in action, subject, graphic content of character's eye content
ex: Lawrence of Arabia |
|
|
Term
|
Definition
| Shows continuation of motion without showing entire action, smooths out cutting from a wide shot to a close up |
|
|
Term
|
Definition
| Ex: 2001: A Space Odyssey |
|
|
Term
|
Definition
| Person looks at someone off screen and B shows object of that gaze looking back |
|
|
Term
| Parallel Editing (Crosscutting) |
|
Definition
| 2 or more lines of action that occur simultaneously at different locations |
|
|
Term
|
Definition
| actions in different locations to give impression of one scene |
|
|
Term
|
Definition
| editng that makes you aware of the perspective of a particular character or group |
|
|
Term
|
Definition
| The previously unrelated! |
|
|
Term
| Soviet Montage era: years, who nationalized the film industry, and what were the goals of the first national film school? |
|
Definition
| 1917-1929, Lenin, artistic and political goals |
|
|
Term
| Key Filmmakers of the Soviet Montage Era (4) |
|
Definition
| (1) Lev Kuleshov (teacher filmmaker, maybe first film theorist) (2) Sergei Eisenstien (Battleship Potempkin) (3) VI PUdovkin (Mother, book Film Actting) (4) Dziga Vertov (man with a movie camera) |
|
|
Term
| The Battleship Potemkin (year, director, and characteristics) |
|
Definition
| 1925, Sergei Eisenstein, The Odessa Staircase |
|
|
Term
| Man with a Movie Camera (year, director, characteristics) |
|
Definition
| 1929, Dziga Vertov, no specific story line |
|
|
