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CMS 2100 Terminology

Use this page as a study guide for the terms we're learning for Introduction to Film.

 

Introduction

Appreciating a film vs. liking a film
In media res

Film Form & Meaning

Form
5 Principles of film form:
    Function
    Similarity & repetition
         Motif
         Parallelism
    Difference & variation
    Development
    Unity & Disunity
Ideology
4 Levels of meaning:
    Referential
    Explicit
    Implicit
    Symptomatic

Narrative & Narration

Story
Plot
    Diegetic
    Non-diegetic
Offscreen space
Temporal Order
    Flashback
    Flashforward
Frequency
Duration
    Ellipsis
    Real time
Plot time
Story time
Screen time
Range
    Unrestricted/Omniscient
    Restricted
Depth
    Objective
    Subjective
Exposition
In media res
Surrealism / Surreal Dream Logic

Mise-en-scene

Profilmic event
Style
Georges Méliès
German Expressionism
4 aspects of mise-en-scene:
    Setting & props
    Costume & makeup
    Acting & actor blocking
            Direct address
    Lighting
        Quality
            High-key lighting
            Low-key lighting
            Chiaroscuro
        Direction
           Key lighting
           Fill lighting
        Source
           Available lighting
           Three-point lighting
        Color of lighting
            Filters
Color in mise-en-scene
    Saturated

Film Production & Early History

Shot
Frames per second (FPS)
Classical Hollywood Cinema (CHC)
Film gauges
Pre-production, Production, Post-production
Hollywood (Studio) vs. Independent Production

Camerawork & Cinematography

Frame
Shot
Scene
Sequence
Framing: Composition
    Centered vs. Off-Center Framing
    Diagonal Framing
Framing: Dimension & Shape
    Aspect Ratio
Framing: Camera Placement, Level, & Angle
    Canted Level
    High angle
    Low angle
Framing: Camera Distance / Shot scale
    Long shot, medium shot, close-up
Establishing Shot
Two-shot
Mobile Framing
    Static/stationary camera
    Panning
    Tilting
    Tracking (or Dollying)
    Craning
Reframing
POV shot
Hand-held
Duration
   Long take
   Jean Renoir
Photographic Qualities: Perspective Relations
    Focal Length of Lens & Focus Depth
    Normal lens (Renaissance perspective)
    Wide-angle lens
    Telephoto lens
    Zoom (Optical Movement)
    Shallow focus
    Selective focus
    Deep focus
    Gregg Toland
    Racking focus
Photographic Qualities: Film Stock
    Film speed
    Overexpose, underexpose
    Filters
    Tinting
Photographic Qualities: Speed of Motion
    Slow-motion
    Fast-motion
    Time-lapse
    Freeze-frame
    Pixillation

Special Effects

Superimposition
Miniatures/models
Composite shot (or "Process shot"/"Process work")
    Rear Projection
    Matte shot (or "Matte work")
        Stationary matte
        Traveling matte
    Digital composite shot
        "Blue screen"
        CGI (Computer Generated Imagery)

Editing

Edits
    Cut
    Dissolve
    Fade
    Wipe
    Iris
Superimposition
Rhythmic & Graphic Relations among shots
Graphic Match/Graphic Contrast
Ellipsis
Kuleshov Effect
Cross-cutting
D.W. Griffith
Continuity Editing
    180-degree rule
    Master shot
    Cut in
    Match-on-action (or "cut on movement")
    Cutaway
    Empty Frame
    Shot/reverse-shot
    Eyeline Match
    POV Editing
    Cheat Cut
    Montage Sequence
    Continuity Error
Non-diegetic insert
Jump Cut
Elliptical Editing
Akira Kurosawa
Yasujiro Ozu
360-degree space
"Pillow Shot"
Soviet Montage
Lev Kuleshov
Sergei Eisenstein
Dialectic
Dziga Vertov
City Symphony
Kino Eye

Sound & Sound Design

Types of sound:
    Dialog/speech
    Effects/noises
    Music
        Mood Music
        Leitmotif
        John Williams
        Richard Wagner
Silence
Acoustic Properties:
    Loudness
    Pitch
    Timbre
Recorded Sound:
    Direct sound
    Reflected sound
    Ambient sound
        Room tone
Foley Technique
Post-dubbing
Sound Perspective
Natural Sound
Mickey Mousing
Fidelity
Diegetic/Nondiegetic sound
Voiceover
Soundover
Offscreen sound
Internal Diegetic Sound
External Diegetic Sound
Synchronous/Asynchronous sound
Sonic Flashback/Sonic Flashforward
Sound Bridge
Disjunctive Sound

Avant-garde and Experimental Film

4 Ways of Organizing "Nonfiction" Form:
    Rhetorical
    Categorical
    Abstract
    Associational
European Avant-garde
    Abstraction
    Marcel Duchamp
American Avant-garde
    Maya Deren
    Stan Brakhage
    Yvonne Rainer
        "Minimalist melodrama"

Documentary

Documentary Realism
"Objectivity"
"Docere"
Lumière Brothers
John Grierson
Intertitles
Narrative Documentary
Salvage Ethnography
Interviews
Narration
Cinema Vérité/Direct Cinema
    Fred Wiseman
4 Ways of Organizing "Nonfiction" Form:
    Rhetorical
    Categorical
    Abstract
    Associational
Leni Riefenstahl
Self-Reflexive
Errol Morris
Documentary Reconstruction
Fictional Documentary Realism

Italian Neorealism, the French New Wave, and Art Cinema

"Telefono bianco" films
Marshall Plan of 1948
"Tradition of Quality" films
Ambiguity
Self-reflexivity
Cinephilia
Intertextuality
Cahiers du cinema
Auteur Theory/Authorship
Delayed Exposition
Episodic
Subjectivity
Objective Realism
Subjective Realism
Filmmaker's Narrational Commentary

CHC Genres and Ideology

Genre Mixing
Subgenres
Narrative Conventions
Iconography
Ideology
Symptomatic Meaning
Subtext
Femme fatale
Production Code

Genre Transformation and Ideology

American Ideologies of 1960s-1970s
Cawelti's 4 Modes:
    Burlesque/parody
    Nostalgia
    Demythologization
    Reaffirmation of Myths
Contemporary Genre Mixing

Ideology and Cultural Criticism

Symptomatic Meaning
American Ideologies
Gender/Race/Class/Sexuality/Postcoloniality . . .
Transvestitism
Patriarchy
Laura Mulvey
"Against the Grain"
Marlon Riggs