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All Educational Materials for INI100H1 at University of Toronto St. George (UTSG)

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UTSGWinter

MAT137Y1 Lecture Notes - Lecture 36: Taylor Series

4 Page
30 Mar
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UTSGWinter

MAT137Y1 Lecture 34: Power Series

3 Page
30 Mar
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UTSGWinter

MAT137Y1 Lecture 35: Taylor Polynomials

2 Page
30 Mar
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UTSGWinter

MAT137Y1 Lecture 30: Properties of Series

2 Page
16 Mar 2020
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UTSGWinter

MAT137Y1 Lecture 29: Series Definition

2 Page
16 Mar 2020
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UTSGWinter

CSC104H1 Study Guide - Quiz Guide: Animage

4 Page
23 Feb 2020
; print this out and fill it in by hand. Hand in your solutions to the ta at the start of your quiz. ; precision and care are crucial in programming, a
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UTSGFall

FSL100H1 Final: 100_Exam_December2018

9 Page
23 Feb 2020
Exam reminders: fill out your name and student number on the top of this page, do not begin writing the actual exam until the announcements have ended
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UTSGWinter

CSC104H1 Quiz: exercise-2

4 Page
23 Feb 2020
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UTSGWinter

CSC104H1 Quiz: exercise-3

4 Page
23 Feb 2020
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UTSGFall

FSL100H1 Final: 100_Exam_April2019

9 Page
23 Feb 2020
First (given) name: - - - - - - - - - - - - - - - - Exam reminders: fill out your name and student number on the top of this page, do not begin writing
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UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Point-Of-View Shot, Stan Brakhage, Crane Shot

4 Page
10 Dec 2012
Just as mise-en-scene employs elements originally found in the theatre, the cinematographic properties derive largely from photography. Film involves d
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UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Grater, Stop Motion, Traditional Animation

2 Page
5 Dec 2013
Animation process is different from live-action film. A trip to the moon (georges melies, 1902) transcends the limits of real life. Exploits medium spe
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UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Experimental Film, Cinematic Techniques, Jump Cut

8 Page
3 Dec 2012
Term test study aid: list of important terms. Myriam michel (note: all definition starting with a * is not on the exam. Preproduction: the phase of fil
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UTSGINI100H1Charlie KeilWinter

INI100H1 Lecture Notes - Cinematic Techniques, Citizen Kane, Long Shot

64 Page
9 Feb 2013
Assumes that perceivers of art are actively engaged. They detect patterns and make sense of them. Second it assumes that the artwork actively draws us
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UTSGINI100H1Prof.LangerWinter

Lecture 6

3 Page
12 Apr 2011
Romanticising it, and sometimes viewing it as inferior or superior. English and cantonese: ways their similartes and differences have affected the way
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UTSGINI100H1Prof.LangerWinter

Lecture 5

3 Page
12 Apr 2011
Interplay bw body and technology in action films. It is al too extravagant, too spectacularly wild nyt reviewer www. notesolution. com: excess and acti
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UTSGINI100H1Prof.LangerWinter

Lecture 7

3 Page
12 Apr 2011
Themes: bakhtin and the chronotope , rusian cultural theorist. 3/3/11: dialogic: every utterance depends on an anticipated reply or response, carnivale
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UTSGINI100H1Prof.LangerWinter

Week 8 Screening

2 Page
12 Apr 2011
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 5: Telephoto Lens, Film Stock, Slow Motion

3 Page
28 Apr 2016
Just as mise-en-scene employed elements originally found in the theatre, cinematographic properties derive largely from the realm of photography. Shot:
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UTSGINI100H1Prof.LangerWinter

Lecture 2

2 Page
12 Apr 2011
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UTSGINI100H1Charlie KeilFall

INI100H1 Chapter Notes -Stroboscope, Optical Phenomena, Praxinoscope

4 Page
12 Feb 2013
By the end of the century, three developments had combined to create the motion picture : phenomenon of persistence of vision / the invention of still
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UTSGINI100H1Corinn ColumparFall

INI100H1 Chapter Notes - Chapter 6: Cinematic Techniques, Jump Cut, Ellipse

7 Page
10 Dec 2012
Chapter 6: the relation of shot to shot (editing) Today, a typical movie has between 1,000 and 2,000 shots while an action movie has. Editing lets the
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UTSGINI100H1Corinn ColumparFall

INI100H1 Chapter Notes -Slow Motion, Medium Shot, Time-Lapse Photography

15 Page
18 Oct 2012
Daniel manoukian: form- the way parts work together to create an overall effect, close encounters of the third kind had a soft opening by enticing the
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UTSGINI100H1Charlie KeilFall

Mise-en-Scene

10 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Editing Part II

5 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Sound

7 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Film Style

3 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Film Narration

2 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Cinematographic Properties

10 Page
1 Dec 2011
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UTSGINI100H1Charlie KeilFall

Film Form

7 Page
1 Dec 2011
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Study Guide - Final Guide: Fndc5, Staccato, Filmstrip

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16 Apr 2013
Ini115: production one of the three branches of the film industry; the process of creating the film. Preproduction the phase of filmmaking that prepare
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UTSGINI100H1Charlie KeilFall

INI100H1 Chapter Notes -Stroboscope, Optical Phenomena, Praxinoscope

4 Page
12 Feb 2013
By the end of the century, three developments had combined to create the motion picture : phenomenon of persistence of vision / the invention of still
View Document
UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Point-Of-View Shot, Stan Brakhage, Crane Shot

4 Page
10 Dec 2012
Just as mise-en-scene employs elements originally found in the theatre, the cinematographic properties derive largely from photography. Film involves d
View Document
UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Grater, Stop Motion, Traditional Animation

2 Page
5 Dec 2013
Animation process is different from live-action film. A trip to the moon (georges melies, 1902) transcends the limits of real life. Exploits medium spe
View Document
UTSGINI100H1Corinn ColumparFall

INI100H1 Lecture Notes - Experimental Film, Cinematic Techniques, Jump Cut

8 Page
3 Dec 2012
Term test study aid: list of important terms. Myriam michel (note: all definition starting with a * is not on the exam. Preproduction: the phase of fil
View Document
UTSGINI100H1Charlie KeilWinter

INI100H1 Lecture Notes - Cinematic Techniques, Citizen Kane, Long Shot

64 Page
9 Feb 2013
Assumes that perceivers of art are actively engaged. They detect patterns and make sense of them. Second it assumes that the artwork actively draws us
View Document
UTSGINI100H1Prof.LangerWinter

Lecture 6

3 Page
12 Apr 2011
Romanticising it, and sometimes viewing it as inferior or superior. English and cantonese: ways their similartes and differences have affected the way
View Document
UTSGINI100H1Prof.LangerWinter

Lecture 5

3 Page
12 Apr 2011
Interplay bw body and technology in action films. It is al too extravagant, too spectacularly wild nyt reviewer www. notesolution. com: excess and acti
View Document
UTSGINI100H1Prof.LangerWinter

Lecture 7

3 Page
12 Apr 2011
Themes: bakhtin and the chronotope , rusian cultural theorist. 3/3/11: dialogic: every utterance depends on an anticipated reply or response, carnivale
View Document
UTSGINI100H1Prof.LangerWinter

Week 8 Screening

2 Page
12 Apr 2011
View Document

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UTSGINI100H1Corinn ColumparWinter

INI115Y1 Lecture 11: Avant-Garde

1 Page
28 Apr 2016
The production, circulation, and reception of avant-garde film made outside the mainstream of film production. filmmakers typically view themselves as
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 3: Diegesis, Formal System

1 Page
28 Apr 2016
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 12: Pixilation, Norman Mclaren, Cinematic Techniques

1 Page
28 Apr 2016
Animation in relation to documentary and avant-garde film. Unlike documentary and avant-garde film, animation does not tend toward any particular form,
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 10: Cinematic Techniques, Neutral Records

2 Page
28 Apr 2016
Documentaries often adopt a form of organization which differentiates them from narra- tive films; when they do, that form is typically rhetorical or c
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 4: Key Light, Fill Light, Low Key

2 Page
28 Apr 2016
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 6: Continuity Editing, 180-Degree Rule, Medium Shot

2 Page
28 Apr 2016
Editing: editing is both additive (shots are strung together) and subtractive (one shot must give way to another); it affects the structure of the pres
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 9: Toyota Electronic Modulated Suspension

1 Page
28 Apr 2016
Narration is the process by which the story information is made available to us via plot, and how it does so. Recall that style is the selection of med
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 5: Telephoto Lens, Film Stock, Slow Motion

3 Page
28 Apr 2016
Just as mise-en-scene employed elements originally found in the theatre, cinematographic properties derive largely from the realm of photography. Shot:
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 7: Formal System, Record Producer, Diegesis

2 Page
28 Apr 2016
Despite the important role sound plays within any film"s formal system, it is extremely difficult to analyze (sound cannot be "frozen" in time, as the
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UTSGINI100H1Corinn ColumparWinter

INI100H1 Lecture Notes - Lecture 13: Carnival Ride, Kaleidoscope, Itch

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28 Apr 2016
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