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Final

FPA 135 Study Guide - Final Guide: Film Editing, Fictional Film, Tracking Shot


Department
Contemporary Arts
Course Code
FPA 135
Professor
Melanie Cassidy
Study Guide
Final

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FPA135
Basic Construction of a Movie
1. Shot- an unbroken span of action captured by an uninterrupted run of a motion-
picture camera.
2. Editing- the joining together of discrete shots.
With each transition from one shot to another, a movie is able to move the viewer
through time and space.
A viewer of a theatrical production has only one unchanging view of the action.
Movie allow the same scene more sequences(points of view, and emotional
expression
Film Analysis
1. The one essential inquiry : What does it mean?
2. Analysis- the act of taking apart something complicated to figure out what it I s
made of and how it all fits together.
3. Step 1- Identify the tools and techniques within a scene, sequence, or movie.
4. Step2 – Investigate the function and potential effect of that combination
Invisibility and Cinematic Language
Painting, sculpture, and photograph allow you to study and absorb them as long as
you want. Film differs in that:
1. Cinematic language is invisible because movies move too quickly for the viewer
to consider everything they’ve seen.
2. The spectator subconsciously identifies with the camera’s viewpoint.
3. Cinematic language draws upon real-life interpretation of visual information for
our intuitive absorption
Film Analysis
Movies rely heavily on largely invisible techniques that convey meaning intuitively.
1. Fade-in/ Fade-out – viewers understand that significant story time has elapsed.
2. Low-angle shot - viewers associate looking up at powerful figures with strength,
nobility, or possibly as a threat.
3. Cutting on action common editing technique designed to hide the instantaneous
and potentially jarring shift from one camera viewpoint to another.
Low – angle shot on “Juno”
A low – angle shot emphasizes Juno’s newfound freedom and empowerment.
Cutting on action in “Juno”
A potentially jarring shift, from one camera’s point of view to another, is hidden under

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the action occurring in the shot
Note the background revealing a new pov
Cultural Invisibility
1. Filmmakers favor stories and themes that reinforce viewers’ shared beliefs.
2. Stories tap into and reinforce viewers most fundamental desires and beliefs.
3. People making movies may be just as oblivious to their own cultural attitude as
some of their viewers are.
Juno ultimately upholds common cultural values: traditional family structures and
robust individualism.
Key Terms:
• cinematic language- The accepted systems, methods, or conventions by
which the movies communicate with the viewer.
• film -derives from the celluloid strip on which the images that make up
motion pictures were originally captured, cut, and projected;
• movies- is simply short for motion pictures.
• Cinema- from the Greek kinesis (“movement”),
• cut- A direct change from one shot to another; that is, the precise point at
which shot A ends and shot B begins; one result ofcutting.
• close-up (CU) :A shot that often shows a part of the body filling the frame—
traditionally a face, but possibly a hand, eye, or mouth.
• fade-in/fade-out: Transitional devices in which a shot fades in from a black
field on black-and-white film or from a color field on color film, or fades out to
a black field (or a color field). Compare dissolve.
• low-angle shot: Also known as low shot. A shot that is made with the camera
below the action and that typically places the observer in a position of
inferiority. Compare high-angle shot.
• cutting on action- Also known as match-on-action cut. Acontinuity editing
technique that smoothes the transition between shotsportraying a single
action from different camera angles.
• protagonist- The primary character whose pursuit of the goal provides the
structural foundation of a movie’s story. Compare antagonist.
• implicit meaning-An association, connection, or inference that a viewer
makes on the basis of the given (explicit) meaning conveyed by the story
and form of a film
• explicit meaning: Everything that a movie presents on its surface. Compare
implicit meaning.
• formal analysis- Film analysis - that examines how a sceneor sequence
uses formal elements—narrative, mise-en-scène, cinematography, editing,
sound, and so on—to convey story, mood, and meaning.
• dolly in-Slow movement of the camera toward a subject, making the subject
appear larger and more significant.
• point of view (POV)-The position from which a film presents the actions of

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the story; not only the relation of the narrator(s) to the story but also the
camera’s act of seeing and hearing. The two fundamental types of cinematic
point of view are omniscient and restricted.
• jump cut-The removal of a portion of a film, resulting in an instantaneous
advance in the action—a sudden, perhaps illogical, often disorienting ellipsis
between two shots
Movie review- Hugo (2011), Martin Scorcese
This is a movie pay a tribute to Georges Méliès
• Time - clocks, film form(fades), flashback(deviceautomation);uncle/watch
trains/stations - film story
• Books - notebook, Tabar, libraries, Melies’ drawing
• Orphans - Hugo, Isabelle, Station boy, Inspector
• Machines - broken robot, gears, automation mouse,
clocks, cameras, inspectors leg
• War - George, Kids, Inspector, Liette’s brother
• Couples - Inspector/Lisette Hugo/Isabelle George/Wife
Cafe owner / Switer
• dreams
FPA135
Week 2 Principles of film form
-Movies are highly organized, deliberately assembled, and intentionally sculpted by
film makers.
Movie form is a synthesis of elemental systems:
• Mise-en-scene (Setting the stage)
• Sound -> dialogue, music, ambience, effect tracks
• Narrative
Editing-and others
Form and Content
Content: The subject of an artwork.
Form: The means by which a subject is expressed. The form for poetry is words; for
drama, it is speech and action; for movies, it is pictures and sound; and so on.
Form and Expectations
The narrative form is a formal arrangement of events that make up the story in a film.
1. Certain events produce likely actions or outcomes.
2. Our expectations provoke us to ask predictive question about the film’s out come.
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