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Final

Film Studies 1020E Study Guide - Final Guide: Showscan, Anamorphic Format, Unreliable Narrator


Department
Film Studies
Course Code
Film Studies 1020E
Professor
Peter Brunette
Study Guide
Final

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Mise-en-Scène
Definitions
-Mise-en Scene: elements of a movie scene that
are put in a position before the film actually
begins and are employed in certain ways once it
does ex. props, lighting, actors
-features of the image that exist without the
camera and the process of filming and editing
-creates meaning for audience
-naturalistic: a style of filmmaking emphasizing
the similarities between our world and the film
world (gladiator)
-theatrical: emphasizing the spectacularities of a
film
-addressing the camera: artificial theatrical mode
of performance
-Scenic and Atmospheric Realism
- realism: describes the extent to which a
movie creates a truthful picture of society,
person or life
-psychological or emotional
accuracy in characters
-logical and recognizable actions
and developments in a story
-scenic realism in m-e-s helps viewer to
recognize sets and settings as accurate
evocations of actual places
-m-e-s builds atmosphere and
connotations: feelings associated with
particuliar sets or settings
-expressive MES: MES dimensions are
independent of the characters and describe an
emotional or spiritual life
-contructive: characters can manipulate the
world
History and technological innovations
-film is similar to the permician stage
-began with early Greek theatre around 500 BC --
a place where a community’s religious beliefs
and truths could be acted out
-European medieval theatre clebrated Christian
stories i.e. Adam and Eve
-MES in Shakespeare time repped a secular
world of politics and personal relationships
where individuals and communities could
fashion beliefs and truths could be acted out
-19th century lighting: other tech developments
altered nature of MES
-David Garrick unified and professionalized
theatre
-used panoramic scenery and machinery
developed by innovators to overwhelm
audiences
1900-1912
-first films depended on natural light
-mercury vapor lamps and indoor lighting
enabled studio shooting
1915-1928
-feature length films became the norm
-elborate set designers became crucial to
filmmaking
-costume shaped the idea of glamour
1930-1960
soundstages: large soundproofed buildings were
designed to move and construct with efficiency
elaborate sets
-studio backlots enabled the construction of
entire worlds
-shaped contemporary expectations of movie
magic
1940-1970
-fiction and documentary filmmaking have come
to depend on location scouting for suitable MES
1975
-shift from recreating environments to
computerized models and computer graphic
technicians
Cinematography
History and technological innovations
1820’s-1880’s
-phenakitiscope and zoetrope allowed a person
to view a series of images through slits in a
circular wheel
-photography was able to produce images and
make them readily available to the masses
-chronotography: still images that recorded
incremental movement and formed the basis of
cinema
1890’s-1920’s
-1895 birthdate of movies when Auguste and
Louis Lumiere successfully joined two key
elements: 1. Recording a sequence of images on a
flexible, transparent medium
2. projected the sequence on technology called
Cinematogrophe

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-filmstock: consists of flexible backing or base:
i.e. celluloid (highly flammable so most silent
films are lost
-panchromatic stock: film stock with a full
spectrum of colours, creating a more realistic
image
1930’s-1940’s
-technicolour: was a three strip process which
recorded different colours separately to create a
single image with a full colour spectrum
-camera lens: curved piece of glass at the front of
the camera which redirects light rays in order to
focus and shape images
-changed significantly in this time in
terms of lens speed (determines how much
light an aperature allows to be gathered)
-focal length: the distance from the center of the
lens to where light rays meet in sharp focus
-alters perspective relation of image
-wide angle lens: short focal length
-cinematographers could explore a depth
of field that would show different visual planes
simultaneously
-telephoto lens: long focal length
-zoom: variable focus length
-these perspective ranges meant better
resolution, more depth of field, wider angles,
more frame movement
-handheld light cameras developed
1950’s-1960’s
-widescreen processes: changed the size of an
image by widening it
-anamorphic lens: squeezed a wide angle view
onto a 35 mm film strip and then unsqueezed it
when projected
-most movies were shot in colour
-images were distorted through filters, flares,
and photo lenses
1970’s-1980’s
-camera movement enhanced by steadicam:
stabilization device allowing operator to follow
action smoothly and rapidly
-Imax+Showscan projection systems store 3x as
much information as a 70mm film image and
creates remarkably dense and detailed images
1990’s and Beyond
-digital future
-mini DVR
-non-linear editing
Editing:
Definitions
-Editing: the process through which different
images and shots are linked
-shot: a continuous length of film
-chronology: the order to which shots or scenes
convey the temporal sequence of the story’s
events
-flashback: follows one or more images of the
present with one or more of the past
-sequence shot: an entire sequence plays out in
one take
History, technological innovations and
related movements
1895-1920 Early Cinema and Classical Editing
Stlye
-crosscutting/parallel editing: alternating
between two or more strands of simultaneous
action
1924-1929 Soviet Montage
- montage: style emphasizing the breaks and
contrasts between images joined by a cut
1929-1950 The Studio Era Continuity Editing
to New Realisms
-continuity editing: the use of cuts and other
transitions to establish a coherent time and
space
-cinematic realism became established as one of
the primary aesthetic principles in film editing
1959-1989 Modern Disjunctive Editing
-disjunctive editing: calls attention to the cut
through spatial tension, temporal jumps,
rhythmic or graphic patterns
-disorients/confuses viewer
-jump cuts: edits that intentionally create gaps in
the action
1990-Present Editing in the Digital Age
-computer-based non-linear digital editing
systems
-film footage is stored as digital info on computer
drives
-takes can be organized and accessed instantly
-flexible and efficient
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