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Chapter 1

FILM 1F94 Chapter Notes - Chapter 1: Semiotics, Long Shot, Cahiers Du Cinéma

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Scott Henderson

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Key Terms
Realism: A range of styles of lmmaking that attempt to represent that
attempt to represent reality as it is commonly perceived, with
emphasis on authentic locations and details,
long shots, lengthy takes,
and a minimum of distorting techniques.
Formalism: Applied to styles of lmmaking in which aesthetic forms
take precedence over the subject matter as content. Time and space
as ordinarily perceived are often distorted. Emphasis is on essential,
symbolic characteristics of objects and people, not necessarily on the
supercial appearance, Formalists are often lyrical, self-consciously
heightening their style to call attention to it as a value for its own sake.
Bird’s-eye view, bird’s-eye shot: A shot in which the camera
photograph a scene from directly overheard.
Documentary: A non-ction lm that represents actuality, depicting
people and situations that exists, or once existed, in the real world.
Documentaries often claim, or imply, an objective viewpoint, but they
inevitably select and shape (and sometimes fabricate) the reality
Avant-garde: From the French, meaning “in the front ranks.”
Unconventionally daring, progressive, or experimental in style. Those
artists whose works are characterized by innovation (often
controversial) are also referred to as “the avant-garde.”
Classical cinema, Classical paradigm: A vague but convenient term
used to designate the style of mainstream ction lms edited
according to conventions of
classical cutting
and structured by a
narrative with a clearly dened con1ict, complications that intensify to
a rising climax, and a resolution that emphasizes formal closure.
Slow motion: Shots of subject photographed at a faster rate than
twenty-four fps, which can projected at the standard rate, produce a
dreamy, dance-like slowness of action.
Crane shots: A shot taken from a special device called crane, which
resembles a huge mechanical arm. The crane carries the camera and
the cinematographer and can move in virtually any direction.
Editing: The joining of one shot (strip of lm) with another.
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