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FTVM MIDTERM STUDY Flashcards

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1
Q

Acousmatic sound / Acousmêtre

A

sound heard from something off-screen / the source of an off-screen sound

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2
Q

Anempathetic Sound

A

sound that contrasts with the emotions of the scene, ignoring the characters’ feelings, often creating irony or discomfort

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3
Q

Blocking

A

how actors are arranged and move in a scene; gaze at camera is rare

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4
Q

Broadcasting as an arm of the government

A

media owned and run by the government to promote its ideology (e.g. Nazi Germany’s state radio)

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5
Q

Broadcasting as part of the private sector

A

media owned by private companies, independent of government, focused on making money and appealing to audiences (e.g. NBC, CBS, Fox)

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6
Q

Broadcasting as part of the state but absent of political authority

A

A TV or radio station is owned or run by the government, but the government doesn’t directly control what’s on air

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7
Q

Classical hollywood cinema

A

a style of filmmaking that dominated American movies from the 1910s to the 1960s; includes:
- clear, linear storylines
- cause and effect logic
- continuity editing
- clear spatial logic
- invisible style

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8
Q

Close up

A

showing just the face primarily

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9
Q

Continuity editing

A

editing style designed to make cuts invisible and maintain a clear, coherent flow of action

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10
Q

Couch potato

A

someone who spends a lot of time sitting and watching TV

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11
Q

Cultural studies

A

Media images help shape our view of the world and our deepest values; learning how to read and criticize media images can help empower oneself in relation to dominant forms of media and culture

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12
Q

Cut

A

a simple transition from one shot to the next

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13
Q

Depth of field

A

the distance between the nearest in-focus area and the furthest in-focus area in your shot

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14
Q

Diegetic / nondiegetic sound

A

sound that exists in the world of the film; characters can hear it / sound that the audience hears but the characters do not

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15
Q

Dissolve

A

a shot that slowly transitions into the next

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16
Q

Documentary modes

A

different ways documentaries tell a story; how they present reality to the audience; each mode has its own style and approach (e.g. expository, participatory, reflexive, observational)

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17
Q

Empathetic sound

A

sound that matches or reflects the emotions of the characters on screen

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18
Q

Establishing shot

A

usually the first shot of a scene that shows where the scene is happening and who’s in it

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19
Q

Eye-line match

A

aligning the camera with the character’s gaze

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20
Q

Fade

A

the shot quite literally just fades

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21
Q

Family circle

A

refers to how families are portrayed on screen; their roles, relationships, and dynamics

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22
Q

Film silence

A

when there is no sound at all; no dialogue, music, or background noise

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23
Q

Gaze

A

how the camera, characters, and audience look at people on screen, and the power behind that look

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24
Q

Genre

A

the category or type of movie based on its style, themes, and story elements (e.g. horror, romance, western, comedy)

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25
High-angle shot
camera placed in vertically superior position to objects; “looking down”
26
Ideology
a set of beliefs or ideas that shape how people understand society and how it should work
27
Invisible editing
creates a sense of continuity, follows a set of established conventions, and integrates elements of narrative (“continuity editing”)
28
Invisible style
a style of film form that hides its techniques to create a smooth, natural, realistic viewing experience
29
Lighting
how a scene is illuminated; how light and shadow are used to create mood, focus, or meaning
30
LA rebellion
black UCLA filmmakers who challenged Hollywood stereotypes with political, community-based films
31
Long shot
full body is depicted
32
Long take
shot that runs for a long time without cuts; realistic and immersive
33
Low-angle shot
camera placed low in which the image appears to “look up” to the depicted figure/object
34
Match on action
action at the end of shot A is completed at the beginning of shot B
35
Medium shot
depicts the waist and up
36
Mise-en-scene
everything you see in a shot and how it’s arranged, like the setting, lighting, costumes, props, and actors
37
Montage
Editing shots together; creates meaning that a single shot alone cannot
38
Narrative causality
events in a story happen because of other events; one thing leads to another
39
Onscreen/offscreen sound
you can see the source of sound on screen / you can't see the source of sound on screen
40
Onscreen/offscreen space
Everything you can see in the frame / everything outside the frame, but still part of the scene (e.g. dog barking behind a wall)
41
Overlapping edit
an editing style in which an event or action is prolonged or repeated to maximize its visibility or impact on the viewer
42
Plot
the actual arrangement in the material of the work
43
Production code
a censorship code that regulated film content to ensure movies followed “acceptable” moral standards
44
Race films
films made with all black casts, made for black audiences, and shown in black theaters (1918 - 1945); provided work for black talent
45
Realism
a set of stylistic decisions and conventions that give viewers the impression of “reality”
46
Shot-reverse-shot
Editing a conversation by cutting between the two characters as they speak and react
47
Soundscape
All the sounds in a scene or film, including dialogue, music, and background noise
48
Sound editing
creating and choosing the sounds
49
Sound mixing
balancing the sounds
50
Sound prelap
when a sound from the next scene starts before the current scene ends
51
Stereotype
a simplified, repeated portrayal of a group that reinforces certain ideas or attitudes and can change over time
52
Story
the mental construct of all narrative information placed into chronological order
53
Television as a cultural forum
television is a place where society discusses ideas, values, and issues
54
Three-point lighting
creates a main focus on the star, offsets shadows, creates illusions of depth, and sets the star from others or the background
55
Under lighting
light from below; creates an eerie or scary look
56
Vast Wasteland
Newton Minow’s critique that TV was filled with low-quality, shallow, and repetitive programming that failed to educate or serve the public good
57
Wipe
a new scene wipes across the old scene
58
How Can We Define Documentary
Nichols - King of Kong - Stresses the importance of evidence, indexical images (images that bear a direct trace of reality), and the persuasive power documentaries have in shaping viewers' understanding of the historical world. Viewers by presenting an interpretation of real events and people - participatory mode
59
We Too Are America
Gateward - Illusions (maybe Nope) - Talks about the race inequalities and uses independent and self-reflexive films to challenge these constructs, reclaim authentic representation, and demand inclusion and equality. Gateward is about exclusion of minorities. Argues that confronting Hollywood's racial and gender biases is essential for transforming national cinema. Hides black talent.
60
Racism and Mainstream Media
Lopez - Nope - Goes against stereotypes, Jordan Peele's films are not conventional, always starring black actors, with exploitation being involved. Lopez sees hope in various forms of resistance, activism, and changing tactics. Black people aren't as represented in the media industry.
61
Screening America
Mittell - Modern Family - Traditional vs non conventional family roles, modern family has a gay couple with an adopted daughter. Goes against the norms of a "normal" family. American television plays an active role in constructing cultural norms and ideologies, rather than simply reflecting reality.
62
Critical Hearing
Johnson - Close up - You need to understand the sound of the film to understand what is happening since it's in a different language and learning how to analyze sound can help shape the way viewers watch a film compared to just analyzing visuals.
63
Film Bodies
Williams - One Cut of the Dead - Genre switches from horror to comedy. Analyzes the appeal, function, and structure of three "body genres" in film: pornography, horror, and melodrama. Crying for melodramas, Shaking (fear) for horror and Physical razzle for pornography
64
Visual Parameters of Women in Film
Benshoff and Griffin - Gilda - "visual parameters" of film shape how audiences understand gender. Women are often portrayed as passive, emotional, or dependent, while men are depicted as active, rational, and in control. The reading argues that film does not simply "show" women objectively; instead, it constructs women through camera work, lighting, costuming, framing, and storytelling. Same with Gilda
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