DOCSLIB.ORG

Exam Study Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exam Study Guide STREAMING TV Exam REVIEW GUIDE: Film Technologies & Cinematic Techniques Types of Questions 1. Shot Composition and the SEMIOTICS of film Applied concepts, shot terminology and impact (WA, ES, MS, OSS, CU, ECU), shot compositions, interview set up and composition, establishing shots, montage/sequence analysis (visual, audio, dialogue, editing tactics). Qualify your answers with illustrative examples which are drawn directly from the readings, shots, and streaming TV clips 2. STORY DEVELOPMENT & PROGRESSION. Application of Reading & Theory Story Development- Hook, Intro, Turning Points, Acts, etc. 3. STREAMING TV Development The evolution of major players in streaming television (e.g., Netflix, Amazon, Disney) 4. SCREENINGS: Critical analysis of in and out of class screenings and semiotic moments. Review screenings and screening guides. 5. Canon D80 cameras. Strong and detailed working knowlegdge of Canon D70 cameras (the 18-135mm lens) – menus, options, settings, lens features, audio, etc. 6. Premiere Pro & Camtasia basics. Strong and detailed working knowledge of Premiere Pro and Camtasia— This includes basic editing, key Frames, working with different types of hiDef footage, audio/video layers, screen capture, exporting (be able to describe step-by-step sequence/approaches in Premiere or Camtasia and your HD). 7. Digital Memory Resources: Working knowledge of SD Cards, Portable/external hard drives, and Network (TLDAT) resources. You’ll want to review: Important People/Terms/Ideas/Concepts/Technologies/Techniques— The power(s) of film, semiotic film analysis/deconstruction, types of shots—WA, MS, CU, ECU, OSS, POV…, shot angles HA, LA,EL, profile, straight on, LOOK room, diagonal perspective, foreground, middle ground, background, wallpapering, COMPREHENSIVE SHOT LIST/MAP, shaping actors performances, VOICE actors skills and talents, key frames, A-roll, B-roll, character details, shot sequences, the rule of thirds, plot development, coverage, shot composition and psychological impact video/TV crew members, log-line, turning points, capturing charisma, natural sound, vignettes (or montage set piece), pixel aspect ratios, FPS, editing to music, thinking like a director vs. a producer, Canon 80D camera operations, SD Cards, motivated b-roll and illustrative images, 3-Act dramatic structure, crisis points, complications, video sizes for HDFull ResHDUltra HD(4K), titling, transitions, shot speed/duration, video transitions, microphone pick-up patterns, audio levels, audio fades, time code, adding black, zooming, tripod use & set up, organizing an effective/creative film production, layering video tracks, the rough cut, time code, invisible editing, establishing shots, role of editors and directors, shaping actors performances, H264, Dziga Vertov, the Kuleshov Effect, Sergei Eisenstein, Edward S. Porter, D.W. Griffith, Quentin Tarantino, Spielberg, the studio system editing, the “objective” eye in editing, fast cut editing, TV, animation, video games, etc. Readings/Web Resources Colin McGinn— The Power of Film, Book Chapters Podcast interview with Ted Sarandos Roland Denning, Is TV the New Cinema? Guardian Netflix to Resume Filming the Witcher Marilyn Horowitz, How to Write a Film Treatment + Sample Treatment BBC TV Watching and Online STreaming Surge During Lockdown Brian Pogue – Framing Good Shots 10 Tips for Location Scouting Jim Stinson—Shaping Actors Performances Robert Nulph, Small Crew Directing Jim Stinson--The 7 Deadly Camera Sins Adobe Tutorials Dorian Scott Cole—Five Power Points in Stories Tips for Editing on Your Laptop Canon 80D Don’ts info sheet Semiotics of Cinema + Film Language Michael Kelley, Stealth Directing: Getting the Most Out of Real People The Art of The Documentary Interview as Actors Hal Robertson, 10 Ways to Build Your Voice-Over Skills Variety, After Truth Article Salon.com Relentless Capitalism Screenings: See the FULL list of screenings on the Streaming TV Course web site. .
Load more

Recommended publications
  • Aural Expressionism and Montage in Hitchcock's Blackmail
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Summer 6-25-2012 There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The irB ds Laura D. Borger [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Borger, Laura D., "There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The Birds" (2012). Research Papers. Paper 260. http://opensiuc.lib.siu.edu/gs_rp/260 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS by Laura Borger B.A., Southern Illinois University, 1998 B.S., Southern Illinois University, 1998 M.S., Southern Illinois University, 2003 A Research Report Submitted in Partial Fulfillment of the Requirements for the Master of Arts Department of English in the Graduate School Southern Illinois University Carbondale August 2012 Copyright by Laura Borger, 2012 All Rights Reserved RESEARCH REPORT APPROVAL THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS By Laura Borger A Research Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of English Approved by: Scott McEathron, PhD, Chair Graduate School Southern Illinois University Carbondale June 25, 2012 AN ABSTRACT OF THE RESEARCH REPORT OF LAURA BORGER, for the MASTER OF ARTS degree in ENGLISH, presented on June 25, 2012, at Southern Illinois University Carbondale.
    [Show full text]
  • COM 320, History of the Moving Image–The Origins of Editing Styles And
    COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9.
    [Show full text]
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
    [Show full text]
  • Digital Film & TV
    DiGiTal Film & TV Exam REVIEW GUIDE: Film Technologies & Cinematic Techniques Types of Questions 1. Short Answer-- Qualify your answers with illustrative examples which are drawn directly from the readings, shots, and film clips 2. Shot Composition and SEMIOTICS applied concepts, montage/sequence analysis (visual, audio, dialogue, editing tactics) 3. Application of Reading/Theory Questions Application of ideas from readings and screenings. Reading theory/concept to actual practice and examples 4. Film Development, Scripting, Conceptualization and PlanningKnowledge of the “behind the scenes” development and conceptual structure of filmmaking 5. SCREENINGS: Critical analysis of in and out of class screenings and semiotic moments 6. Strong and detailed working knowlegdge of Canon D70 cameras (the 18-135mm lens and tripod) – menus, options, settings, lens features, audio, etc. 7. Strong and detailed working knowledge of Premiere Pro CC— This includes Editing, Titling, Key Frames, working with hiRes stills, basic effects, Audio, Transitions, Exporting (Premiere—step-by-step sequence/approaches) 8. Working knowledge of Camtasia Studio 9. Working knowledge of Digital Memory Resources: This includes SD Cards, Portable/external hard drives, and Network (TLDAT) resources 10. Black Box ScreeningQuestion You’ll want to review: 1. Readings, terminology, class notes, course links, Premiere operations, screenings! DigiFilm&TV COURSE LINKS Page 2. Be able to CONVINCINGLY "deconstruct" the semiotics of film/TV stills and sequences using variety of terms
    [Show full text]
  • Documentary: Data: Montage’ Jon Dovey & Mandy Rose
    1 ‘We’re Happy and We Know It : Documentary: Data: Montage’ Jon Dovey & Mandy Rose Abstract This article is concerned with the social praxis of documentary in the sea of ‘ubiquitous data’ that is both consequence and driver of online social mediation. The topic is given importance by the morphing of the character of video in the context of the latest web coding language, HTML5. Until now web video has been impervious to its networked context; reproducing the conditions of the TV screen in a hypermediated space. Now existing databases and live information drawn from social media can be connected to the documentary environment, offering opportunities for the production of new kinds of knowledge and application. The affordances of networked connectivity offer the potential to re-contextualise documentary material through mobilising the enormous co-creative potential of human discourse captured in the web. The challenge in these marriages of mass media form and rhizomatic network is to find new ways of shaping attention into a coherent experience. To do so we have to re-invent the social praxis of documentary, creating new visual and informational grammars. Contributor’s Details Jon Dovey is Professor of Screen Media at the University of the West of England. He is the Director of the Digital Cultures Research Centre (http://www.dcrc.org.uk/). He also heads up REACT, the AHRC Creative Economy Hub for Wales and the West that aims to connect arts research with the Creative Economy. He was a film maker and video artist before becoming an academic. He has been working with Mandy Rose and the iDocs team at DCRC, see more at http://i-docs.org/ .
    [Show full text]
  • Choices in the Editing Room
    Choices in the Editing Room: How the Intentional Editing of Dialogue Scenes through Shot Choice can Enhance Story and Character Development within Motion Pictures Presented to the Faculty of Liberty University School of Communication & Creative Arts In Partial Fulfillment of the Requirements for the Master of Arts in Strategic Communication By Jonathan Pfenninger December 2014 Pfenninger ii Thesis Committee Carey Martin, Ph.D., Chair Date Stewart Schwartz, Ph.D. Date Van Flesher, MFA Date Pfenninger iii Copyright © 2014 Jonathan Ryan Pfenninger All Rights Reserved Pfenninger iv Dedication: To Momma and Daddy: The drive, passion, and love that you have instilled in me has allowed me to reach farther than I thought I would ever be able to. Pfenninger v Acknowledgements I would like to thank my parents, Arlen and Kelly Pfenninger, for their love and support throughout this journey. As you have watched me grow up there have been times when I have questioned whether I was going to make it through but you both have always stood strong and supported me. Your motivation has helped me know that I can chase my dreams and not settle for mediocrity. I love you. Andrew Travers, I never dreamed of a passion in filmmaking and storytelling before really getting to know you. Thank you for the inspiration and motivation. Dr. Martin, your example as a professor and filmmaker have inspired me over the last three years. I have gained an incredible amount of knowledge and confidence under your teaching and guidance. I cannot thank you enough for the time you have invested in me and this work.
    [Show full text]
  • Download File
    7/28/2021 After the Facts – These Edits Are My Thoughts – Women Film Pioneers Project ← Projections index Print After the Facts – These Edits Are My Thoughts by Karen Pearlman, Jane M. Gaines This content was originally published online in an issue of [in]Transition: Journal of Videographic Film & Moving Image Studies (vol. 6, no. 4, 2019) Contents 1. After the Facts 2. These Edits Are My Thoughts 3. Review by Jane M. Gaines After the Facts A film by Karen Pearlman (Macquarie University) - *embedded video appears here* [https:// wfpp.columbia.edu/2020/03/16/after-the-facts/] These Edits Are My Thoughts Film industries have, historically, poor records of opportunities and recognition of women. This lack of gender parity in screen industries is paralleled in the lack of studies of women filmmakers. There is, compared to the resources available on men, little written about the ways that women filmmakers have been influential on film form, and the ways their work informs film theory. For example, there are numerous books in English on male filmmakers of the Soviet Montage period Sergei Eisenstein and Dziga Vertov, but none to date on their colleague, teacher, and mentor, the highly innovative woman filmmaker, Esfir Shub. https://wfpp.columbia.edu/2020/03/16/after-the-facts/ 1/6 7/28/2021 After the Facts – These Edits Are My Thoughts – Women Film Pioneers Project Wright (2009) proposes that a corrective to the analytic frameworks that efface women would be a “paradigm shift away from authorship and textual analysis and a move toward analysing industry practices and cultures of film and media production” (10).
    [Show full text]
  • 1 DEPARTMENT of FILM YORK UNIVERSITY FACULTY of FINE ARTS COURSE OUTLINE Course: Recycled Images: from Found Footage to Digita
    DEPARTMENT OF FILM YORK UNIVERSITY FACULTY OF FINE ARTS COURSE OUTLINE Course: Recycled Images: From Found Footage to Digital Remix Term: Winter 2013 Prerequisite: FA/FILM 1400 or FA/FILM 1401 or permission of the Film Department Course Instructor: Eli Horwatt Office: Centre for Film and Theatre, Room 204 Office Hours: by appointment E-mail: [email protected] Time and Location: Wednesday, 9:30-1:30PM (York ACE 004) Class Blog: http://recycledimages3360.wordpress.com/ Expanded Course Description Explores the diverse array of strategies, theories and historical trajectories of appropriation from the beginnings of cinema to current practices. The use and transformation of existing media in 20th century artworks signaled the rise of mass culture and the centrality of images in everyday life. Simultaneously, appropriated works posed provocative challenges to thinkers, artists and audiences forced to reconcile previously held positions on authorship and originality. The aesthetic and political practices of appropriated film and video will be placed in dialogue with other media like visual art and music. Major theoretical concerns will surround media critique, feminism, queer theory, post-colonial historiography and otherwise radical returns to the past. Students will engage with major forms of appropriation, including collage, readymades, essay and compilation films, detournement, parody, propaganda and documentary to examine the ethical and aesthetic motives for recasting moving images and more broadly question the emergence of this tendency in modern art. Prerequisites: FA/FILM 1400 or FA/FILM 1401 or permission of department. Course Learning Objectives: • Develop a familiarity with found footage film and video throughout the 20th and 21st century.
    [Show full text]
  • Video Production 101: Delivering the Message
    VIDEO PRODUCTION VIDEO PRODUCTION 101 101 Delivering the Message Antonio Manriquez & Thomas McCluskey VIDEO PRODUCTION 101 Delivering the Message Antonio Manriquez & Thomas McCluskey Video Production 101 Delivering the Message Antonio Manriquez and Thomas McCluskey Peachpit Press Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2015 by Antonio Jesus Manriquez and Thomas McCluskey Senior Editor: Karyn Johnson Development Editor: Stephen Nathans-Kelly Senior Production Editor: Tracey Croom Copyeditor and Proofreader: Kim Wimpsett Compositor: Danielle Foster Indexer: Jack Lewis Interior Design: Danielle Foster Cover Design: Aren Straiger Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark.
    [Show full text]
  • The History of Cutting - the Birth of Cinema and Continuity Editing
    The History of Cutting - The Birth of Cinema and Continuity Editing Primitive Cinema Which pioneer of early cinema “accidentally” discovered the jump cut? _______________________________ He is also responsible for 3 other editing techniques: A tableau is a scene shot from the ______________________ angle. Beyond the Tableau: The Birth of the Edit Edwin S. Porter took ________________ footage and mixed it with staged scenes to create a narrative. Temporal Overlapse is: _________________________________________________________ In The Great Train Robbery, Porter was able to cut between scenes without fades or dissolves, but most importantly without letting the scene reach it’s __________________________ end. Editing has the ability to compress _____________________ in favor of impact over reality. The basic unit of film is the ____________________________. D.W. Griffith and Continuity Editing Griffith made ____________ films for Biograph between 1908-1911 He helped push cinema past the tableau mentality to the __________________ shot medium we know today. One of Griffith’s first inventions was the ____________________, used in the Greaser’s Gauntlet. Continuity Editing: _______________________________________________________________________ 180 Degree rule implies that you keep the camera on one side of ___________________________________ Intercutting / Cross-cutting: ________________________________________________________________ Griffith’s film The Birth of a Nation is considered the first ________________________________. Which of Griffith’s film was the influence on Soviet filmmakers to come up with Montage Theory? ___________________________________________________ The History of Cutting - The Soviet Theory of Montage The Birth of Soviet Cinema The Moscow Film School was founded in _________________ and became the world’s first film school. The news reels made here were for: _______________________ & _________________________________ Lev Kuleshov brought new insight into the _______________________________ workings of motion pictures.
    [Show full text]
  • Revisiting the Kuleshov Effect with First-Time Viewers
    1 REVISITING THE KULESHOV EFFECT WITH FIRST-TIME VIEWERS 2 3 Sermin Ildirar1, 2, Louise Ewing1, 3 4 1 Department of Psychological Sciences, Birkbeck, University of London, UK 5 2 Cinema Department, Istanbul University, Turkey 6 3 School of Psychology, University of East Anglia, Norwich, UK 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 1 24 Dr. Sermin Ildirar is a Marie S. Curie post-doctoral research fellow at the Centre for Brain 25 and Cognitive Development, Birkbeck, University of London. She studied Film and Media 26 studies at Istanbul University and University of Vienna. She worked at the Knowledge Media 27 Research Center in Tubingen, Germany. She is currently continuing to investigate the role of 28 cinematic features on cognitive processes of the both adult and infant viewers. She has 29 articles published in journals such as Psychological Science and British Journal of 30 Psychology. She is also the director of several short movies and co-scriptwriter of a feature 31 movie and a computer game. 32 33 Address: Centre for Brain & Cognitive Development Department of Psychological Sciences 34 Birkbeck, University of London 32 Torrington Square London WC1E 7HX, U.K. 35 Tel: +44 (0)20 7079 0757 Fax: +44 (0)20 7631 6587 Email: [email protected] 36 37 Dr Louise Ewing is a lecturer at the University of East Anglia, Norwich. She studied 38 Psychology at the University of Western Australia. Her research specialism is face and person 39 perception. She has articles published in journals such as Perception, Vision Research and the 40 Journal of Experimental Psychology.
    [Show full text]
  • Outline of Key Areas 1. Definition 2. Dimensions 3. Continuity Editing 4
    EDITING ESSENTIAL CONCEPTS OUTLINE OF KEY AREAS 1. DEFINITION 2. DIMENSIONS 3. CONTINUITY EDITING 4. ALTERNATIVES TO CONTINUITY EDITING 1. DEFINITION • The coordination of one shot with the next • Shot: – One or more exposed frames in a series on a continuous Length of fiLm stock. – An uninterrupted run of the camera • These joins of shots can be of different sorts fade-out fade-in dissolve wipes Types of joins • Fade-out: gradualLy darkens the end of a shot to bLack • Fade-in: Lightens a shot from bLack • DissoLve: briefLy superimposes the end of shot A and the beginning of shot B • Wipe: shot B repLaces shot A by means of a boundary Line moving across the screen. Both images are briefLy on the screen at the same time, but they do not bLend, as in a dissolve Types of cuts - cont • In the production process fades, dissoLves, wipes are optical effects • They are typicalLy executed in the Laboratory • The most common means of joining two shots is the cut 2. DIMENSIONS OF EDITING • GRAPHIC • RHYTHMIC • SPATIAL • TEMPORAL 2. DIMENSIONS OF EDITING - cont • Editing offers the fiLmmaker four basic areas of choice and controL: 1. Graphic reLations between shot A and shot B 2. Rhythmic reLations between shot A and shot B 3. Spatial reLations between shot A and shot B 4. Temporal reLations between shot A and shot B Graphic reLations between shot A & shot B • Graphic may be edited to achieve smooth continuity or abrupt contrast • The fiLmmaker may Link shots by graphic simiLarities, making a graphic match • Editing need not be graphicalLy continuous • GraphicalLy discontinuous editng can be more noticeabLe – cLash from shot to shot, e.g.
    [Show full text]