Cinema & Media Studies Terms 1. 180 Degree Rule 2. Above the Line 3

Total Page:16

File Type:pdf, Size:1020Kb

Cinema & Media Studies Terms 1. 180 Degree Rule 2. Above the Line 3 Cinema & Media Studies Terms 1. 180 degree rule 45. French New Wave/ nouvelle 2. above the line vague 3. abstract 46. genre/sub-genre 4. actor 47. German expressionism 5. adaptation 48. handheld shot 6. aerial shot 49. Hays code 7. alternate ending 50. high-angle shot 8. anachronism 51. high-definition 9. angle 52. highlighting 10. animation 53. Hollywood blacklist 11. antagonist 54. iconography 12. arc shot 55. ideology 13. aspect ratio 56. insert shot 14. auteur/auteur theory/politique des 57. intertextuality auteurs/Cahiers du Cinema 58. iris 15. avant-garde 59. Italian neo-realism 16. backlighting 60. jump cut 17. balance 61. lighting 18. Black cinema-UK 62. long-shot 19. blaxploitation-USA 63. looping 20. blockbuster 64. low-angle shot 21. blue-screen 65. master shot 22. chiaroscuro 66. matte shot 23. cinema verité 67. medium shot 24. cinemascope 68. metaphor 25. classic Hollywood cinema/classic 69. mise en scene narrative cinema 70. montage 26. close-up 71. motif 27. compilation film 72. narrative film 28. continuity editing 73. obligatory scene 29. contrast 74. over-the-shoulder shot 30. crane shot 75. overture 31. cross-cutting 76. pan 32. cut 77. point of view shot 33. deep-focus shot 78. postcolonial theory 34. depth of focus/depth of field 79. protagonist 35. dissolve 80. Queer cinema 36. documentary 81. reaction shot 37. double-exposure 82. realism 38. editing 83. rough cut 39. establishing shot 84. script 40. expressionism 85. sepia tone 41. eyeline matching 86. sequence 42. film noir 87. shot/reverse angle shot 43. flashback 88. smash-cut 44. foreground 89. Soviet montage Cinema & Media Studies Terms 90. spectator/spectator- identification/female spectator 91. split-screen 92. star system/star as capital value 93. studio system 94. subjective point-of-view 95. tracking shot/traveling shot/dollying shot 96. transition 97. visual effects 98. voyeurism/fetishism 99. wide-angle shot 100. zoom .
Recommended publications
  • Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright.
    [Show full text]
  • Parallax Historiography: the Flâneuse As Cyberfeminist Catherine Russell, Concordia University, Canada
    Parallax Historiography: The Flâneuse as Cyberfeminist Catherine Russell, Concordia University, Canada "Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves. This is a dream not of a common language, but of a powerful infidel heteroglossia." Donna Haraway Haraway's cyborg manifesto may seem an odd choice of theoretical paradigms for developing insight into silent cinema; and yet I would like to suggest that new media technologies have created new theoretical "passages" back to the first decades of film history. The flâneuse, an imaginary construction of female subjectivity who is our guide in this journey, is herself a cyborg. She figures the relationship between women and technology as a mobile, fluid and productive means of, in Haraway's words, "building and destroying machines, identities, categories, relationships, spaces, stories" (1997: 482). Recent developments in film historiography by feminist theorists have shifted the emphasis from textual analysis of the woman onscreen to the invisible history of the spectator-subject. As Patrice Petro puts it, "In contrast to formalist film historians, who seek to recover what is increasingly becoming a lost object, feminists have been primarily concerned to unearth the history of the (found) female subject" (1990: 11). This is a discovery that calls for discourse drawn from the utopian genres of techno-feminism. That this "discovery" of female subjectivity has been motivated by the parallels between early cinema and new imaging technologies is, I believe, a fundamental aspect of the new feminist film historiography. The term "parallax" is useful to describe this historiography, because it is a term that invokes a shift in perspective as well as a sense of parallelism.
    [Show full text]
  • After the Shooting Period the Editor Made a First Rough Cut of the Movie on His Own Only Guided by the Script and Some General Discussions with the Directors
    After the shooting period the editor made a first rough cut of the movie on his own only guided by the script and some general discussions with the directors. This first rough cut was 2 hrs 40 min long. (the final film is near to an hour shorter) Below follows the director’s reactions to the first rough cut London/Amsterdam 22 april 2015 Ok Antonio below some notes please take them as a guidance not as a verdict, use them, abuse them and let them broaden your thinking instead of limiting the possibilities. Sc 1/2 – opening scenes The original plan was to not see Arthur and Vida together until they emerge on the rooftop sc 4 where they’re still partially disguised in their weird outfits. The underlying thought was that they were still hiding their souls towards each other and the audience’s journey was piggy bagging on their journey. The rave material does not support the above thought. We see them –I think—quite clearly and very often together. We should investigate your suggestion to ‘mix’ the intro shots of awakening London, the pigeons, the skin details and the rave, while hearing the voice-overs apres l’amour. The script –at the moment—does not challenge time concept, all is linear, but that shouldn’t stop us from trying. Sc 4 – Rooftop The intention is to capture that short moment in love where you don’t want to see each others demons yet, where the adrenaline rush of believing love is possible still rules. Goofing is the expression of that belief.
    [Show full text]
  • Finding the Way: Films Found on a Scrap Heap1
    FINDING THE WAY: FILMS FOUND ON A SCRAP HEAP1 Tom Gunning Abstract: Some filmmakers restrict their manipulations of found footage to the minimal act of presenting a film they have discovered with almost no changes. But others have subjected found footage to extensive editing, chemical manipulation, rephotography, or new soundtracks (or all of these processes combined). In this brief essay I cannot hope to cover all the permutations of this rich genre of experimental film, nor to mention all of its numerous practitioners (and I will deal with the visual image more than sound). However, I do want to give a sense of the range of approaches that exist using found footage to mention a few of its masters. Keywords: found objects, found-footage, archival filmmaking 1 First published in BLOEMHEUVEL, Marente; FOSSATI, Giovanna; GULDEMOND, Jaap (org.). Found Footage: cinema exposed. Amsterdam: Amsterdam University Press/ Eye Film Institute, 2012, p. 49- 55. Uma publicação do LAICA-USP - Volume 3, Número 5, Junho de 2014 FINDING THE WAY – Tom Gunning Modern art made from found material often takes the form of a Dadaist joke – a work of “anti-art” that questions our assumptions about the value and nature of art generally. Marcel Duchamp’s 1917 “sculpture,” Fountain, a ready-made urinal placed on a pedestal for exhibition and signed “R. Mutt,” remains the most famous and powerful example of this nihilist attitude. Attacking idealizing traditions that see art as the expression of eternal beauty or individual genius, Duchamp’s work shocked viewers and raised a series of questions that became crucial to twentieth century art: the difference between industrial mass production and the traditional work of art; the very nature of authorship in the arts (“R.
    [Show full text]
  • Prelude CC Help
    ADOBE® PRELUDETM Help and tutorials October 2013 Contents What's new................................................................................................................................................... 1 What's new in Prelude CC......................................................................................................................................................2 What's New in Adobe Media Encoder CC............................................................................................................................ 10 What's New in Adobe Premiere Pro CC June 2013 release (version 7.0)........................................................................... 16 Getting Started tutorials.............................................................................................................................. 28 About Prelude.......................................................................................................................................................................29 Working with Adobe Prelude................................................................................................................................................ 31 Workspace and workflow............................................................................................................................32 Linking Adobe Story scripts with movie clips in Prelude.......................................................................................................33 The Prelude Workspace......................................................................................................................................................
    [Show full text]
  • Filming the End of the Holocaust War, Culture and Society
    Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J.
    [Show full text]
  • Editing 2: Final Cut Pro X Basics
    Editing 2: Final Cut Pro X Basics Battle Creek Area Community Television 70 West Michigan Ave., Suite 112 • Battle Creek, MI 49017 • (269) 968-3633 • www.accessvision.tv What is editing? Editing is the post-production process, or anything that you do to a video after recording. Raw pieces are assembled into a coherent whole, by arranging them into a context that tells a story. Editing is referred to as the “invisible art”, because when it is done well, the viewer can become so engaged that they’re not even aware of the editor’s work. What can you do in the process of editing? The majority of editing work consists of trimming clips to remove unwanted sections and arranging the order of scenes. You can also remove/add sound, add narration and music and change the volume and sound mix. You can swap audio for video, apply special effects, add transitions between clips and add titles. Digital or “non-linear” editing is non-destructive; edits are easy to revise and you can assemble a program out of order. What CAN’T you do in the process of editing? No amount of editing can make bad footage good. Blurry or under-/over-exposed video and audio that is poorly-recorded cannot be fixed. Process Overview and Terms Final Cut Pro X is Apple’s professional non-linear editor. The editing workflow usually consists of these steps: 1. Collect source material: Import media (raw footage and any other source files) into Final Cut. 2. Organize media: Rename, tag and trim clips in preparation for editing into project.
    [Show full text]
  • Videographic Scholarship And/As Digital Humanities
    Videographic Scholarship and/as Digital Humanities Steve F. Anderson For cinema and media studies scholars, the emergence of two areas of scholarly practice—namely videographic scholarship and the Digital Humanities (DH)—has created opportunities for new forms of argumentation, analysis and research, as well as new venues for the dissemination of scholarly output related to the study of the moving image. While videographic scholarship and DH overlap in many ways, they also remain distinct, with few scholar-practitioners actively working in both realms. How can we understand this separation and begin to imagine a more productive relationship between them? Key to our understanding of both videographic scholarship and DH is the ongoing cultural contestation between images and data, bearing important implications for the ways each practice stakes claims about its access to new ways of knowing, researching and presenting information. I explore here some of those distinctions and overlaps, and suggest that the primarily image-based practice of videographic scholarship would benefit from adapting a process of serial review and revision derived from early experiments with data-based digital scholarship. Adapting these protocols to the specific needs of videographic scholarship would better support the scholarly benefits of process, evaluation and collaboration. The center of gravity in today’s understanding of DH lies with large-scale, computational analysis of machine-readable data (think of text-encoding initiatives in which vast collections of literary works are converted into searchable data). The “digital” in this understanding of DH offers one way 2 to bring computation into partnership with humanistic inquiry. However, this is not the only possible framework for recognizing the potential contributions of computation to the humanities.
    [Show full text]
  • Iraq War Documentaries in the Online Public Sphere
    Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ...................................................................................................................
    [Show full text]
  • Reassembling Documentary: from Actuality to Virtuality Emine Selmin Kara Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2011 Reassembling documentary: from actuality to virtuality Emine Selmin Kara Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Film and Media Studies Commons Recommended Citation Kara, Emine Selmin, "Reassembling documentary: from actuality to virtuality" (2011). Wayne State University Dissertations. Paper 354. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. REASSEMBLING DOCUMENTARY: FROM ACTUALITY TO VIRTUALITY by SELMIN KARA DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: ENGLISH (Film & Media Studies) Approved by, _____________________________________ Advisor Date _____________________________________ _____________________________________ _____________________________________ © COPYRIGHT BY SELMIN KARA 2011 All Rights Reserved ACKNOWLEDGMENTS This project would not have been possible without the intellectual, professional and emotional support of my academic mentors, colleagues from the documentary film community, friends, and family, who are spread across several countries and three continents. First of all, I am profoundly indebted to my chair and advisor, Richard Grusin, whose
    [Show full text]
  • Laura Mulvey
    6.1 Time at a crossroads: some background thoughts on Death 24 Times a Second: Stillness and the Moving Image in relation to the temporal imaginaries of the compilation film. (A condensed version of the Stanley Picker Public Lecture, delivered May 2017) I would like to reflect on ways in which the cinema offers images and patterns that confuse and fragment the linearity that so easily channels experience and representations of time. Although an inescapable forward movement from birth to death regulates all life, aesthetic, intellectual and historical perspectives all have the power to create varied imaginaries of time. While time is difficult to pin down, Laura Mulvey hard to articulate, to conceptualise, or imagine, society is ‘possessed’ by patterns of temporality, habitual and intangible, which form an essential part of its fabric and ideological structure. For some time there has been widespread reaction against temporal linearity, for instance, in radical challenges to historical narrative and avant-garde challenges to narrative film. But I am also suggesting that over recent decades questions about how time is visualised have taken on a higher profile. My last book Death 24 Times a Second: Stillness and the Moving Image was written in the late 90s/early 2000s, responded to and was in dialogue with, the period’s heightened ‘time consciousness’. It was in this conjuncture that I began to use the film/digital dialogue as an experiment with the representation of time, given that, with a touch of the button on the remote control, the linear drive of film narrative could be fractured and find stillness.
    [Show full text]
  • On the Meaning of a Cut : Towards a Theory of Editing
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity.
    [Show full text]