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- Title: film lecture test 2 notes
- Type: Notes
- School: Arkansas
- Course: COMM 1003
- Term: Spring
3 Chapter editing Editing involves decisions about which shots to include the most effective take (version) of each shot the duration of shots the arrangement of shots and the transitions between them. Regardless of the equipment used for filming and editing editing can strongly affect viewer responses. It can be used for example to 1. Promote continuity or disruptions 2 to superimpose images, 3 to juxtapose shots to make a point, support a feeling or mood, intensify the viewer?s reactions or show parallel subjects or events, 4 to affect the viewers sense of pace compress or expand time, and convey an enormous amount of information in a brief time. EARLY FILM EDITING The first films of the 1890s consisted of one shot or a series of one shot scenes By the time of the birth of a nation 1915, editing was used to maintain continuity while telling complex stories. In the 1920?s the editing of some soviet filmmakers conveyed a story and promoted ideas by the juxtaposition of shots BUILDING BLOCKS The shot is the most basic unit of editing. It is a piece of continuous film or videotape depicting an uninterrupted action or an immobile subject during an uninterrupted passage of time. A scene is a section of a narrative film that gives the impression of continuous action taking place during continuous time and in continuous space. A scene usually consists of one or more shots a sequence is a series of related consecutive scenes that are perceived as a major unit of narrative film Editors can use one or more of many possible transactions between shots such as a cut, lap dissolve, or wipe. Depending on conventions and context, editing transitions can be used to convey or reinforce information or moods. For example often a lap dissolve indicates that the next shot takes place at a later time or different location or both CONTINUITY EDITING Continuity editing, which is used in most narrative films, maintains a sense of clear and continuous action and continuous setting within each scene. Continuity editing is achieve in filming and editing by using eyeline matches. The 180 degree system and other strategies. The aim of continuity editing is to make sure viewers will instantly understand the relationship of subjects subjects to settings and shot to the following shot IMAGE ON IMAGE AND IMAGE AFTER IMAGE. A momentary superimposition of two or more images is possible in a lap dissolve as in the ending of the 1960 psycho Consecutive shots can stress differences or similarities. They may also be used to surprise amuse confuse or disorient viewers Reaction shots often intensify viewers responses usually a reaction shot follows an action shot but it may precede one or it may occur alone with the action not shown but only implied Parallel editing can be used to achieve various ends. Including to give a sense of simultaneous events contrast two or more actions or view points or create suspense about whether one subject will achieve a goal before another subject does PACE AND TIME Usually fast cutting is used to impart energy and excitement slow cutting may be used to slow the pace or help calm the mood. Depending on the context a succession of shots of equal length may suggest inevitability relentlessness boredom or some other condition Shifting the pace of the editing can change viewers emotional responses as in the excerpt analyzed from near the end of (battleship) Montage compresses an enormous amount of information, including story time, into a brief time as in the montage of team america Editing usually condenses time- for example by cutting dead time- but it can expand time- for instance by showing fragments of an action more than once DIGITAL EDITING Increasingly computers are being used for editing images are scanned into computers, edited there and transferred back to video tape or dvd or something FUCKING TERMS BITCH 180 degree system 129- used with reaction shots and continuity editing, goes back and forth between two subjects creating 180 degrees of perception Continuity editing 129-putting shots together so they flow unobtrusively and viewers always know where the subjects of a shot are in relation to other subjects in relation to setting. Used a lot with classic Hollywood cinema. Allows for the omission of minor details within scenes yet maintains the illusion of completeness Cut 122- the end of the first shot is attached to the beginning of the second shot. The most often used of all transitions it creates an instantaneous change in one or more of the following angle distance subject Cutaway shot 113-a shot that briefly interrupts the representation of a subject to show something else Dailies 114-the prints made from a days filming Eyline match 129-continuity editing move when the subject looks at something offscreen and the camera cuts away to where the subject is looking Fade out fade in 124-can provide a short but meaningful pause between scenes or sequences. Normally in a fade an image is gradually transformed to/from a darkened frame Fast cutting 145--effects the pacing, makes excitement chaos fast shots in brief durations Final cut 113-the last version of an edited film Footage 114-a length of exposed motion picture film Iris in 127-a widening opening reveals more and more of the next shot until it is visible. Iris out 127-the iris closed out by a constricting shape usually a circle Jump cut 123-a jump cut is a discontinuous transition between shots. For example one shot shows a woman running on a beach and the next shows her running away from the water. A jump cut is sometimes used to surprise or disorient viewers. Lap dissolve 124-or dissolve one shot fades from view as the next shot fades into view then replaces it KDGN Master shot 113- depicting where the story takes place, shows setting, usually long (blade runner) Match cut 122- maintains continuity between two shots by matching objects with similar or identical shapes or similar movements or both similar shapes or movements Montage 147-is a collection of scenes cutting dead time or a quick impressionistic sequence of images usually linked by dissolves superimpositions or wipes and used to convey passages of time, changes of place or any other scenes of transition Montage soviet 118-the early soviets in the 1910s who studied film and the art of editing, lev kuleshov dziga vertov, vsevolod padlocking sergei Eisenstein and GRIFFITH Nonlinear editing 150- access and edit shots in whatever order desired, it is awesome cause you can work on any part of the movie Pace 144-viewers sense of a film?s subjects being presented rapidly or slowly Parallel editing 140- or cross cutting the film shifts back and forth between two or more actions often suggestiong that the actions are occurring simultaneously Reaction shot 138- shots may be followed by reaction shots which are shots showing someone?s reactions to an event for example PULP FICTION Reel 115-a metal or plastic spool to hold film Scene 120-a section of narrative film that gives the impression of continuous action taking place during continous time and continuous space Sequence 120- a group of related scenes Shot noun 119-uninterrupted strip of exposed motion picture film or videotape made up of at least one frame Shot verb 114- the movie was filmed/shot Shot/reverse shot 130 -a way to promote continuity. A shot from over the first persons shoulder or to the side of it shows the face of a second person in the next shot the camera is behind or to the side of the second person and we now see the persons face Slow cutting 145-refers to consecutive shots of long duration or editing dominated by long lasting shots slows down the action Splice 122-an editing term to connect one shot directly to another, this is called a cut Superimpose 132-two or more images photographed or printed on top of eachother Take 113-version of a shot Wipe 126- the first shot seems to be pushed off the screen by the second shot. CHAPTER 4 SOUND The chapter briefly explains a few of the many ways that film sounds have been created. More important it explores some specific uses of a soundtrack?s four major components, possible sound transitions and general uses of sound in narrative films SPOKEN WORDS In films spoken words may take the form of dialogue monologues or narration Overlapping dialogue can create or reinforce a sense of nervousness stress and isolation Spken words such as those by darth vader may be distorted for effect Dialouge is invaluable for revealing a character?s ideas goals and dreams though often it does so more concisely obliquely and revealingly than conversation in life does Although spoken words can be extremely expressive many films and many film scenes rely heavily on visuals and use only limited spoken words SOUND EFFECTS Sound effects consist of sounds that objects make sounds that people make other than spoken words and ambient sound Some of the many possible uses of sound effects are to help create a sense of a location intensify a mood enhance a humorous situation or conceal an action Sound effects specialists have many options in manipulating sounds such as playing them backward, playing them faster or slower than they were recorded, constructing them and blending them in different prortions MUSIC Film music may serve countless functions such as to miror a films central conflic direct viewers attention establish place and time, suggest what a character feels or an animal is like and cover week acting Film music may reference earlier film music. Sometimes the same music is used other times an aproximation is composed and used In large budget movies sometimes the film music is selectd with an eye to future recorded music sales SILENCE Possible uses of silence in films include during dreams, to suggest dying or death, or to interrupt the regular rhythm of life?s sounds TRANSITIONS There are many possible ways to use sound between shots, such as to have the sound of the first shot end as the first shot does Sound transitions between shots are used to reinforce continuity or contribute to discontinuity GENERAL USES OF SOUND IN NARRATIVE FILMs Sound in narrative films may come from onscreen or offscreen and may derive from a source in the story or outside the story FUCKIN TERMS BIIIATCH Ambient sound 178-the sound atmosphere of a place that people tend not to notice Asynchronous sound 184-a sound from a source on screen that precedes or follows its source. Bridge 180-music or sounds used when transitioning scenes Foley artist 171-a person who creates and records sound effects as he or she watches the action in a film projected on a screen Narration 184-commentary in a film about a subject in the film or some other topic usually from offscreen Offscreen 183- sounds and music that are not suppose to be coming from something that is not being on seen screen Sound dissolve 165-a transition in which a sound begins to fade out as the next sound fades in and overlaps the first sound before replacing it Sound effect 168-a sound in film other than spoken words or music THX sound 161-a multiplayer sound system developed by Lucas film and used in selected movie theaters to increase frequency range audience coverage and dialouge intelligibility while decreasing low bass distortion Vitaphone 160- a large phonograph disc synchronized with the projector CHAPTER 7 Most fictional films including foreign films and animated stories exhibit the major characteristics of classical Hollywood cinema. Alternatives to classical Hollywood cinema include Italian neorealist cinema French new wave cinema European and american independit films from the 1960s to the present, bollywood, hong kong cinema, and dogme 95 films Classical Hollywood cinema Throughout the world classical Hollywood cinema has been the most influential group of fictional films in history Such films show one or more individualized characters with clear goals who face a series of problems in reaching them. These films stress continuity and the clear causes and effects of actions and they tend to use unobtrusive filmmaking techniques A film genre is a commonly recognized group of fictional films that share characteristics both filmmakers and audiences recognize as making the films members of the same general group Three widely studied film genres are the western film noir and the musical. Traditionally the western features civilization versus the wilderness and is set west of the Mississippi river in northern mexico or in the Canadian rockies Film noirs include scenes with low ilumination convoluted plots and complex flawed characters caught up in crime Musicals are widely various but they always give prominence to intermittent music and often alos dance and they are unrestricted in the type of music used and the setting and the subjects of their stories A genre film may be traditional or revisionist. Most westerns made since about 1950 for example are revisionist and vary widely from the traditional western Occasionally a film is a parody of a genre. A film may also be a combination of two or more genres such as horror and science fiction or western and musical Other cinemas Other fictional films such as Italian neorealist films French new wave cinema the European independent cinema since the 1960s bollywood hong kong cinema and dogme 95 films offer alternatives to classical Hollywood cinema Neorealist was a film movement in Italy during and after world war 2. Neorealist films which are a mixture of scripted and actual situations are located for the most part in real settings and show ordinary and believable characters caught up in difficult social and economic conditions such as poverty and unemployment. The endings of neorealist films tend to be unhappy. New wave films were a diverse group of French fictional films made in the late 1950s and early 1960s in reaction to the carefully scripted products of the French film industry and as explorations of more current subjects sometimes rendered with untraditional filmmaking techniques Since the 1960s films directed by such Europeans as Ingmar bergman Federico fellini Michelangelo Antonioni and luis bunel are also alternitives to classical Hollywood cinema. These films are likely to have a pace and intensity that approximate those of normal human experience. Compared to the films of the classical Hollywood cinema they are more likely to be explicit about sexuality than violence are less likely to belong to a genre and are more likely to be self reflexive American independent fictional films since the late 1960?s are made all over the united states not just in southern California have lower budgets than teir Hollywood counterparts are free of Hollywood studio creative control and tend to be more varied and less formulaic than movies of classical Hollywood cinema Bollywood is the most prominent component of the worlds largest film industry. Bollywood films typically offer a full mix of drama action comedy and romance with prominent dubbed songs an especially vital element. Often rooted in Indian mythology while exploiting current trends bollywood films display indias balance of tradition and modern life often through highly melodramatic plots involving multigenerational families like Hollywood in its heyday bollywood films rely on a star system that features favorite actors in familiar roles. As a popular cinema hong kong films resemble Hollywood movies in their reliance on character driven and goal oriented plots as well as familiar genres and stars. But hong kong films also draw on traditional Chinese elements such as martial arts and often rely on a highly kinetic style that breaks the bounds of realism. Hong kong cinema?s over the top action scenes and sudden shifts into low comedy seek to startle and jolt viewers rather than represent a convincing reality Danish filmmakers founded the dogme 95 movement which lasted from 95 to 02 dogme 95 directors more or less attempted to obey a set of rules called the vow of chastity which encouraged them to produce relatively inexpensive films that concentrated on relations between people instead of elaborate special effects supplemental lighting fantastic plots and genre conventions. The ideological aim of the movement was to help filmmaking to the people by lowering its costs Bollywood 327- a term that some use affectionately and others reject as derisive and condescending titling indias film industry Classical Hollywood cinema 292- classic formula movie telling having a few main characters, they have goals the goals are blocked and eventually they have a happy ending Conventions in films and other texts a subject or a technique that makers of texts and audiences have grown to accept as natural or typical in certain contexts =what the fuck does this mean Dogme 95 332take relations between well developed characters as their principal subject. They ignore the the larger economic and social relations of their characters Feature film 292 a fictional film that is at least an hour in length Film movement 302a group of films sharing innovative styles or subjects that emerges from the same country or region over a period of a few years and that is in opposition to the dominant cinemas of the time Film noir 302- dark crime driven movies like blade runner. French new wave 320diverse group of French fictional films made in the late 1950s and early 1960s as a reaction to the carefully scripted products of the French film industry and as explorations of more current subjects sometimes rendered with untraditional techniques Genre 294type of movie Independent film 323 326- non formulated lower budget films that expirement on stuff Italian neorealist 317 heavy but not exclusive use of nonprofessional acters mostly unaltered location settings and a chronological story Revisionist 297they ignore or challenge the fundamental tradtitions of the film genre LECTURE REVIEW Chapter 3 Editing Overview A. definition- the process of cutting a film into segments discarding some of them then reassembling the rest B. history American Tradition continuity editing ( DN Griffith) Invisible editing Computer editing Used to be shitty 2 European tradition montage sergei Eisenstein Makes editorial decisions visable and constructs meaning II Techniques A jump cut= abrupt shift from one shot to another that disrupts continuity montage B Match cut = abrupt shift between shots that perserves continuity Eyeline matches- look at something offscreen then sho what it is Match on action- action in first shot carried on by 2nd shot Cross cutting- parrallel editing- different places but at same time Shot reverse shot- scene shot then cut to direct opposite C time extending techniques Fade- image fading to black black to image Lap dissolve- superimposition at end of shot while another shot appears III Pacing A. pacing increasing/decreasing time between shots to speed up or slow down the mood and tempo of the film Types Fast cutting- decrease time between shots 4321 action Slow cutting- increase time between shots dwell Cultural expectations Fast cutting mtv MOVIE THE GENERAL Overview 1927 no sound Director writer and star bust Keaton slap stick comic Based on a real story but it was about a yankee Settin- no special effects in cottage grove Oregon 5. Costs 750 thou to make- most expensive comedy at the time B commentary Clips 1. Opening shot- match on action 2. Jonny and pictures fade Entering annabeles home match on action Johny on train rod fade Picture of johnny eyeline match Bridge collapse match on action I types of sound A spoken word diolauge/narration Gives personality Convey emotional responses Looping audio so audience can under stand not dubbing like the japs Sound effects- anything other than spoken words/music Foley artist- in charge of sound effects and doesn?t use natural sound C music vocal/ instrumental orchestrated or applied 1. Mirrors mood of action (can contridict) 2. Define setting 3. Reflects characters feelings 4. Identify a character 5. Sell cd?s D silence- makes the audience uncomfortable 1. Dreams 2. Death 3. Fear/alienation THE GRADUATE a. 1967 b. satirical comedy drama c. 7 acadamey award nom best director d. director mike nichols e. simon and garfuncle music f. key performances Dustin hoffman Ben Braddock Ann Bancroft mrs robinson Kathryn ross elaine robinson Clips Bens party- see the looping in the characters Scuba diving- sound effects make the scene functions of music Berkeley circa 1960?s scarborough fair Mrs robinson theme On the bus sounds of silence Chapter 7 Categories Types- large informal, group of films shares cultural ways to dramatise a story, classical Hollywood cinema Genres= smaller known, completely recognized category of films that share settings characters action plotlines and film techniques horror film noir Elements a. conventions- generally way of accepting stories/formats of genres- what I respect Inventions creative way of enacting to change identity or type/genre Urban cowboy, outland C interactive task= how does film meet conventional aspects of a category- anything intentional Classical Hollywood cinema A. presented in external world outside of action external observer b. one or more main char. Hannable and clarice c. main character has one or more goals gout out/catch bill D goals are blocked e. closure- characters reach goal f. clear causes and effects Techniuqes blend together The princes bride a. 1987 b. no single genre c. Rob Riner director d. worte by William goldman Characters cary elwes wetly Robin wright buttercup Fred savage grandson Peter faulk grandpa Passionate love/ family love Story comes to geather
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