Vocab # 1 Comedy in Film

1. black comedy - looking at the grim with a grin;” black comedy finds humor in serious (e.g. death, terminal illness, etc.) Fargo, The Cable Guy, Dr. Strangelove

2. breakaway furniture - specially constructed props made from light-weight materials that easily break apart; often used for fight scenes.

3. spoof - a film that playfully imitates the style of a serious work. Airplane, Austin Powers, Hot Shots, The Naked Gun, Blazing Saddles, Spaceballs, Scary Movie, Epic Movie, Superhero Movie, Walk Hard: The Dewey Cox Story

4. satire - a film that criticizes the style of a serious work by harshly mocking it. The Graduate, Bulworth, Wag the Dog, And Justice for All

5. mime (pantomime) - instrumental in silent films, speechless acting out of a character and his actions.

6. improv (improvisation) - an actor ad-libs his character, acting out a scene without a script or rehearsal. Whose Line Is It Anyway?

7. slapstick - violent actions used for humorous effect. e.g. The Three Stooges, Chris Farley.

8. double take - a delayed comic reaction in which an event goes unnoticed until the actor suddenly acknowledges it.

9. pratfall - falling on one’s bottom for comedic effect.

10. schtick - a Yiddish term for a comedian’s trademark talent e.g. Louis Black’s fits of rage

Comedy in Television

11. sit-com (situation comedy) - a television comedy that focuses on the natural humor of a particular setting, purely a television term.

o an office in Scranton (The Office)o various locations in Manhattan (Seinfeld)o twenty-somethings (Friends)o Springfield (The Simpsons)o a bar (Cheers)o family animation (Family Guy)

12. dramedy - a genre which combines the elements of drama and comedy; also known as “serio-comedy,” for serious comedy.

13. sketch - a short comedy routine with actors staged in a pre-planned situation. e.g. Saturday Night Live, Mad TV, The Young Ones, The Second City, The Upright Citizen’s Brigade, Monty Python’s Flying Circus

14. laugh track - a recording of laughter used only in television comedy shows; also known

as “canned laughter.”

Vocab # 2 Camera Framing and Angles

The framing and angle of the camera dictates how the viewer is to perceive the action in any given shot. The director uses the camera to give the viewer an idea of the space involved (Is an entire cathedral in the frame or just the stained glass window on the door?) or the angle of vision (Do we look down on the subjects in a “bird’s eye view,” or do we look up in a “snake’s view”?). The following are common examples of framing and angles.

FRAMING

1. The extreme long shot is a shot filmed from a far-away location relative to the subject; often used for an establishing shot.

2. The long shot is a shot in which the subject is framed completely from head to toe or top to bottom.

3. The medium shot is a shot in which the subject is framed from a medium distance e.g. the waist up

4. The close-up is a shot taken from a close distance in which the subject is magnified to appear relatively large and fill the entire frame to focus attention.

5. The extreme close-up is a shot taken from an extremely close distance in which the subject is magnified to appear very large to vividly emphasize its importance.

6. In a canted frame all figures appear slanted. The frame is shifted to the right or left diagonal. This style of framing often symbolizes a character in peril.

ANGLE

1. the straight-on angle

a shot in which the figure is framed at eye level, the most common angle

2. the low angle

a shot in which the camera is operated from beneath the figure with the viewer’s perspective looking up at the figure, often implying strength or triumph.

3. the high angle

A shot in which the camera is operated from above the figure with the viewer’s perspective looking down on the figure, often implying weakness or defeat

4. bird’s eye view - a shot that is taken from an aircraft or extremely high crane and implies the observer’s omniscience; also known as “aerial view.”

Vocab # 3 Camera Movement

1. pan - the horizontal movement of a camera head on the axis of its tripod.

2. tilt - the vertical movement of the camera head on the axis of its tripod.

3. boom or crane - a pole-like device for holding the microphone in the air, out of camera range

4. zoom – a lens of variable focal length, normally used for swiftly magnifying a distant object or for moving rapidly away from a close object.

5. establishing shot – the opening shot of a sequence which creates the context of setting or location.

6. insert shot – a close-up image inserted into a scene, usually to give the audience a closer look at what the character on screen is seeing, such as a letter or photo.

7. two-shot - a medium or close-up shot of two people, often in dialogue with each other, to provide contrast between the two characters.

8. reaction shot – a close-up or medium shot that focuses on a particular character’s reaction to the events in a film.

9. arc shot - a shot in which the subject is photographed by an encircling or moving camera.

10. tracking or trucking shot – the movement or a camera on a dolly: forward, backwards, or to one side, also called a “dolly shot”

11. rack focus – to adjust the lens during a shot so that the subject is in focus, switching focus from the foreground to the background and vice versa.

12. dolly – a trolley on which a camera can be horizontally moved about on tracks during shooting.

13. running shot – a shot in which a moving camera keeps pace with a moving subject.

14. Steadicam - a hand-held, camera with a special mechanical harness that allows the camera operator to take relatively smooth and steady shots while moving along with the action; the resulting images are comparable to normal tracking shots on a wheeled dolly.

15. 180-degree rule - a rule that camera operators must follow -- an imaginary line on one side of the axis of action which the camera must not cross; otherwise, there is a distressing visual disorientation.

16. depth of field - the depth of composition of a shot where there are several planes: foreground, middle-ground, and background in which the elements captured in a camera image appear in sharp or acceptable focus.

Vocab # 4 Aspects of Mise-en-scene: Lighting

Lighting is more than mist the illumination necessary to film a shot. The lighting may create a feeling or atmosphere; it may provide contrasts that guide our eyes toward a particular area in the shot. A brightly-lit area of the frame will instantly demand our attention, whereas a dark area may go unnoticed or remain in mystery. Lighting may also create textures: the grain of wood, the curve of a face or the sparkle or a diamond. Lighting varies in quality, direction, and shadow.

THE QUALITY OF LIGHTING

hard lighting - lighting which creates crisp textures and clear-cut shadows.

soft lighting - lighting which creates gentle textures and fuzzy, diffused shadows.

THE DIRECTION OF LIGHTING:

frontal lighting - a “head on” light source positioned in front of the subject, eliminating shadows and producing a flat image.

side lighting - a light source positioned to the side of the subject, sculpting the features by hiding one side in shadow. This might emphasize cheekbones, noses, lips, etc.

backlighting - a light source positioned behind the subject so that it appears in silhouette with glowing edges to separate the subject from the background.

low or underlighting - a light source positioned beneath the subject, distorting the feature with shadow.

top lighting - a light source positioned above the subject, creating a heavenly illusion.

key light - the primary source of illumination on the subject.

fill light - the secondary source of illumination on the subject, softening shadows that may be cast by the key light

THE SHADOWS CREATED BY LIGHTING.

cast shadow - created when an object obstructs the key light and throws its shade across the subject.

attached shadow - the shadows on the contours of the subject naturally created by the lighting.

Vocab # 5 From Start to Finish

1. screenplay or script - a novel or play adapted to film or an original work written specifically for filming.

2. treatment - a detailed preproduction literary summary or presentation of a film's story, with action and characters described in prose form without dialogue, often used to market and/or sell a film project or script

3. story board - a comic-style illustrated chart which visually maps out the shot-by-shot sequences as they will be filmed.

4. screen test - a filmed audition to determine an actor’s suitability for a film role.

5. blocking - the mechanical movements that a director coaches an actor to make, ensuring they are caught effective on film in coordination with camera action. This includes entrances, exits, etc.

6. leading man/woman - an actor who plays the principal role in a film, usually an “A-list” movie star who has his/her pick of roles.

7. photogenic - a person who is suitable for being photographed for artistic purposes.

8. dialect - the language of a particular district or class, An actor must master many dialects to make his characters believable.

9. pre-production - the planning stage in a film's production after the project is finally greenlighted and before principal photography or actual shooting commences; involves script treatment and rewriting, scheduling, set design and construction, casting, budgeting and financial planning, location scouting, etc.

10. post-production - the final stage in a film's production after principal photography, involving editing, the addition of sound/visual effects, musical scoring,

mixing, dubbing, distribution, etc.

11. closed set - filming done with only the essential crew present, usually to ensure privacy or secrecy.

12. gaffe - an error that remains in the theatrical release of the film, not to be confused with removed “outtakes” which often appear on home-use videos as “bloopers” features.

13. voice over - a character’s voice heard over the action of a film for narrative effect.

14. subtitles – an alternative to dubbing, a printed English translation of foreign dialogue at the bottom of a frame.

15. outtake – imperfect shot that required a retake. In a film a shot may be retaken many times until perfect. Outtakes are often humorous “bloopers.”

16. celluloid – the thin strip of transparent plastic coating that forms the film’s highly- flammable, light-sensitive base layer; also used as an adjective related to some aspect of cinema (e.g. “the celluloid hero”) or as a slang word for a movie.

17. rushes or dailies- a day’s shooting on film which is quickly developed in the lab, viewed by the director and staff to determine if retakes are necessary.

18. clapboard or slate – a small black or white board or slate with a hinged stick on top that displays identifying information for each shot in a movie and is filmed at the beginning of a take; the board typically contains the working title of the movie, the names of the director, the editor, and the director of photography, the scene and take numbers, the date, and the time.

19. credits – titles at the beginning or end of a film that list the creative talents concerned with production.

20. cast against type – a popular actor appearing in a role unlike his traditional ones, producing either a refreshing or disastrous result.

Vocab # 6 Who’s Who?

1. director - the most influential creator of the film who determines all aspect of filmmaking.

2. executive producer - a partner of the head producer. The head producer, who controls film budget and who delegates administrative responsibilities, is chiefly responsible for the film’s success or failure.

3. assistant to the director - an aide to the director who is concerned more with management details than with the creative process.

4. associate producer – a catch-all title which can range from an honorary title to an actual on-set aide to the executive producer, often a lower-level executive responsible for “finding” the movie idea.

5. casting director - the person responsible for interviewing and recruiting actors to the film project.

3. art director – an expert in architecture and design who is responsible for the film’s décor and set construction.

4. editor - a technical expert who works closely with the director to assemble the final print of the film, assembled from multitude shots and sound tracks.

5. cinematographer - an expert in photography, lighting, film stock, and camera movement, also known as the director of photography.

6. camera operator - a skilled technician who operates all camera focus and movement at the director’s instruction.

10. mixer - an expert in sound and microphone placement to achieve the best recorded on-set sound.

11. boom man - a sound crew technician who handles the microphone boom.

12. gaffer - the chief electrician on the set who achieves the effect designed by the cinematographer; his/her assistant is a “best boy electric.”

13. key grip - the head prop crew member; his/her assistant is a “best boy grip.”

14. stunt person – a highly trained substitute who replaces actors in dangerous situations.

15. cameo role – a brief walk-through role created specifically to feature a surprising, high- profile personality.

Vocab # 7

Notable Hollywood FirstsThe first fifty years of a one hundred year old industry

1890 The first “multiple image” camera is patented.

1893 The first motion picture studio is built. It is named the “Black Maria” and is built by Thomas Edison.

1894 The first short film, entitled “Fred Ott’s Sneeze” is produced at the “Black Maria.”

1896 The first public protest is voiced concerning the content of the short film “The Kiss.”

1902 The first special effects are employed by French director George Méliès in A Trip to the Moon

1904 The first narrative movie The Great Train Robbery is filmed.

1915 The first film to earn a one-million-dollar profit, D.W. Griffith’s The Birth of a Nation makes over two million dollars although it cost only $100,000 to make; it is subsequently banned by the U.S. Supreme Court for racist content.

1916 The first movie flop, D.W. Griffith poured his entire two-million-dollar earnings from The Birth of a Nation into Intolerance, a bloated production from which he loses all his previous earnings.

1916 The first high-paid actor, Charlie Chaplin earns $10,000 per week plus a $150,000 yearly bonus for his productions and portrayal of the beloved “little tramp.”

1919 The first horror film, the German-made The Cabinet of Dr. Caligari, features expressionistic sets, a mad scientist, and a zombie murderer.

1922 The first animal star, German shepherd Rin Tin Tin, barks his way onto the silver screen.

1927 The first “talkie,” The Jazz Singer delights filmgoers with its musical numbers.

1928 Animated star Mickey Mouse finds his voice in his first talking role, Steamboat Willie.

1930 U.S. movie attendance tops 70 million viewers per week, of a 123 million national population.

1939 The first box office smashes, Gone with the Wind, ten-time Oscar winner, and The Wizard of Oz, the most-watched film in history, hit theaters.

1941 The most critically acclaimed American film of all time, Citizen Kane, directed by Orson Welles, makes its theater debut.

Vocab # 8 Film Lingo A (terms to describe movies)

1. “B” movie – a low-budget production, originally screened to support a more important film in a double feature.

2. sword & sandal – a gladiator, Biblical, or Greco-Roman mythology film.

3. slasher/splatter – a graphic horror film which depicts physical violence and bloody gore.

4. chop socky – a martial arts film.

5. formula – a blockbuster production with a predictable, overused scheme or plot e.g. the renegade cop who works around the system to solve a case, perhaps for personal revenge.

6. prequel – the opposite of a sequel, depicts action that happened before the original film.

7. sequel – a film which continues the action and characters of an earlier film.

8. turkey – a film that flops in the box office.

9. sleeper - a movie that is released with little publicity, often directed by and starring relatively unknown people, that by positive word-of-mouth eventually becomes popular or financially successful beyond expectations.

10. horse opera - a Western film.

11. space opera – a science fiction film.

12. cinema verité - a French word that literally means "true cinema"; a method or style of documentary movie-making with long takes, no narration, impromptu interview techniques, a hand-held camera, and little or no editing of the finished product; usually made without actors and with a minimal crew.

13. film noir - a French phrase literally meaning "black film"; a genre of mostly black-and- white films that blossomed in post-war American cinema, with a somber, downbeat tone: the plot is often a quest, low-key lighting features night scenes, camera angles are often canted or high, the setting and symbols feature the gloomy underworld of crime and corruption, and voice-overs and flashbacks combine to present a dark atmosphere of pessimism, or cynicism; characters frequently include the private detectives and the treacherous femme fatale. e.g. Sin City 14. cult or underground film – underfinanced and often experimental films produced on a director’s whim, sometimes resulting in a non-mainstream “cult classic”

15. independent or “indie” - film small, low-budget companies producing and distributing films made outside of the major Hollywood studio system; also refers to a movie, director, distributor, or producer whose groundbreaking subject matter is designed for sophisticated audiences and is not necessarily produced with commercial success as the goal. Vocab # 9 Film Lingo B

1. IMAX - a specialized, big-screen film format about ten times larger than the traditional 35mm cinema format; IMAX film produces incredible high-definition sharpness and is projected on up to eight-story high screens in theatres equipped with advanced digital surround-sound systems.

2. greenlight - the “go-ahead” for a film to be made.

3. box office poison - a term of contempt for movie stars who lose popularity, typically making their subsequent films financial disasters.

4. paparazzi - an Italian term for pushy photographers who stalk celebrities in their private lives .

5. ballyhoo - an Irish term which denotes hype/publicity regardless of the film’s actual merit

6. casting couch – a term that implies the trade of sexual favors to a director or producer to obtain a film role.

7. “chew up the scenery” – self-indulgent hamming or overacting by a famous actor.

8. movie mogul – an important film industry executive.

9. MacGuffin - Alfred Hitchcock's term for an item, object, goal, event, or piece of knowledge that drives the logic or action of the plot; although it appears extremely important to the film characters, it often turns out to be insignificant.

10. product placement - advertising space within a film sold to name-brand companies for their products to appear within the film as a way for a producer to fund some film production costs.

11. studio system - the all-powerful control that monopolistic film studios had over all aspects of assembly-line filmmaking and film production from the 1920s until the late 1950s, when movie moguls such as Mayer, Selznick, and Zukor ruled ownership of property, control of publicity and marketing and brokered iron-clad contracts with star actors, directors, composers, cameramen, costume designers, writers, and producers.

12. Hays Code - named after Will Hays, a series of rigid censorship restrictions imposed on films by the Motion Picture Production Code, beginning in mid-1934 and lasting until the lat 1960’s; enforced/administered by Joseph Breen, the Code explicitly prescribed what couldn't be shown in films, e.g. "nakedness and suggestive dances," "methods of crime," "illegal drug use," "scenes of passion," "pointed profanity," etc.

Vocab # 10 THE AUTEUR THEORY

ORIGINS OF THE THEORY

The history of the la politique des auteurs or “auteur theory” began among European film critics. The word auteur, meaning “author,” is a French term originally applied to cinema by the film critic Andrew Sarris. The history of this theory, however, began after World War II among French critics writing for, at that time, the world’s most popular film magazine, the Cahiers du Cinema. A 1954 essay penned by Francois Truffaut outlined a tendency in the cinema toward noting the director as the creator and author of a film, therefore minimizing the role of any other single personality in film production. Certain directors were seen at this time as the driving force behind the film, and the film’s themes and images were seen as extensions of his/her personality and purpose behind filmmaking.

Some European auteurs of this time:

Fritz Lang (Germany) Robert Bresson (France) Luis Buñuel (Spain)Jean Renoir (France) Ingmar Bergman (Sweden) Alfred Hitchcock (GBR)

EXPANSION OF THE THEORY

Since American films were banned under the Vichy government of World War II, French cinema critics developed the auteur theory entirely around the European film industry. The American films made under the studio system were considered the work of lesser metteurs en scene or hired Hollywood hack directors. The American director was perceived as merely delivering a product purely to appease studio moguls’ box office demands, rather than for artistic merit. In the 1950’s and 1960’s, however, there was a critical reconsideration of the American cinema. Certain directors and their bodies of work were studied, and the trend of the auteur became visible under this new light.

Some American auteurs of the time:

D. W. Griffith Billy Wilder Howard Hawks Charles ChaplinJohn Ford Preston Sturges Orson Welles

Among these American auteurs are also considered the films of European directors who defected to Hollywood, such as Fritz Lang and Alfred Hitchcock.

Some modern-day auteurs:

Martin Scorsese Quentin Tarantino James CameronFrancis Ford Coppola Steven Spielberg

THE THEORY APPLIED

Although theorists insist upon examination of a film or body of films by stressing the overall finished product, the auteur theory is applied with two main considerations.

1) THEMATIC MOTIFS

Critics analyze the complete body of a director’s work, not just one single film, for recurrent themes or motifs that might reveal the director’s cinematic purpose or philosophy. This, naturally, may only be considered when comparing one film or more to others within his/her work. Often this type of analysis reveals trends, growth, and specific divisions or periods in the directory’s growth.

2) MISE-EN-SCENE AND CINEMATIC STYLE

Auteur theory critics consider the overall effect of a director’s films. Although a director may not exclusively create films dealing with a given topic, the atmosphere and creation of a believable cinematic world are considered through camera work, shot duration, editing, sound, etc. This school of the auteur theory considers familiar iconography and design as well.

Aspects of Mise-en-Scene

The French term mise-en-scene means “what’s put into the scene,” addressing the signature control that the director has over what appears in each camera frame. All aspects of mise-en-scene must contribute to this alternate reality, including settings, decor, props, actors, costumes, makeup, lighting, performances, and character movements. Thus, believable mise-en-scene requires thorough planning for each scene and attention to details for everything from lighting to costumes.

o The director cannot allow a Campbell’s soup can to accidentally appear in a Civil War film

o Nor can he allow jets to buzz the Chicago skyline in a 1930’s style gangster film. o Thus, believable mise-en-scene requires thorough planning of each scene and attention

to details for everything from lighting to costumes.

1. Setting

The filmmaker can shoot at the actual location where the film story takes place, or he/she can create detailed artificial scenery on a sound stage or studio backlot.

o Empire of the Sun was shot on location in China, and Rocky was shot in Philadelphia.o The Klondike snow setting in The Gold Rush is obviously man-made. Obviously, the

director has the most control over artificial scenery. For example, it cannot rain nor can there be insufficient lighting due to overcast weather in a controlled studio environment.

2. Costume and Make-Up

Clothing can instantly indicate the time period of the film, as well as the status of the characters. Creative make-up can create realism in the characters.

o In The Natural, the baseball uniforms and clothing in general indicate the 1920’s and 1930’s.

o Charlie Chaplin’s worn, oversized pants and undersized jacket in The Gold Rush indicate poverty.

o Tom Hank’s sores and gaunt, pale look in Philadelphia make him realistically appear to be dying of AIDS.

3. Lighting

Harsh, direct lighting creates a crisp image and reflects off the actors; whereas muted, gentle lighting creates a soft image that oven gives a sentimental feel.

o In The Killing Fields the heat of Cambodia is intensified when the reporters are held captive, squatting on the ground outside.

o In Empire of the Sun the soft light of sparks jumping off a Japanese zero emphasize Jim’s love for the plane.

4. Actor’s Movements

Often intensely coached by the director, an actor portrays a strong character with bold, confident movements or a weak character with quirky, self-conscious movements.

o In Empire of the Sun, Basie lounges lazily, seemingly without care. o On the other hand, Apollo Creed in Rocky exudes a victorious attitude through his

movements.o Fredo Corleone shrugs his shoulders and constantly adjusts his clothing in The Godfather.

Vocab # 11 Special Effects

1. F/X – an abbreviation for “special effects,” a term for various photographic tricks that create unreal, dangerous, or impossible situations.

2. matte shot – the optical process of combining separately-photographed shots (usually actors in the foreground and the setting in the background) onto one print through a double exposure that does not meld two images on top of each other; it is a photographic technique in which artwork from a matte artist, usually painted on glass, is combined with live action footage to provide a convincing setting for the action

3. animation – drawings or other graphic images placed in a sequence to portray movement.

4. superimposition - an optical printing process that exposes one image on top of another on the same piece of film stock so that they can both be seen at once.

5. morphing – the transformation of one digital image into another with computer animation. e.g. The Abyss, Terminator 2

6. CGI - Computer-Generated Imagery, the use of 3D computer graphics and technology in filmmaking to create images, special effects, and the illusion of motion.

7. blue screen/green screen – a process in which actors work in front of an evenly-lit, blue or green background or screen, which is then replaced in post-production with other footage or computer-generated images to form a complete image; since 1992, most films use a green-screen.

8. stop-motion photography – a special-effects animation technique where figures or models are shot one frame at a time and moved or repositioned slightly between each frame, giving the illusion of lifelike motion; one of the earliest special-effects techniques for science-fiction films, now replaced by CGI.

9. claymation – a more primitive form of stop-motion using moldable clay figures.

7. rear projection – a special effects technique to create backgrounds in which actors are filmed in front of a screen on which a background scene is projected; commonly used to produce the effect of motion in a vehicle.

8. glass shot – an elaborate set painted realistically on part of a pane of glass with the action shot through it, combining two images.

9. pyrotechnics – the use of explosives or ballistics in film.

10. foley – any sound effect recorded on a foley stage, a sound stage which contains material and props necessary for a foley artist to create post-production sounds in a film that must be recorded in synchronization with the film’s action.

11. postsynchronization – the post-production process of replacing unclear or garbled voices and sounds in a movie soundtrack, often referred to as “dubbing.”

Vocab # 12 Editing Techniques & Concepts

1. shot – an uninterrupted section of film produced by a single running of the camera.

2. scene – a series of shots that together comprise the smallest narrative unit of film.

3. sequence – a series of several scenes that together create a major emotional narrative in a film.

4. cut - a splicing together or two sections of film; the most abrupt transition between shots.

5. montage sequence – a series of shots edited together to music, developing the theme or emotional mood in a film and to quickly span time, preserving the pace of a film.

6. graphic match or match cut - a transitional technique in which two shots are linked by visual, aural, or metaphoric similarities.

7. bookends - scenes at the beginning and end of a film that complement each other and help tie a film together.

8. long take - a shot of long duration, not to be confused with a “long shot.”

9. short take - a shot of short duration.

10. fade-in (fade-out) – a dark screen that gradually brightens as a shot appears.

11. dissolve or mix – a shot transition in which the second image gradually appears on top of the first until the two are blended and the first image gradually disappears.

12. iris – a round, constricting lens attachment that closes in the shape of a circle to end or begin a scene.

13. wipe – a shot transition in which a second shot slides its way into the frame while simultaneously horizontally, vertically, or diagonally pushing out the first.

14. cross cutting - the editing technique of alternating, interweaving, or interspersing one narrative scene or sequence with another, usually in different locations to suggest parallel action.

15. jump cut - an abrupt, disorienting transitional device in the middle of a continuous shot in which the action is noticeably advanced in time, either a result of bad editing or done purposefully for artistic effect.

16. rough cut - often used in focus-group screening, an early edited version of a film with all the pieces of the film assembled in continuous, sequential order, but without any sophisticated editing; also known as first cut.

17. final cut - the last edited version of a film as it will be released; also referred to as “in the can.”

18. continuity - editing that provides a continuous and clear movement of events/images in a film as if they had occurred continuously when, in fact, they were shot out of sequence; also refers to the degree to which a film is self-consistent without errors.

19. diegetic - meaning “realistic” or “logically existing,” e.g. the music that plays on a character's radio in a scene; more generally, the narrative elements of a film that naturally originate within the content of the film reality; the opposite is “non-diegetic.”

Vocab # 13 Applied Literary Terms

1. plot – the plan or storyline of any narrative.

2. subplot – a minor or secondary plot of a narrative, often running parallel to the development of the main plot or mirroring the main plot.

3. exposition - important background information for the events of a story which set up what's at stake for the characters.

4. characterization – the development of characters in a narrative; a dynamic character undergoes fundamental change, whereas a static character remains the same.

5. protagonist – the main or leading character in a narrative.

6. antagonist – the character who opposes the protagonist.

7. character sketch – a film portrayal of a highly individualized character.

8. anti-hero - the principal protagonist of a film who lacks the attributes or characteristics of a typical hero but with whom the audience identifies; the character is often conflicted with ambiguous morals or character defects and lacks courage or honesty.

9. setting – the where and when or a narrative.

10. climax – the turning point of a narrative, often determining the fate of the protagonist.

11. anti-climax – a weak or disappointing narrative conclusion.

12. denouement – the final resolution or outcome of the plot.

13. cliff hanger – a film characterized by scenes of great tension, danger, adventure, suspense, or high drama, often climaxing at the end of a film, where the fate of the protagonist is left unresolved, increasing interest for a sequel.

14. foreshadowing – a hint or indication of things yet to occur in the plot.

15. flashback – the opposite of foreshadowing, a glimpse into the past at some previous event.

16. irony – the twisting or foiling of narrative expectation.

17. atmosphere – the effects in a narrative that produce a specific mood or impression.

18. conflict – the basic struggle within the plot of a narrative; the five basic conflicts: Five basic conflicts: Man vs. Man Man vs. Self

Man vs. Society Man vs. Nature Man vs. The Supernatural or Unknown

19. pathos – qualities in a narrative that evoke feelings of pity and compassion.

20. didactic – film that aims to teach or provide moral instruction.

21. surrealism – a style of art developed principally in the twentieth century consisting of incongruous or jarring imagery.

-----------------------------------------------------------------------------------------------------------------

Vocab # 1 Comedy in Film

black comedy - looking at the grim with a grin;” black comedy finds humor in serious matters (e.g. death, terminal illness, etc.)

breakaway furniture - specially constructed props made from light-weight materials that easily break apart; often used for fight scenes.

3. spoof - a film that playfully imitates the style of a serious work.

4. satire - a film that criticizes the style of a serious work by harshly mocking it.

mime (pantomime) - instrumental in silent films, speechless acting out of a character and his actions.

improv (improvisation) - an actor ad-libs his character, acting out a scene without a script

or rehearsal.

7. slapstick - violent actions used for humorous effect. e.g. The Three Stooges.

8. double take - a delayed comic reaction in which an event goes unnoticed until the actor suddenly acknowledges it.

9. pratfall - falling on one’s bottom for comedic effect.

10. schtick - a Yiddish term for a comedian’s trademark talent e.g. Louis Black’s fits of rage

Comedy in Television

17. sit-com (situation comedy) - a television comedy that focuses on the natural humor of a particular setting

an office in Scranton (The Office)various locations in Manhattan (Seinfeld)twenty-somethings (Friends)Springfield (The Simpsons)a bar (Cheers)family animation (Family Guy)

12. dramedy - a genre which combines the elements of drama and comedy; also known as “serio-comedy,” for serious comedy.

13. sketch - a short comedy routine with actors staged in a pre-planned situation. e.g. Saturday Night Live

14. laugh track - a recording of laughter used in television comedy shows; also known as “canned laughter.”

Vocab # 2 Camera Framing and Angles

The framing and angle of the camera dictates how the viewer is to perceive the action in any given shot. The director uses the camera to give the viewer an idea of the space involved (Is an entire cathedral in the frame or just the stained glass window on the door?) or the angle of vision (Do we look down on the subjects in a “bird’s eye view,” or do we look up in a “snake’s view”?). The following are common examples of framing and angles.

FRAMING

the extreme long shot

a shot filmed from a far-away location relative to the subject; often used for an establishing shot.

the long shot

a shot in which the subject is framed completely from head to toe or top to bottom.

3. the medium shot

a shot in which the subject is framed from a medium distance, e.g. the waist up

4. the close-up

a shot taken from a close distance in which the subject is magnified to appear relatively large and fill the entire frame to focus attention.

5. the extreme close-up

a shot taken from an extremely close distance in which the subject is magnified to appear very large to vividly emphasize its importance.

5. the canted frame

In a canted frame all figures appear slanted. The frame is shifted to the right or left diagonal. This style of framing often symbolizes a character in peril.

ANGLE

1. the straight-on angle

a shot in which the figure is framed at eye level, the most common angle

2. the low angle

a shot in which the camera is operated from beneath the figure with the viewer’s perspective looking up at the figure, often implying strength or triumph.

3 the high angle

A shot in which the camera is operated from above the figure with the viewer’s perspective looking down on the figure, often implying weakness or defeat

Vocab # 3 Aspects of Mise-en-scene: Lighting

Lighting is more than mist the illumination necessary to film a shot. The lighting may create a feeling or atmosphere; it may provide contrasts that guide our eyes toward a particular area in the shot. A brightly-lit area of the frame will instantly demand our attention, whereas a dark area may go unnoticed or remain in mystery. Lighting may also create textures: the grain of wood, the curve of a face or the sparkle or a diamond. Lighting varies in quality, direction, and shadow.

THE QUALITY OF LIGHTING

hard lighting - lighting which creates crisp textures and clear-cut shadows.

soft lighting - lighting which creates gentle textures and fuzzy, diffused shadows.

THE DIRECTION OF LIGHTING:

frontal lighting - a “head on” light source positioned in front of the subject, eliminating shadows and producing a flat image.

side lighting - a light source positioned to the side of the subject, sculpting the features by hiding one side in shadow. This might emphasize cheekbones, noses, lips, etc.

backlighting - a light source positioned behind the subject so that it appears in silhouette with glowing edges.

low or underlighting - a light source positioned beneath the subject, distorting the feature with shadow.

top lighting - a light source positioned above the subject, creating a heavenly illusion.

key light - the primary source of illumination on the subject.

fill light - the secondary source of illumination on the subject, softening shadows that may be cast by the key light

THE SHADOWS CREATED BY LIGHTING.

cast shadow - created when an object obstructs the key light and throws its shade across the subject.

attached shadow - the shadows on the contours of the subject naturally created by the lighting.

Vocab # 4 From Start to Finish

1. screenplay or script - a novel or play adapted to film or an original work written specifically for filming.

treatment - the first expansion of a script into sequence form, giving some idea of storytelling through written notations of camera shots, angles, lighting, etc.

story board - a comic-style illustrated chart which visually maps out the shot-by-shot sequences as they will be filmed.

screen test - a filmed audition to determine an actor’s suitability for a film role.

blocking - the mechanical movements that a director coaches an actor to make, ensuring they are caught effective on film in coordination with camera action. This includes entrances, exits, etc.

leading man/woman - an actor who plays the principal role in a film, usually an “A-list” movie star who has his/her pick of roles.

7. photogenic - a person who is suitable for being photographed for artistic purposes

8. dialect - the language of a particular district or class, An actor must master many dialects to make his characters believable.

9. closed set - filming done with only the essential crew present, usually to ensure privacy or secrecy.

10. paparazzi - an Italian term for pushy photographers who stalk celebrities in their private lives .

11. ballyhoo - an Irish term which denotes hype/publicity regardless of the film’s actual merit

12. gaffe - an error that remains in the theatrical release of the film, not to be confused with removed “outtakes” which often appear on home-use videos as “bloopers” features.

13. long take - a shot of long duration, not to be confused with a “long shot.”

14. short take - a shot of short duration.

15. voice over - a character’s voice heard over the action of a film for narrative effect.

rushes or dailies- a day’s shooting on film which is quickly developed in the lab, viewed by the director and staff to determine if retakes are necessary.

outtake – imperfect shot that required a. retake. In a film a shot may be retaken many times until perfect. Outtakes are often humorous “bloopers.”

18. celluloid - the thin strip of transparent plastic coating that forms the film's highly- flammable, light-sensitive base layer; also used as an adjective related to some aspect of cinema (e.g. "the celluloid hero") or as a slang word for a movie.

Vocab # 5 Who’s Who?

director - the most influential creator of the film who determines all aspect of filmmaking.

executive producer - the person in control of film budget who delegates administrative responsibilities and is chiefly responsible for the film’s success or failure.

assistant director - an aide to the director who is concerned more with management details than with the creative process.

associate producer – a catch-all title which can range from an honorary title to an actual on-set aide to the executive producer.

casting director - the person responsible for interviewing, negotiating contracts with, and recruiting actors to the film project.

art director – an expert in architecture and design who is responsible for the film’s décor and set construction.

editor - a technical expert who works closely with the director to assemble the final print of the film, assembled from multitude shots and sound tracks.

cinematographer - an expert in photography, lighting, film stock, and camera movement, also known as the director of photography.

camera operator - a skilled technician who operates all camera focus and movement at the director’s instruction.

9. mixer - an expert in sound and microphone placement to achieve the best recorded on-set sound.

10. boom man - a sound crew technician who handles the microphone boom.

11. gaffer - the chief electrician on the set who achieves the effect designed by the cinematographer; his/her assistant is a “best boy electric.”

12. key grip - the head prop crew member; his/her assistant is a “best boy grip.”

16. cut - a splicing together or two sections of film; the most abrupt transition between shots.

17. pan - the horizontal movement of a camera head on the axis of its tripod.

18. tilt - the vertical movement of the camera head on the axis of its tripod.

19. montage sequence - a serious of shots edited together to music, developing the theme or emotional mood in a film.

Vocab # 6

Notable Hollywood FirstsThe first fifty years of a one hundred year old industry

1890 The first “multiple image” camera is patented.

1893 The first motion picture studio is built. It is named the “Black Maria” and is built by Thomas Edison.

1894 The first short film, entitled “Fred Ott’s Sneeze” is produced at the “Black Maria.”

1896 The first public protest is voiced concerning the content of the short film “The Kiss.”

1903 The first special effects are employed by French director George Méliès in A Trip to the Moon

1904 The first narrative movie The Great Train Robbery is filmed.

1915 The first film to earn a one-million-dollar profit, D.W. Griffith’s The Birth of a Nation makes over two million dollars although it cost only $100,000 to make; it is subsequently banned by the U.S. Supreme Court for racist content.

1916 The first movie flop, D.W. Griffith poured his entire two-million-dollar earnings from The Birth of a Nation into Intolerance, a bloated production from which he loses all his previous earnings.

1917 The first high-paid actor, Charlie Chaplin earns $10,000 per week plus a $150,000 yearly bonus for his productions and portrayal of the beloved “little tramp.”

1919 The first horror film, the German-made The Cabinet of Dr. Caligari, features expressionistic sets, a mad scientist, and a zombie murderer.

1922 The first animal star, German shepherd Rin Tin Tin, barks his way onto the silver screen.

1927 The first “talkie,” The Jazz Singer delights filmgoers with its musical numbers.

1928 Animated star Mickey Mouse finds his voice in his first talking role, Steamboat Willie.

1930 U.S. movie attendance tops 70 million viewers per week, of a 123 million national population.

The first box office smashes, Gone with the Wind, ten-time Oscar winner, and The Wizard of Oz, the most-watched film in history, hit theaters.

1941 The most critically acclaimed American film of all time, Citizen Kane, directed by Orson Welles, makes its theater debut.

Vocab # 7 Film Lingo/Editing Techniques

“B” movie – a low-budget production, originally screened to support a more important film in a double feature.

Sword & Sandal – a gladiator, Biblical, or Greco-Roman mythology film.

Slasher or Splatter – a graphic horror film which depicts physical violence and bloody gore.

Chop Socky – a martial arts film.

Formula – a blockbuster production with a predictable, overused scheme or plot e.g. the renegade cop who works around the system to solve a case, perhaps for personal revenge.

Prequel – the opposite of a sequel, depicts action that happened before the original film.

Box Office Poison - a term of contempt for movie stars who lose popularity, typically making their subsequent films financial disasters.

Casting Couch – a term that implies the trade of sexual favors to a director or producer to obtain a film role.

“Chew up the Scenery” – self-indulgent hamming or overacting by a famous actor.

Cast Against Type – a popular actor appearing in a role unlike his traditional ones, producing either a refreshing or disastrous result.

Movie Mogul – an important film industry executive.

Cameo Role – a brief walk-through role created specifically to feature a surprising, high- profile personality.

Turkey – a film that flops in the box office.

Cult or Underground Film – underfinanced and often experimental films produced on a

director’s whim, sometimes resulting in a non-mainstream “cult classic” Horse Opera - a Western film.

Space Opera – a science fiction film.

fade-in (fade-out) – a dark screen that gradually brightens as a shot appears.

Vocab # 7 continued

Dissolve or Mix – a shot transition in which the second image gradually appears on top of the first until the two are blended and the first image gradually disappears.

18. iris – a round, constricting lens attachment that closes in the shape of a circle to end or begin a scene.

19. wipe – a shot transition in which a second shot slides its way into the frame while simultaneously horizontally, vertically, or diagonally pushing out the first.

Vocab # 8 THE AUTEUR THEORY

ORIGINS OF THE THEORY

The history of the la politique des auteurs or “auteur theory” began among European film critics. The word auteur, meaning “author,” is a French term originally applied to cinema by the film critic Andrew Sarris. The history of this theory, however, began after World War II among French critics writing for, at that time, the world’s most popular film magazine, the Cahiers du Cinema. A 1954 essay penned by Francois Truffaut outlined a tendency in the cinema toward noting the director as the creator and author of a film, therefore minimizing the role of any other single personality in film production. Certain directors were seen at this time as the driving force behind the film, and the film’s themes and images were seen as extensions of his/her personality and purpose behind filmmaking.

Some European auteurs of this time:

Fritz Lang (Germany) Robert Bresson (France) Luis Buñuel (Spain)Jean Renoir (France) Ingmar Bergman (Sweden) Alfred Hitchcock (GBR)

EXPANSION OF THE THEORY

Since American films were banned under the Vichy government of World War II, French cinema critics developed the auteur theory entirely around the European film industry. The American films made under the studio system were considered the work of lesser metteurs en scene or hired Hollywood hack directors. The American director was perceived as merely delivering a product purely to appease studio moguls’ box office demands, rather than for artistic merit. In the 1950’s and 1960’s, however, there was a critical reconsideration of the American cinema. Certain directors and their bodies of work were studied, and the trend of the auteur became visible under this new light.

Some American auteurs of the time:

D. W. Griffith Billy Wilder Howard Hawks Charles ChaplinJohn Ford Preston Sturges Orson Welles.

Among these American auteurs are also considered the films of European directors who defected to Hollywood, such as Fritz Lang and Alfred Hitchcock.

Some modern-day auteurs:

Martin Scorsese Quentin Tarantino James CameronFrancis Ford Coppola Steven Spielberg

THE THEORY APPLIED

Although theorists insist upon examination of a film or body of films by stressing the overall finished product, the auteur theory is applied with two main considerations.

3) THEMATIC MOTIFS

Critics analyze the complete body of a director’s work, not just one single film, for recurrent themes or motifs that might reveal the director’s cinematic purpose or philosophy. This, naturally, may only be considered when comparing one film or more to others within his/her work. Often this type of analysis reveals trends, growth, and specific divisions or periods in the directory’s growth.

4) MISE-EN-SCENE AND CINEMATIC STYLE

Auteur theory critics consider the overall effect of a director’s films. Although a director may not exclusively create films dealing with a given topic, the atmosphere and creation of a believable cinematic world are considered through camera work, shot duration, editing, sound, etc. This school of the auteur theory considers familiar iconography and design as well.

Aspects of Mise-en-Scene

The French term mise-en-scene means “what’s put into the scene,” addressing the signature control that the director has over what appears in each camera frame. All aspects of mise-en-scene must contribute to this alternate reality, including settings, decor, props, actors, costumes, makeup, lighting, performances, and character movements. Thus, believable mise-en-scene requires thorough planning for each scene and attention to details for everything from lighting to costumes.

o The director cannot allow a Campbell’s soup can to accidentally appear in a Civil War film

o Nor can he allow jets to buzz the Chicago skyline in a 1930’s style gangster film. o Thus, believable mise-en-scene requires thorough planning of each scene and attention

to details for everything from lighting to costumes.

1. Setting

The filmmaker can shoot at the actual location where the film story takes place, or he/she can create detailed artificial scenery on a sound stage or studio backlot.

o Empire of the Sun was shot on location in China, and Rocky was shot in Philadelphia.o The Klondike snow setting in The Gold Rush is obviously man-made. Obviously, the

director has the most control over artificial scenery. For example, it cannot rain nor can there be insufficient lighting due to overcast weather in a controlled studio environment.

2. Costume and Make-Up

Clothing can instantly indicate the time period of the film, as well as the status of the characters. Creative make-up can create realism in the characters.

o In The Natural, the baseball uniforms and clothing in general indicate the 1920’s and 1930’s.

o Charlie Chaplin’s worn, oversized pants and undersized jacket in The Gold Rush indicate poverty.

o Tom Hank’s sores and gaunt, pale look in Philadelphia make him realistically appear to be dying of AIDS.

3. Lighting

Harsh, direct lighting creates a crisp image and reflects off the actors; whereas muted, gentle lighting creates a soft image that oven gives a sentimental feel.

o In The Killing Fields the heat of Cambodia is intensified when the reporters are held captive, squatting on the ground outside.

o In Empire of the Sun the soft light of sparks jumping off a Japanese zero emphasize Jim’s love for the plane.

4. Actor’s Movements

Often intensely coached by the director, an actor portrays a strong character with bold, confident movements or a weak character with quirky, self-conscious movements.

o In Empire of the Sun, Basie lounges lazily, seemingly without care. o On the other hand, Apollo Creed in Rocky exudes a victorious attitude through his

movements.o Fredo Corleone shrugs his shoulders and constantly adjusts his clothing in The Godfather.

Vocab # 9 Special Effects

4. F/X – an abbreviation for “special effects,” a term for various photographic tricks that create unreal, dangerous, or impossible situations.

5. matte shot – the optical process of combining separately-photographed shots (usually actors in the foreground and the setting in the background) onto one print through a double exposure that does not meld two images on top of each other; it is a photographic technique in which artwork from a matte artist, usually painted on glass, is combined with live action footage to provide a

convincing setting for the action

6. animation – Drawings or other graphic images placed in a sequence to portray movement.

4. morphing – the transformation of one digital image into another with computer animation. e.g. Terminator 2

5. blue screen/green screen – a process in which actors work in front of an evenly-lit, blue or green background or screen, which is then replaced in post-production with other footage or computer-generated images to form a complete image; since 1992, most films use a green-screen.

20. stop-motion photography – a special-effects animation technique where figures or models are shot one frame at a time and moved or repositioned slightly between each frame, giving the illusion of lifelike motion; one of the earliest special-effects techniques for science-fiction films, now replaced by CGI.

claymation – a more primitive form of stop-motion using moldable clay figures.

rear projection – a special effects technique to create backgrounds in which actors are filmed in front of a screen on which a background scene is projected; commonly used to produce the effect of motion in a vehicle.

glass shot – an elaborate set painted realistically on part of a pane of glass with the action shot through it, combining two images.

pyrotechnics – the use of explosives or ballistics in film.

foley – any sound effect recorded on a foley stage, a sound stage which contains material and props necessary for a foley artist to create post-production sounds in a film that must be recorded in synchronization with the film’s action.

postsynchronization – the post-production process of replacing unclear or garbled voices and sounds in a movie soundtrack, often referred to as “dubbing.”

reaction shot – a close-up or medium shot that focuses on a particular character’s reaction to the events in a film.

stunt person – a highly trained substitute who replaces actors in dangerous situations.

Vocab # 10 Apocalypse Now

credits – titles at the beginning or end of a film that list the creative talents concerned with production.

character sketch – a film portrayal of a highly individualized character.

cliff hanger – a film characterized by scenes of great tension, danger, adventure, suspense, or high drama, often climaxing at the end of a film, where the fate of the protagonist is left unresolved, increasing interest for a sequel.

sequel – a film which continues the action and characters of an earlier film.

subtitles – an alternative to dubbing, a printed English translation of foreign dialogue at the bottom of a frame.

didactic – film that aims to teach or provide moral instruction.

surrealism – a style of art developed principally in the twentieth century consisting of incongruous or jarring imagery.

establishing shot – the opening shot of a sequence which creates the context of setting or location.

insert shot – a close-up image inserted into a scene, usually to give the audience a closer look at what the character on screen is seeing, such as a letter or photo.

zoom – a lens of variable focal length, normally used for swiftly magnifying a distant object or for moving rapidly away from a close object.

rack focus – to adjust the lens during a shot so that the subject is in focus.

dolly – a trolley on which a camera can be horizontally moved about on tracks during shooting.

tracking or trucking shot – the movement or a camera on a dolly: forward, backwards, or to one side, also called a “dolly shot”

running shot – a shot in which a moving camera keeps pace with a moving subject.

graphic match or match cut - a transitional technique in which two shots are linked by visual, aural, or metaphoric similarities.

Vocab # 11 Applied Literary Terms

plot – the plan or storyline of any narrative.

subplot – a minor or secondary plot of a narrative, often running parallel to the development of the main plot or mirroring the main plot.

exposition - important background information for the events of a story which set up what's at stake for the characters.

characterization – the development of characters in a narrative; a dynamic character

undergoes fundamental change, whereas a static character remains the same.

protagonist – the main or leading character in a narrative.

antagonist – the character who opposes the protagonist.

anti-hero - the principal protagonist of a film who lacks the attributes or characteristics of a typical hero but with whom the audience identifies; the character is often conflicted with ambiguous morals or character defects and lacks courage or honesty.

setting – the where and when or a narrative.

climax – the turning point of a narrative, often determining the fate of the protagonist.

anti-climax – a weak or disappointing narrative conclusion.

denouement – the final resolution or outcome of the plot.

foreshadowing – a hint or indication of things yet to occur in the plot.

flashback – the opposite of foreshadowing, a glimpse into the past at some previous event.

irony – the twisting or foiling of narrative expectation.

atmosphere – the effects in a narrative that produce a specific mood or impression.

conflict – the basic struggle within the plot of a narrative; the five basic conflicts: Five basic conflicts: Man vs. Man Man vs. Self

Man vs. Society Man vs. NatureMan vs. The Supernatural or Unknown

pathos – qualities in a narrative that evoke feelings of pity and compassion.

shot – an uninterrupted section of film produced by a single running of the camera.

scene – a series of shots that together comprise the smallest narrative unit of film.

sequence – a series of several scenes that together create a major emotional narrative in a film.