TFM 160 Final Exam Questions and 100% Correct Solutions

Implicit Meaning - lies beneath the surface of a movie's story or presentation, internal meaning, implied Explicit meaning - available on the surface, literal meaning, definition Form - means by which the subject is expressed and experienced, how it is presented sets up audience expectation supplies the methods and techniques necessary to present it to the audience Content - the subject of the artwork what it is about provides something to express Formal Analysis - dissects the complex synthesis of cinematography, sound, composition, design, movement, performance, and editing by the creative artists involved with making the movie every element in every frame is there for a reason inspects the technical aspects of the movie rather than the "meaning" of the film Theme - central idea or message Realism - an interest in or concern for the actual or real, a tendency to view or represent things as they really are (Lumie res) Antirealism - an interest in or concern for the abstract, speculative, or fantastic (Melies) Versimilitude - a convincing appearance of truth convince the viewer the things they are seeing are really there expectations of reality change over time and across culture What are the three fundamental principles of film form? - - movies depend on light - movies provide an illusion of movement - movies manipulate space and time in unique ways Genre - categorization of narrative films by the stories they tell and the ways they tell them What are the three categories of movies explored in reading? - - Narrative - fiction, purpose is to entertain, cinematic structure and can be realistic or unrealistic - Documentary - nonfiction, purpose is to inform - Experimental - defy categorization and convention, avent-garde, pushing the boundaries of traditional movies and innovative How does animation differ from the other three basic types of movies? - - conventional photography is different - different mechanisms to create the multitude of still images that motion pictures require - Traditional (hand-drawn) Animation - Stop-Motion Animation - Computer Generated Imagery (CGI) Omniscient Narration - - it knows all and can tell us whatever it wants us to know - has unrestricted access to all aspects of the narrative - it can provide any character's experiences and perceptions, as well as information that no other character knows Restricted Narration - limits the information provided to the audience to knowing what the character knows as they find out Voice-Over Narration - when we hear the character' voice over the picture without actually seeing the character speak words - considered diegetic if the voice over narration is the character speaking, who appears on screen and it is their thoughts being said that no one else hears - considered non-diegetic if that same character is talking directly to the audience Direct-Address Narration - interrupting the narrative to speak directly to the audience - The Office Protagonist - the primary character who pursues the goal Antagonist - person, people, creature, or force responsible for obstructing our protagonist Anti-Hero - unsympathetic protagonist chasing less than noble cause Inciting Incident (Catalyst) - the event that begins a story's problem Rising Action - the narrative build up where the conflict intensifies and the goal remains out of reach Crisis - story has reached a turning point and it is working it's way toward resolution - a critical turning point in a story when the protagonist must engage a seemingly insurmountable obstacle Climax - when the protagonist faces a major obstacle Resolution - goal is either gained or lost and moves toward conclusion Story - all of the explicit and implicit narrative events in the story and the diegesis or total world in which the story occurs Plot - the specific actions and events and the order in which the events are arranged to convey the narrative to the viewer, including the non-diegetic elements What is meant by the diegesis of a story? - every part of the story: characters, objects, settings, and sunds from the world of the story Diegetic Element - what we see and read on the screen that comes from INSIDE the world of the story (voices of characters, sounds made by the objects in the story, music being played by a character) Non-Diegetic Element - what we see and hear on the screen that comes from OUTSIDE of the world of the story (mood music, narrator commentary, sounds made during post production) Which of the following is the most common relationship of screen duration to plot duration? - summary relationship Summary Relationship - a time relationship in which screen duration is shorter than plot duration Stretch Relationship - a time relationship in which screen duration is longer than plot duration Real-Time Relationship - screen duration = plot duration Surprise - being taken unaware (audience and characters unaware) Suspense - more drawn out experience of anxiety brought on by partial uncertainty Mise-en-Scene - the overall look and feel of a movie which includes the staging of the scene, the sum of everything the audience sees, hears, and experiences viewing the movie Composition - the organization, distribution balance and general relationship of the actors and objects within the space of each shot Framing - what is seen within the boundaries on screen Kinesis - what moves on screen Rule of Thirds - - tool used to divide the image with horizontal and vertical lines that make a grid - horizontal representing the foreground, middleground, and background planes - the grid assists the designer and cinematography in visualizing the overall potential of the height, width, and depth of any cinematic space Blocking - - how the actors move on set in each scene and/or in conjunction with the camera (stage movements) - the actual physical relationship among figures and settings Deep Space Compostion - a total visual composition that can place significant information or subjects on all three planes of the frame and thus creates an illusion of depth On-Screen Space vs. Off-Screen Space - as the frame moves it presents on the screen details that were previously off the screen, thus promoting us to be aware of the dynamic between off-screen and onscreen space What are the two major visual components of mise-en-scene? - Design and Composition Design - - the process by which the look of the settings, props, lighting, and actors are determined - set design, decor, prop selection, lighting setup, costumes, makeup, an hair Composition - the organization, distribution balance and general relationships of actors and objects within the space of each shot What are the two major elements of composition? - Framing (what we see on screen) and kinesis (what moves on the screen) What are the two basic types of movement we see on-screen? - the movement of objects and characters within the frame and the apparent movement of the frame itself Three-Point Lighting - uses two lights to create desired lighting and contrasts and a back light and is used to light the studio's most valuable assets