TFM EXAM WITH CORRECT ANSWERS-A+

What is the difference between implicit and explicit meaning? (And how do these terms relate to onions, and ogres, and a movie such as Juno?) - An implicit meaning, which lies below the surface of a movie's story and presentation, is closest to our everyday sense of the word meaning. It is an association, connection, or inference that a viewer makes on the basis of the explicit meanings available on the surface of the movie. Onions/ogres: many layers to movies Juno: what is it about vs what is the movie trying to say What is "formal analysis" and how does formal analysis differ from other types of analyses that explore the relationship between culture and movies? - concerned with film form, the means by which a subject is expressed -Film analysis that examines how a scene or sequence uses formal elements—narrative, mise-en-scène, cinematography, editing, sound, and so on—to convey story, mood, and meaning. What do we mean when we describe cinematic language as "invisible"? What are some of the reasons why cinematic language is invisible? - When we describe cinematic language as invisible, we mean that not all movie meaning is obvious and easy to see. Movies have a way of hiding their methods and meaning. One of the reasons why is because movies simply move too fast for viewers to consciously consider everything they've seen. It is hidden but portrayed by different shots What do we mean by cultural invisibility? How is his different from cinematic invisibility? - commercial instinct that inspires filmmakers to use seamless continuity also compels them to favor stories and themes that reinforce viewers' shared belief systems. And because so much of this occurs on an unconscious, emotional level, the casual viewer may be blind to the implied political, cultural, and ideological messages that help make the movie so appealing. Cinematic invisibility is different because it refers to the actual hidden/invisible meaning of the movie. Shot - - the implied distance between the camera lenses and the subject being photograph - One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of the film stock in the camera. Cut - a direct change from one shot to another as a result of cutting; that is the precise point at which shot A ends and shot B begins Editing - -the basic creative force of filmmaking, is the process of selecting arranging and assembling the essential components of a movie-visual sound and special effects-to tell a story in a unique way -establishes patterns and rhythms, only to break them for dramatic impact -The joining together of discrete shots gives movies the power to choose what the viewer sees and how that viewer sees it at any given moment. Close-up - the camera pays very close attention to the subject, whether it is an object or person, but is most often used in close-up of actors faces. -they provide and exclusive view of the characters emotion or state of mind