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127 Cards in this Set
- Front
- Back
What is rhetoric in this context? |
· The art of effective or persuasive speaking orwriting |
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What is visual literacy? |
· Group of vision competencies developed bylearning to see images and integrating that action with other sensoryexperiences |
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John Berger: |
· Images can be used like words |
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What is the hypocrisy of the image of the nudefemale in the oil painting tradition? |
· Created for male spectator. It is “fine art,”but the woman is objectified for the pleasure of the male spectator-owner. |
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Art expert explains away what isn’t in thepainting |
· Berger called: mystification |
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When a group of dots are arranged to a line, linecloses to make: |
shape |
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Additive color is created by ___ |
· Combining rays of light |
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Subtractive color created by ___ |
· Combining Pigments |
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Eye blends and organizes dot patterns intocoherent images this process is called: |
· Visual fusion |
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Hues can be divided into two important cats: |
· Warm and cool |
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Which 3 elements are essentially carryingcombinations of the others |
· Scale, dimension, motion |
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What were the two main innovations that Muybridgeexperimented with that enabled him to capture motion in photography? |
· Shutter speed and light sensitive film |
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We know motion pictures are not actually objectsmoving. It s a sequence of still photographs shown in quick succession. Weperceive it as motion because of two phenomena. One is retaining an afterimageof a fram until the next appears. The other is a subconscious connecting of theprevious image to the one in the present. What are these two phenomenon? |
· Persistence of Vision, and the Phi Effect |
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Superstructure |
· Sphere of values, norms, laws and institutions |
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Substructure |
· Economic activity |
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Mechanical reproduction is a function of ____ |
· Substructure |
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How does mechanical reproduction cause the aura ofa work of art to wither? |
· Mechanical reproduction is independent of theoriginal. Photography can capture detail the human eye cannot: enlargement,slow motion, etc. · Technical reproduction is much more mobile thanoriginal—reproductions can come to the viewer. |
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Remember about Olympia |
· Woman gazes directly at viewer inconfrontational way · Loosely rendered · Wearing decorations although naked · Flower=paid sex · Placement of hand controlling sexuality · Black cat rejection of placing dog, representsprostitution |
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Manet described monet as Raphael of |
· water |
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Sauerlander writed that, though manet adoptedmonet techniques, he continued have art make bold statements about society |
· True |
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In museums hours, the museum guard remembers ayounger colleague who told him the still lifes in meseums were just pictures of____ |
money |
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Man with a movie camera makes almost exclusive usethroughout the movie of what device? |
Montage |
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In 1890s Warburg went to US study the culture ofwhat? |
· Hopi |
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Gopnick, Warburg believed poses have ___ |
· Power |
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Warburg be;lieved that certain images were a wayof connecting ourselves to our shared memories from ____ |
· Antiquity |
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What is the significance of the snake in ourdiscussion of Warburg and images? |
Ambivilant. Chaos and healing |
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Cut Piece (Cut yoko onos clothes), Chris Burdensart (“Doom” stayed until someone gave him food and water) Sol Lewitt conceptualpieces |
· Plain materials, idea most important, conceptualart is made to engage mind of viewer rather than eye and emotions |
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Reading images diagram 1-5 |
1. What do I see? 2. What do I describe? 3. What do I interpret? 4. What do I know? 5. How do I critique? |
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‘Those who lack the power tospend money become literallyfaceless. Those who have thepower become lovable.’ |
Berger |
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‘People want to be told whatto do so badly that they’lllisten to anyone.’ |
Draper |
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‘If you don’t like what’s being said,change the conversation.’ |
Draper |
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‘To be able to buy is the same thingas being sexually desirable.’ |
Berger |
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‘Advertising is based on one thing,happiness. And you know whathappiness is? Happiness is thesmell of a new car. ... It’s abillboard on the side of the roadthat screams reassurance thatwhatever you are doing is okay.’ |
Draper |
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‘[Advertising] can translate evenrevolution into its own terms.’ |
Berger |
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‘Glamour is a modern invention.’ |
Berger |
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‘We’re flawed because we wantso much more. We’re ruinedbecause we get these thingsand wish for what he had.’ |
Draper |
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`The gap between what[advertising] actually offers andthe future it promisescorresponds with the gapbetween what the spectator buyerfeels himself to be andwhat he would like to be.’ |
Berger |
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‘But what is happiness?It’s a moment before youneed more happiness.’ |
Draper |
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‘The choice of what one eats (orwears or drives) takes the placeof significant political choice.’ |
Berger |
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‘What you call love was inventedby guys like me to sell nylons.’ |
Draper |
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basic elements of imagery |
dot, line, shape, direction, texture, hue, saturation, value, scale, dimension, motion. |
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the feeling or mood of a particular scene or setting |
ambiance |
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perspectivefrom which a camera depicts its subject |
angle |
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measurementof the opening in a camera lens that regulates the amount of light passingthrough and contacting the film. |
aperture |
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shot in which the subject is photographed by an encircling or moving camera |
arc shot |
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French word meaning 'halt' or 'stop';refers to the in-camera trick technique of stopping the camera, then removingor inserting an object, then restarting the camera to have an object magicallydisappear or appear; one of the earliest techniques of silent film |
arret |
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aterm for how the image appears on the screen based on how it was shot |
aspect ratio |
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anyconcrete or nebulous quality or feeling that contributes a dimensional tone toa film's action |
atmosphere |
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naturally-existing light in an off-setlocation; a film's realism is enhanced by using available or natural light ratherthan having artificial light. |
available light |
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refers to a large photographic backing orpainting for the background of a scene |
backdrop |
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phenomenon occurs when the lighting for the shotis directed at the camera from behind the subject |
backlighting |
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photographic technique whereby live action isfilmed in front of a transparent screen onto which background actionis projected |
back projection |
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within a film's visual frame, refers to thecomposition, aesthetic quality, or working together of the figures, light,sound, and movement. |
balance |
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black metal folding doors an all four sides of alight that can be bent back and forth on their hinges to control where thelight is directed. |
barn doors |
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blanket placed over the film camera to reducethe noise of the moving mechanisms inside |
barney |
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process of figuring out where the camera goes,how the lights will be arranged, and what the actors' positions and movements -moment by moment - are for each shot or take;often, the specific staging of a film's movements are worked out by thedirector, often with stand-ins and the lighting crew beforeactual shooting |
blocking |
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optical process - the enlargement of aphotographic image or film frame; often used to create 70mm releaseprints from original35mm films |
blow up |
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special-effects process whereby actors work in front of an evenly-lit,monochromatic (usually blue or green) background orscreen. |
blue-screen |
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denoting scenes at the beginning and end of a film that complement each other and help tie a film together; aka framing device |
bookends |
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a traveling or moveable counter-balanced pole extension device upon which a microphone, light or camera can be suspended |
boom |
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shooting a scene several times with different F-stops |
bracketing |
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shot used to cover or 'bridge' a jump in time or place or other discontinuity; see also audio bridge andmatch-cut |
bridging shot |
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pre-film segment of pre-made film that contains studio trademark and logo or title identification |
bumper |
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Computer-Generated Imagery (or Images), a term referring to the use of 3D computer graphics and technology in film-making to create filmed images, special effects and the illusion of motion |
CGI |
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contrasting use of light and shade in scenes |
chiaroscuro |
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French word that literally means "true cinema" or "cinema truth"; a method or style of documentary movie-making with long takes, no narration and little or no directorial or editing control exerted over the finished product |
cinema verite |
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editing that developed in the early 20th century to provide a continuous and clear movement of events/images in a film; refers to the final edited structure of a completed film |
continutity |
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difference between light and shadow, or between maximum and minimum amounts of light |
contrast |
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all the shots, including closeups and reverse angles, that a director takes in addition to the master shot |
coverage |
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camera shot taken from a large camera dolly or electronic devic |
crane shot |
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editing technique of alternating, interweaving, or interspersing one narrative action |
cross-cutting |
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brief shot that momentarily interrupts a continuously-filmed action |
cutaway shot |
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abrupt or sudden change or jump in camera angle, location, placement, or time, from one shot to another |
cut |
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curved backdrop used to represent the sky when outdoor scenes are shot in the studio |
cyclorama |
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cinematographic technique for using shots filmed during the day to appear as moonlit night shots on the screen |
day-for-night shot |
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rench term referring to the design of a film - the arrangement of its shots |
decoupage |
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style or technique of cinematography and staging with great depth of field |
deep-focus shot |
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depth of composition of a shot |
depth of field |
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refers to an adjustment made technically to insure that a camera shot retains its deep focus throughout all the various planes |
depth of focus |
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realistic or logically existing |
diegetic/diegesis |
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reduction or softening of the harshness or intensity of light achieved by using a diffuser or translucent sheet |
diffusion |
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using light and dark lighting and frame composition to emphasize what is important |
directing the eye |
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when the moving or panning camera unexpectedly comes upon or 'discovers' an object or person previously undisclosed to the viewer |
discovery shot |
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transitional editing technique between two sequences |
dissolve |
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moving shot in which the perspective of the subject and background is changed |
dolly (Shot) |
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technique of combining shots filmed in a studio with background footage shot elsewhere |
dunning |
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shot made with the camera leaned to one side and filming at a diagonal angle |
dutch tilt |
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photographic technique used to mask the projected image size and shape to any ratio that seems appropriate for the scene |
dynamic frame |
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selecting, assembling, arranging, collating, trimming, structuring, and splicing-joining together many separate camera takes |
editing |
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shortening of the plot duration of a film achieved by deliberately omitting intervals or sections |
ellipsis |
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shot at the beginning of a scene (or a sequence) that is intended to show things from a distance |
establishing shot |
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transitional device consisting of a gradual change in the intensity |
fade |
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o record a scene or make (or lense) a motion picture |
film |
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measurement of a width of a film strip |
film gauge |
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"black film" that developed in the early 40s; refers to a genre of mostly black/white films that blossomed in the post-war era in American cinema, with bleak subject matter and a somber, downbeat tone |
film noir |
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super wide-angle lens with a very shortfocal point |
fish eye |
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single clear frame that is inserted between two shots |
flash frame |
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lamp that provides general diffuse lighting on a studio set |
flood |
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degree of sharpness or distinctness of an image |
focus |
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shot with framing that shifts to follow and keep a moving figure or subject onscreen |
following shot |
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objects or action closest to the camera |
foreground |
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illusory invisible plane through which the film viewer or audience is thought to look through toward the action |
fourth wall |
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way a shot is composed |
framing |
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optical printing effect in which a single frame image is identically repeated |
freeze fram |
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actors and foreground objects were filmed in front of a projection screen, with a previously-filmed background projected onto it |
front projection |
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measurement of the size of the opening of the iris |
fstop |
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abbreviation for special (or visual) effects |
f/x |
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transparent, tinted colored sheet of plastic used as a filter for a movie light to create a colored glow over a scene |
gel |
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shot taken with a handheld camera or deliberately made to appear unstable |
handheld shot |
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shot in which the action moves or comes directly toward or at the camera |
head-on shot |
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moving shot, often breathtaking |
helicopter shot |
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shot in which the subject or scene is filmed from above and the camera points down |
high-angle shot |
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thin beams of light to illuminate selected or limited parts of the subject |
highlighting |
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well-known symbol or icon |
iconography |
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filming in the exact order required for the final product |
in-camera editing |
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shot that occurs in the middle of a larger scene or shot |
insert shot |
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series of shots, consisting of two simultaneous events, that are alternated together to create suspense; |
intercutting |
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cinematographic technique or wipe effect, in the form of an expanding or diminishing circle, in which a part of the screen is blacked out so that only a portion of the image can be seen |
iris |
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abrupt, disorienting transitional device in the middle of a continuous shot |
jump cut |
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contiguous positioning of either two images, characters, objects, or two scenes in sequence, in order to compare and contrast them |
juxtaposition |
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main or primary light on a subject |
key light |
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powerful carbon-arc lamp that produces an intense light |
Klieglight |
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split edit, J-cut ordelayed edit; |
L-cut |
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ntentionally-repeated, recurring element or themeassociated with a particular person, idea, milieu, or action |
leitmotif |
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piece of glass in a camera through which light passes |
lens |
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stock shot, often unimaginative or commonplace |
library shot |
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camera shot in which the camera remains immobile |
lock-down shot |