Items to Review for Film Lit Terms Exam Exam will be on Tuesday, Nov 1, 2016 Bring a number 2 pencil.

Plot Stages of Film Plots depend on cause and effect; something must get the story rolling. Four Stages 1: The Set-Up 2: Complicating Action 3: Development 4: Climax and Epilogue

Characters in Hollywood Everyone has a story to tell Characters reveal THEME Dynamic characters Static characters Foil characters How character traits are assigned Acceptable conditions for a change within a character

Characters in Hollywood How are characters like “real” people? What is the “double goal” orientation in film?

Motifs in Film A motif is a repeated idea, image, or pattern in a film A motif shows up several times in a film A motif is designed to help illuminate THEME Examples Visual—The color red in Raiders of the Lost Ark. Nazi flag, Marion’s top, monkey vest indicate the threat of Nazi power Phrase—”Pop Quiz” is repeated during tense scenes in Speed Sound—The Ark’s Theme in Raiders of the Lost Ark is mysterious and awe- inspiring (don’t mess with the Ark)

Dangling Causes Much like foreshadowing in literature, a dangling cause in a film focuses on an item, person, or phrase which will become important later in the film. Examples Indiana Jones hates snakes. In the opening scene, there is a snake in the cockpit; Jones says, “I hate snakes!” Later in the film, Indy is trapped in the Well of Souls with lots and lots of snakes.

Script Tools Nothing is random. Everything is intentional. Script tools are methods used in movies to clarify the plot. Time Crunches and Appointments: deadlines and appointments building intensity and pressure characters to move forward. Rule of Three: important thematic items will be repeated at least THREE times. Hooks: The way individual shots are linked to the next ones moves the story forward and helps the viewer follow. Sound to sound, sound to image, image to image, and image to sound are all hooks Sound bridge: When the sound from one scene bleeds over to the next scene it is considered a sound bridge. 180 Degree Rule: Most often found in conversation scenes, the 180 degree rule keeps characters on the same side of the screen to avoid confusing the viewer.

Film in Three Levels The Literary Level = things in common with literature. These include: plot, characters, setting, theme, point of view. The Dramatic Level = things in common with live drama productions. These include: actor choices, costuming and make-up, and set design. The Cinematic Level = things unique to films. These include: CGI and other visual effects, music, editing choices, and more.

Cinematic Level and Framing Framing = how items are positioned on the screen. This includes: how an object will be positioned and filmed AND how much of the frame of the screen the object will occupy. Three main types of framing Long shot: object on screen seems small or far away. This type of framing is often used as an “establishing shot” to show were and when the film takes place. Things in focus are important. The shot can show something as weak or powerless. Close up: object in focus takes up 80% of the screen, forcing the viewer to look at ONLY what the director intends. Medium shot: a shot from about the waist up. This is the most common and naturalist framing choice and is considered “neutral framing.” The majority of shots use this framing method.

Camera Motion Pan—camera pivots side to side on a horizontal axis Tilt—camera pivots up and down on a vertical axis Tracking/Dolly Shots—camera actually moves, offering a different feel Handheld—the camera is held by hand or mounted on the body, making the shot feel “home made.” Zoom—changes the focal length of the camera, allowing shifts between medium, close, and long shots. The camera itself does not move. Rack Focus—changing the focal point of the camera allows the filmmaker to draw attention to various planes within a frame without making a cut.

Camera Angles Camera angles reveal the interpretive level of the text. Eye level (neutral angle)—camera is at same level as subject being filmed. As this is how we see the world, this angle seems “normal” to us. Low angle—camera is looking up from an angle lower than the subject. The items seems larger and more powerful. High angle—camera is above the subject. The subject seems smaller and weaker. Dutch angle—object in the frame is tilted. This indicates the situation is unstable and not quite right.

Lighting Lighting creates colors, shapes, and textures. Certain elements can be highlighted. Moods can be created. Low-key lighting—contrast of light and dark; many shadows; much darkness. Suspense, uncertainty, doubt, and fear can be created in the viewer. High-key lighting—brightness, openness; lack of shadows. By eliminating shadows and washing the screen with light, the sense of excitement and an honest situation can be created. Bottom/side/back lighting—the light source is either from the bottom, side, or back of the subject. Certain features are highlighted. This can establish a subject as multi-faceted and complex. Americana lighting—Warner’s name for lighting which highlights patriotic moments.

Sound Diegetic sound = any sound which can be heard by a character; characters and viewers hear the same things; ambient sound. Non-diegetic sound = sound that cannot be logically heard by a character; soundtrack; voice-over narration. Sound contributes to atmosphere, mood, and tone.

Three Tracks of Non-Fiction Films Visual track = the main footage created for a movie along with subject interviews; archival footage, another film, or photographs. Audio track = the narration and soundtrack. Narration can be on or off screen. Soundtrack adds music in the background. Text track = charts, drawings, graphics, subtitles overlaying the visual track. What is included and cut out, what we see, what we hear, what we read all reveal BIAS.

Modes of Non-fiction Films “Every edit reveals bias.” Modes are tools and styles filmmakers use to tell stories. These methods are used to make films seem or feel the most true and unbiased. Remember, though, that there is always a bias. Expository mode—explains the topic to the audience through direct or indirect address. Direct narration guides us through the topic; indirect narration expects the viewer to follow along and arrive at an understanding of the topic. Observation mode—audience feels as if they are there as a fly on the wall. The filmmaker tries to disappear with a minimum amount of editing and little non- diegetic sound. Interactive mode—the filmmaker is seen and heard. Because of this, subjects of the film may act differently because they know a film about them is being made. Reflexive mode—these documentaries are aware of themselves as films. Questions, problems and dilemmas about the act of creating a documentary are present. Mix of modes—a combination of modes are included.