BriannaDeBroux


 * __Director Project, Walt Disney

Homeworkkkkkkk __**

a French word literally meaning "editing", "putting together" or "assembling shots"; refers to a filming technique, editing style, or form of movie collage consisting of a series of short shots or images that are rapidly put together into a coherent sequence to create a composite picture, or to suggest meaning or a larger idea; in simple terms, the structure of editing within a film; a montage is usually not accompanied with dialogue; dissolves, cuts, fades, super-impositions, and wipes are often used to link the images in a montage sequence; an accelerated montage is composed of shots of increasingly-shorter lengths; contrast to mise-en-scene Forced perspective: Dissolve:__**a transitional editing technique between two sequences, shots or scenes, in which the visible image of one shot or scene is gradually replaced, superimposed or blended (by an overlapping **fade out** or **fade in** and **dissolve**) with the image from another shot or scene; often used to suggest the passage of time and to transform one scene to the next; lap dissolve is shorthand for **'over'lap dissolve**; also known as a **soft transition** or **dissolve to __Deep focus:__**a style or technique of cinematography and staging with great **depth of field**, preferred by realists, that uses lighting, relatively wide angle lenses and small lens apertures to simultaneously render in sharp focus __both__ close and distant planes (including the three levels of foreground, middle-ground, and extreme background objects) in the same shot; contrast to **shallow focus** (in which only one plane is in sharp focus __Subjective camera:__**a film in which the narrator has a limited point-of-view regarding the characters, events, action, places, thoughts, conversations, etc.; a **subjective camera** is a style of filming that allows the viewer to look at events from the POV of either a character or the author, when the camera position is close to the line of sight of the character; contrast to **omniscient point-of-view __Narrative structure:__**a structured series of events, linked by cause and effect, that provide the plot of a film; a film that tells a chronological or linear story (with a beginning, middle, and end), as opposed to non-narrative films, such as **poetic** or **abstract** films.
 * __Bookends:__** a term denoting scenes at the beginning and end of a film that complement each other and help tie a film together; aka **framing device**
 * __Lightning mix:__** refers to the illumination of a scene, and the manipulation of light and shadows by the **cinematographer**
 * __Symbolism:__**an object in a film that stands for an idea, or that has a second level of meaning to it, e.g., a window or train=freedom, a rose=beauty, a cross-roads=a decision point, etc.; the more a symbol is repeated, the greater its significance
 * __Chiaroscur:__**literally, the combination of the two Italian words for "clear/bright" and "dark"; refers to a notable, contrasting use of light and shade in scenes; often achieved by using a spotlight; this lighting technique had its roots in German Expressionistic cinematography; aka **high-contrast lighting** or **Rembrandt lighting**; **flat lighting** or **TV lighting** (bright and flat lighting with no shadows) is its opposite
 * __Wipe:__**a transitional technique or optical effect/device in which one shot appears to be "pushed off" or "wiped off" the screen by another shot replacing it and moving across the existing image; also called a **push-over**; a **flip-over** (or **flip**) wipe is when one scene rotates or flips-over to the new scene; wipes were very commonly used in the 30s
 * __Montag:__**
 * __MacGuffi:
 * __Film within a film:__**a particular story-telling approach, literally, to have one film within another; in some cases, the characters are aware of the 'film-within-a-film,' and break the **fourth wall** and enter into or interact with it; aka **subset film** or **picture within a picture
 * __Censorship:__**the process of determining what can or can not be viewed by the public or depicted by the motion picture industry; also refers to changes required of a movie by some person or body (other than the studios or film-makers, such as a national or regional film classification board); see also **rating systems** and **banned**, and this site's //Sex in Cinema// write-up

Stanley Kubrick~Director 1968 genre sci-fi rated-nr || ||   ||   ||   ||   || john huston~ director 1941 genre mystery rated-nr || ||   ||   ||   ||   || elia kazan~director 1951 genre drama rated-pg || ||   ||   ||   ||   || bob fosse- director 1972 genre music,drama,romance rated-pg || ||   ||   ||   ||   || sam peckenpah- director 1969 genre- action,western rated || ||   ||   ||   ||   || Peter Bogdanovich director 1971 genre, drama rated R || ||   ||   ||   ||   || I realy enjoyed watching and learning about Charlie Chaplin's style, and how he proformed in his silent movies. Charlie's film Modern Times realy captured alot of the issues going on at the time it was filmed. Charlie created his main charecter, which he called 'The Tramp'. In his movies he always found a way around 'talkies' and his charecters hardly ever spoke. At the end of Charlie Chaplin's carrer he had been in a total of 83 movies, only 5 of them are 'talkies'. During the time peirod modern times was being filmed alot was going on in america, many people were out of jobs because of strikes and economy, Charlie himself was being thrown out of america because the government thought he was a communist. Charlie did leave the usa but only came back on visits, never moved back.
 * 2001: a Space Odyssey
 * the Maltese Falcon
 * Streetcar Named Desire
 * Cabaret
 * the Wild Bunch
 * the Last Picture