film ch 8 Nonfictional Narratives

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film ch 8 Nonfictional Narratives
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2013-11-10 22:07:31
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  1. What are the three broad classifications of motion pictures?
    • fiction
    • documentary
    • avant-garde
  2. Which two of the three broad classifications of motion pictures do not tell stories (in a fictional sense)? Why is this the case?
    • avant-garde and documentary films
    • they are structured but do not use a plot
  3. Instead of a plot, documentaries and avant-garde films are structured according to...
    a theme or an argument.
  4. Documentaries deal with (1)_____ - real (2)______, (3)______, and (4)______ rather than (5)________ ones.
    • 1. facts
    • 2. people
    • 3. places
    • 4. events
    • 5. invented
  5. Documentaries believe they are _________ about what already exists.
    reporting
  6. Many documentaries keep the structure of their films (1)______ and (2)___________.
    • 1. simple
    • 2. unobtrusive
  7. Documentarists would insist that their main interest is with...
    subject matter rather than style.
  8. The realistic documentary is best illustrated by the (1)______ ______ or (2)"______ ______" movement of the 1960s.
    • 1. cinema verite
    • 2. direct cinema
  9. __________ __________ was responsible for the development of a new technology that eventually led to a new philosophy of truth in documentary cinema.
    Television journalism
  10. New technology from television journalism...


    1. A lightwight (1)__-mm hand-held camera, allowing the (2)_____________ to roam virtually anywhere with ease.
    • 1. 16
    • 2. cinematographer
  11. New technology from television journalism...

    2. Flexible (1)____ lenses, allowing the (2)_____________ to go from (3)__-mm (4)____-_____ positions to (5)___-mm (6)_________ positions in one adjusting bar.
    • 1. zoom
    • 2. cinematographer
    • 3. 12
    • 4. wide-angle
    • 5. 120
    • 6. telephoto
  12. New technology from television journalism...

    3. New (1)____ film stocks, permitting scenes to be photographed without the necessity of setting up lights. So (2)_______ were these stocks to available lighting that even nighttime scenes were minimal illumination could be recorded with (3)_______.
    • 1. fast
    • 2. sensitive
    • 3. clarity
  13. New technology from television journalism...

    4. A portable tape (1)________, allowing a technician to record sound directly in automatic (2)_______________ with the visuals. This equipment was so easy to use that only (3)___ people were required to bring in a news story.
    • 1. recorder
    • 2. synchronization
    • 3. two
  14. Actual time and space were preserved whenever possible by using ______ _____.
    lengthy takes.
  15. ______ ______ uses sound minimally.
    Cinema verite
  16. ___-_____ narration tends to interpret images for the spectator, thus relieving us of the necessity of analyzing for ourselves.
    Off-screen
  17. The tradition of the formalistic or subjective documentary can be traced back to the Soviet filmmaker...
    Dziga-Vertov
  18. Dziga-Vertov believed that the cinema should be a tool of the...
    Revolution as a way of instructing workers about how to view events from an ideological perspective.
  19. The structure of a documentary film is not based on (1)_________ or narrative (2)__________, but on the documentarist's (3)________.
    • 1. chronology
    • 2. coherence
    • 3. argument
  20. Many (1)_____-_____ artists are primarily concerned with conveying their (2)"_____ ________, their personal and subjective involvements with (3)______, (4)_____,and (5)___________.
    • 1. avant-garde
    • 2. "inner impulses"
    • 3. people
    • 4. ideas
    • 5. experiences
  21. Avant-garde films are (1)____ and (2)______ by the (3)____ artist and is therefore able to c(4)_______ the material at these stages of the filmmaking process.
    • 1. shot
    • 2. edited
    • 3. same
    • 4. control
  22. Avant-garde filmmakers value (1)______ and (2)___________ and to exploit these elements, they avoid the (3)_____________ of a script.
    • 1. chance
    • 2. spontaneity
    • 3. inflexibility

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