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",[36,133,191,234,286],{"id":37,"data":38,"type":26,"version":25,"maxContentLevel":21,"pages":40},"19d2199c-bcf2-4ef0-a031-76e94dde904e",{"type":26,"title":39},"Understanding Film Criticism",[41,58,75,98],{"id":42,"data":43,"type":25,"maxContentLevel":21,"version":25,"reviews":47},"fb4396cd-7a3d-423e-ab90-b8bb13543b34",{"type":25,"title":44,"markdownContent":45,"audioMediaId":46},"The Everyday Critic","We’ve all been there before. We’re at a dinner party or grabbing a drink with friends when the latest movie release comes up in conversation. Inevitably, there's always someone offering their very detailed opinion of the film or criticizing any other opinion tossed around. \n\nMaybe you’re trying to impress that person or be the one with an impressive take on the latest release, or maybe you’re just trying to garner a deeper understanding of the many layers of a complex art form. No matter what your motivation is, it’s important to learn how to watch a movie.\n \nWhen watching a movie through a critical lens, you’ll develop an understanding of the many technical aspects at play within the film. You’ll also be able to recognize a film’s influence on culture and society or its place within the director’s previous repertoire. \n\nCritical viewing of a film also means possessing the necessary knowledge to recognize the techniques filmmakers use to entertain. It means noticing the effort that has gone into creating a carefully crafted experience for the audience, from the lighting to the music to the camera angles.\n","8515174a-a290-4e51-88be-a965d99091a5",[48],{"id":49,"data":50,"type":51,"version":25,"maxContentLevel":21},"1c016a1c-01f6-4cec-a894-1455b6651764",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":52,"binaryCorrect":54,"binaryIncorrect":56},11,[53],"Being an everyday critic is about...",[55],"Personal opinion",[57],"Objective understanding",{"id":59,"data":60,"type":25,"maxContentLevel":21,"version":25,"reviews":64},"6ac55bae-c088-492b-a61d-38144db01ae1",{"type":25,"title":61,"markdownContent":62,"audioMediaId":63},"Learning the Basics","Before viewing a film, it can be helpful to find out some basic production information about it. This includes facts such as **the director, the studio, the film’s genre classification, the country of origin, and any awards or nominations it may have won**. At first glance, this information may seem irrelevant, but it can ultimately help to understand the film’s context.\n \n**The context surrounding a film will help you understand its cultural and social significance** and help you to more easily identify the themes and techniques within the film itself. \n\nIf a movie is from a major production studio, it probably has a big budget and more recognizable actors or directors. This film has a lot of money behind it and a lot of money to advertise: it also has significant profit expectations. Understanding what country of origin a film has will also help provide a social and political context to a film and may help you draw cultural comparisons. \n","b18aac96-404a-4908-a31c-b3857c392fdb",[65],{"id":66,"data":67,"type":51,"version":25,"maxContentLevel":21},"d9db79bc-3a10-4a19-aa1e-284abdf3200d",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":69,"clozeWords":71},4,[70],"Important production information includes the name of the director and studio, as well as the genre and country of origin",[72,73,74],"director","genre","country",{"id":76,"data":77,"type":25,"maxContentLevel":21,"version":25,"reviews":80},"d4e03bfe-31eb-4581-a54e-69e25aeaf704",{"type":25,"title":33,"markdownContent":78,"audioMediaId":79},"**Film theory** is the study of film and the many technical aspects that create a vision for the audience to experience. It is also a way to understand how films shape or influence society and what may have influenced the film itself. \n\nUnderstanding film theory is a fantastic way to foster a greater appreciation for the many technical aspects of film as well as the artistry and creativity that emerge from the melding of technique and inspiration. \n\nThere are 4 major schools of film theory, each with their own unique way of examining the medium of cinema as an art form and how it can influence and shape culture. These are the **Formalist, Auteur, Feminist, and Apparatus theories**. \n","385c71e9-b86d-41b1-95f8-1d3e76735bf6",[81,89],{"id":82,"data":83,"type":51,"version":25,"maxContentLevel":21},"2d2dd46e-09bd-4e33-a34e-e3ac66038763",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":84,"clozeWords":86},[85],"The major schools of film theory are formalist, auteur, feminist and apparatus",[87,88],"formalist","apparatus",{"id":90,"data":91,"type":51,"version":25,"maxContentLevel":21},"c6964929-87bb-43b7-bbac-2f85cfeafb3f",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":92,"binaryCorrect":94,"binaryIncorrect":96},[93],"Film theory examines",[95],"the film itself and how it can shape and influence culture",[97],"just the film itself",{"id":99,"data":100,"type":25,"maxContentLevel":21,"version":25,"reviews":104},"6a67982a-0bac-4dd7-80e7-9fc7677890ec",{"type":25,"title":101,"markdownContent":102,"audioMediaId":103},"Not To Be Confused With","When discussing **film theory**, it is important not to confuse this area of study with other fields. There are three main areas of focus to distinguish: Film History, Film Criticism, and Film Theory.\n\n**Film History** maps the journey of cinema. It traces the evolution from its earliest days to the modern era, highlighting the progression in filmmaking methods and technological breakthroughs in camera systems.\n\n**Film Criticism** is the art of analyzing a film's craftsmanship. Think of it as an enhanced movie review, where a critic delves deep into the narrative, style, and overall execution of a movie.\n\nOn the other hand, **Film Theory** goes a layer deeper. Adopting an academic approach, akin to literature analysis, it examines the latent messages within films, revealing what they suggest about our society and cultural dynamics.\n\nTogether, these three facets provide a comprehensive understanding of cinema, from its technical evolution to its societal implications.\n","2639ebfa-ac76-4653-abfc-1d720b4dfa96",[105,114,125],{"id":106,"data":107,"type":51,"version":25,"maxContentLevel":21},"6b202130-db29-47f1-9d2c-83a20c0658f0",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":108,"binaryCorrect":110,"binaryIncorrect":112},[109],"What focuses on a film's influence on society?",[111],"Film Theory",[113],"Film Criticism",{"id":115,"data":116,"type":51,"version":25,"maxContentLevel":21},"77850476-cd22-4449-ac82-51ffacfd2139",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":117,"multiChoiceCorrect":119,"multiChoiceIncorrect":121},[118],"Evaluating and analysing the plot of a film is...",[120],"film criticism",[122,123,124],"film history","film theory","utterly pointless",{"id":126,"data":127,"type":51,"version":25,"maxContentLevel":21},"9386e92c-3b18-4b56-a1f8-78deecd7e4e0",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":128,"clozeWords":130},[129],"Film history looks at the evolution of cinema as a visual art form",[131,132],"evolution","visual",{"id":134,"data":135,"type":26,"version":25,"maxContentLevel":21,"pages":137},"5349bc9e-2425-4b6a-9607-914148e8ff54",{"type":26,"title":136},"Formalist Film Theory",[138,177],{"id":139,"data":140,"type":25,"maxContentLevel":21,"version":25,"reviews":144},"91d2d960-2ca8-45c8-9519-15cc7afdd4a9",{"type":25,"title":141,"markdownContent":142,"audioMediaId":143},"Formalist Film Theory ","Rudolf Arnheim, a perceptual psychologist, first articulated **formalist film theory** in the mid-twentieth century. Formalist film theory examines all the technical or formal aspects of the film, such as lighting, sound, camera angles, set design, editing, and color palette.\n\nBased on an understanding of perceptual psychology, this theory aims to explore how these technical elements form a conscious and unconscious perception that the audience experiences. \n\n**Perceptual psychology** proposes that we don’t form a view of the world or interact with the world based solely on visual data but it is how this data is internalized and met with internal emotional resonances and sensations that allow us to form an impression. \n\nThe formalist film theory attempts to understand film as a field of raw visual data produced through technical elements and then interpret the emotional and sensory perception that arises in the audience based on the data. \n","e8076dc3-f284-4176-918f-281a95f7d7a2",[145,152,163,170],{"id":146,"data":147,"type":51,"version":25,"maxContentLevel":21},"0742dc00-72ad-4bc1-b86f-346c081bd5e6",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":148,"clozeWords":150},[149],"The formalist film theory attempts to understand film as raw visual data and emotional and sensory perception ",[132,151],"emotional",{"id":153,"data":154,"type":51,"version":25,"maxContentLevel":21},"7257c3e9-758c-4ae7-8819-563f7cd3e0e4",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":155,"multiChoiceCorrect":157,"multiChoiceIncorrect":159},[156],"What type of psychology does formalist film theory rely on?",[158],"Perceptual",[160,161,162],"Freudian","Cognitive","Criminal",{"id":164,"data":165,"type":51,"version":25,"maxContentLevel":21},"7c248ba3-bd19-41f9-913f-94e1b1726ed6",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":166,"activeRecallAnswers":168},[167],"Who was the first proponent of formalist film theory?",[169],"Rudolf Arnheim",{"id":171,"data":172,"type":51,"version":25,"maxContentLevel":21},"ea83cc77-bd7f-413b-8f74-ee39904c0170",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":173,"clozeWords":175},[174],"Formalist film theory examines all the technical or formal aspects of the film, such as lighting, sound, camera angles, set design, editing, and color palette",[176],"Formalist",{"id":178,"data":179,"type":25,"maxContentLevel":21,"version":25,"reviews":183},"6a4f7c6a-c19f-4c28-9fa1-4fa0412ce956",{"type":25,"title":180,"markdownContent":181,"audioMediaId":182},"Formalist Film Theory In Action ","The formalist film theory believes that, through the technical aspects of the film, such as lighting, sound, and editing, the director brings the audience to an altered sense of reality and controls the perceptions and impressions these elements make on the audience. \n\nThe use of lighting to create a specific mood or slowing down or speeding up film to demonstrate the illusion of time moving faster or more slowly are formalist elements of film theory. Each of these techniques demonstrates an illusion or break in the reality the audience understands and lives. \n\nHow the director chooses to create a mood or illusion and draw a distinction between the film and reality as we know it to be are examples of formalism. Each of these elements goes to create a specific vision of reality that the audience can experience sensually and react to emotionally, despite not being the vision of reality we readily understand and interact with. \n","75d76070-786d-4a52-ac00-6870df2573fa",[184],{"id":185,"data":186,"type":51,"version":25,"maxContentLevel":21},"0df79ac8-51d3-4d1a-ba43-6cf3a3547b0d",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":187,"clozeWords":189},[188],"Bright or dim lighting can change how we respond emotionally to a film",[190],"lighting",{"id":192,"data":193,"type":26,"version":25,"maxContentLevel":21,"pages":195},"c5740e5e-57ec-4e07-a426-2ab09393977d",{"type":26,"title":194},"Auteur Film Theory",[196,220],{"id":197,"data":198,"type":25,"maxContentLevel":21,"version":25,"reviews":202},"faee2304-fee9-4c44-80aa-ac3512834cd4",{"type":25,"title":199,"markdownContent":200,"audioMediaId":201},"Auteur Film Theory ","To understand the **auteur theory** of film, you have to look at a movie as a book and the director as the author. In fact, ‘auteur’ means author in French. This theory analyzes movies based on the idea that movies are a story constructed with the style and vision of the director just as an author crafts a story with its own unique style and use of techniques. \n\nThis theory examines the technical aspects of the film, the lighting, sound, editing, etc., as tools that each director wields uniquely and with their own style. While all the tools may be the same, each director leaves their own unique mark and has their own way of handling them, just as each author has the same vocabulary and literary tools at their disposal and yet creates a totally unique story. The fundamental question in Auteur film theory is **“what is the director trying to do?”**\n","cabcc12c-74bd-4c06-bf5a-75f2e64d3894",[203,209],{"id":204,"data":205,"type":51,"version":25,"maxContentLevel":21},"ae34b963-1e33-4f10-b370-9ae57e6e6ee3",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":206,"clozeWords":208},[207],"Auteur theory looks at the style of a director when examining the techniques used",[72],{"id":210,"data":211,"type":51,"version":25,"maxContentLevel":21},"f15bdb24-14cc-468e-b3ae-1686a4a41511",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":212,"multiChoiceCorrect":214,"multiChoiceIncorrect":216},[213],"What does Auteur translate to?",[215],"Author",[217,218,219],"Ability","Actuary","Award",{"id":221,"data":222,"type":25,"maxContentLevel":21,"version":25,"reviews":226},"0eb82e3e-bbd0-44d4-b738-04f7fa0757a1",{"type":25,"title":223,"markdownContent":224,"audioMediaId":225},"Auteur Theory In Action ","The auteur theory often examines a film in discussion with the director’s other films. Putting the repertoire of a director together will help specific themes, images, motifs or stylistic techniques emerge. These recurring images and themes then become part of the director’s recognizable style. \n\nConsider, for example, Quentin Tarantino, his films are recognizable as containing a specific style, theme, score, and even stylistic techniques that are unique to him as a director. Many of the elements of films like _Kill Bill_, _Inglorious Basterds_ and _Pulp Fiction_ have a commonality that can be thought of as Tarantino's signature style. \n\nIn other words, he has become the author of an entire repertoire that is totally unique stylistically using the same tools and techniques that are at the disposal of every director. \n\n","17ec4c26-47c0-4d08-b6c2-3fd384956e8d",[227],{"id":228,"data":229,"type":51,"version":25,"maxContentLevel":21},"3089aa6a-eac2-4698-9b8c-0624defbc91a",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":230,"activeRecallAnswers":232},[231],"What is used as a point of comparison in Auteur theory?",[233],"A director's other films",{"id":235,"data":236,"type":26,"version":25,"maxContentLevel":21,"pages":238},"c4a7d55c-7fed-4f96-aa48-403dbdc9dd01",{"type":26,"title":237},"Feminist Film Theory",[239,260],{"id":240,"data":241,"type":25,"maxContentLevel":21,"version":25,"reviews":245},"82f322fe-8864-4269-9cc2-134420467896",{"type":25,"title":242,"markdownContent":243,"audioMediaId":244},"Feminist Film Theory ","Analyzing cinema through the lens of **feminist film theory** is to analyze the role of women in the technical aspects of the film, in the production (such as writers, directors, etc.), how women are portrayed in film, and the ways in which that portrayal may influence society’s perception of women. \n\n**Feminist film theory proposes that the way in which women are portrayed in film is directly related to how society views women as a whole**. If a woman on film is nothing more than a damsel in distress or a shallow seductress, these roles represent the views society may hold of women as being infantile and helpless or even malicious and antagonistic. \n\nTo analyze a film through the feminist lens, it is important to recognize the ways a film portrays women through the use of lighting, sound, editing, and even in regard to the story itself. Once an analysis can be made of the film’s depiction of women, the feminist film theorist will then examine how that depiction may influence society’s view of women. \n\nIf women are always the damsel in distress onscreen, that may serve to convince the audience, and even society at large, that that is the true nature of women. \n","fda5446a-12b2-4101-a8db-a50b7c37f863",[246,253],{"id":247,"data":248,"type":51,"version":25,"maxContentLevel":21},"84a0baa1-9a25-401f-9e29-0529ba6b8031",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":249,"clozeWords":251},[250],"Feminist film theory analyses the role of women in the technical aspects of the film",[252],"women",{"id":254,"data":255,"type":51,"version":25,"maxContentLevel":21},"badaf98d-7e86-4519-b98a-10adc40f7454",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":256,"clozeWords":258},[257],"A feminist film theorist will examine how a film's depiction may influence society's view of women",[259,252],"society's",{"id":261,"data":262,"type":25,"maxContentLevel":21,"version":25,"reviews":266},"f6d1a395-efe1-416a-9eb2-f8933363d1e3",{"type":25,"title":263,"markdownContent":264,"audioMediaId":265},"Can It Pass the Bechdel Test?","In 1985, Feminist **Alison Bechdel** created a test that has been popularly coined ‘the Bechdel Test’ in regard to the depth of female characters portrayed on film. This test aims to determine whether or not a female character is written to have an impactful resonance in the plot of a film or if she is just merely a plot device to emphasize the heroism and virtue of the male lead. \n\n ![Graph](image://154a869f-1df6-4d5e-b5dd-1174a2fc060c \"A photograph of writer and film theorist Alison Bechdel who came up with the feminist Bechdel test for films. To pass this test, a film must have named female characters who have a conversation about something other than the male protagonist.\")\n\nTo pass the Bechdel Test, a film must have **2 or more named female characters**. These characters **must both have dialogue** and, most importantly, **the dialogue must be about something other than a man**. While this may seem simple, it would surprise you how many movies do not pass the Bechdel Test. \n\nSome movies that unfortunately don’t pass the test are the _Lord of the Rings_, _The Blindside_, _The Little Mermaid_, _Breakfast at Tiffanys_, _Avatar_, and even _The Avengers_. Does your favorite flick pass the test? ","155df8cb-18d8-4f2d-a6da-48c453b32cad",[267,278],{"id":268,"data":269,"type":51,"version":25,"maxContentLevel":21},"5d970548-47f5-4828-b6f3-da1ccbd46218",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":270,"multiChoiceCorrect":272,"multiChoiceIncorrect":274},[271],"Who invented the 1985 test famous to feminist film criticism?",[273],"Alison Bechdel",[275,276,277],"Alexis Bledel","Alison Brie","Amy Brenneman",{"id":279,"data":280,"type":51,"version":25,"maxContentLevel":21},"d53b52a8-b119-40f4-abe0-2a5b5099708b",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":281,"clozeWords":283},[282],"To pass the Bechdel Test, a film must have two or more named female characters who must have a dialogue about something other than a man",[284,285],"dialogue","man",{"id":287,"data":288,"type":26,"version":25,"maxContentLevel":21,"pages":290},"18a7d9c4-6ed3-41f5-92a9-b68e4624e148",{"type":26,"title":289},"Apparatus Film Theory",[291,316,331],{"id":292,"data":293,"type":25,"maxContentLevel":21,"version":25,"reviews":297},"15086ab0-cde2-44c5-91db-78bd9e215c03",{"type":25,"title":294,"markdownContent":295,"audioMediaId":296},"The Apparatus Theory ","The **apparatus film theory** believes that movies are innately ideological and carry a meaning that is reflective of real-world beliefs. This theory also attempts to examine the interplay between the audience and the film. \n\nStemming from earlier film theories such as a Marxist or psychoanalytical theory, the apparatus theory attempts to extract real-world, practical meaning from a film and attempts to understand how a film’s reflection of real political or ideological beliefs influences an audience’s belief. \n\nIn order to analyze a film through the lens of the apparatus theory, proponents believe that all aspects of a film have significant meaning not only to the story or in regard to the director’s repertoire but in critical analysis. In this theoretical lens, each element of the film is a tool for significant political or ideological meaning to pass through. \n","1ce83567-720f-4762-8a80-41c8a268604a",[298,309],{"id":299,"data":300,"type":51,"version":25,"maxContentLevel":21},"2ad53b55-15e7-4474-958b-25baad98d311",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":301,"multiChoiceCorrect":303,"multiChoiceIncorrect":305},[302],"The apparatus theory believes that movies are innately...",[304],"ideological",[306,307,308],"illogical","irreverent","irrelevant",{"id":310,"data":311,"type":51,"version":25,"maxContentLevel":21},"6a2ca5ce-d9ad-47cb-b1b1-e93d6cb5d7d6",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":312,"activeRecallAnswers":314},[313],"What does Apparatus Theory attempt to get out of a film?",[315],"A real world, practical meaning",{"id":317,"data":318,"type":25,"maxContentLevel":21,"version":25,"reviews":322},"9511f605-487c-4bf7-8dee-4c5d35d232a5",{"type":25,"title":319,"markdownContent":320,"audioMediaId":321},"The Apparatus Theory At Work ","The relationship between the audience and a film is one of deep interconnectedness, and just how deep that connection goes and how it is established in the first place is one of the aims of the apparatus film theory. This theory attempts to explain how technical effects and tools, such as lighting, sound, color, and camera angles work to deepen that connection between the audience and the screen. \n\nThis theory considers **the camera to be an eye** that takes the place of the audience’s own eye, allowing the audience to step into and explore a new world or perspective they may never have the chance to otherwise know. \n\nBecause of this view of the camera as an eye, each aspect of the film becomes important, from the lighting the director chooses for a scene to the dialogue the actors speak. Each of these elements serves to deepen the connection between the film and the audience. \n","2c4fac01-61d6-4a44-98ae-373deb6c7051",[323],{"id":324,"data":325,"type":51,"version":25,"maxContentLevel":21},"46fc5c06-48d2-4e96-b976-d8953756cb22",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":326,"clozeWords":328},[327],"Apparatus Theory is particularly interested in how an audience can view things from a different perspective",[329,330],"audience","perspective",{"id":332,"data":333,"type":25,"maxContentLevel":21,"version":25,"reviews":337},"7ca1b48e-ef05-445a-b9a1-a4c741f1f901",{"type":25,"title":334,"markdownContent":335,"audioMediaId":336},"Deeper Than You Think","The essence of film theory boils down to the notion that cinema and film is an art form and, like all art forms, it contains layers of messages and meaning that are ripe for extrapolation and interpretation. While there are 4 formal schools of film theory and each of these has evolved over the course of cinema, each also has a different perspective through which one can extract meaning from the film. \n\nEach school of film theory allows the audience to peel back the layers of a movie and look deeper, exploring your own participation in cinema through emotional and cultural reactions to it. \n\nTo understand and utilize film theory, you don't have to spend hours pondering over every film you see and analyzing each shot and scene-although you certainly can. To put film theory to use in your own life, explore the different formal schools of theory and understand that echoes of them are pointing toward new ways of watching and truly comprehending a film to get the most out of it and understand the impact and influence it may have on you even without you knowing it. \n\n","ed8ef91a-cd73-424b-925e-360aa5108bae",[338],{"id":339,"data":340,"type":51,"version":25,"maxContentLevel":21},"54efe0b7-a5e6-4b72-a657-fe9c3b5c62c1",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":341,"clozeWords":343},[342],"Film theory is interested in multiple layers of messages",[344],"layers",{"id":346,"data":347,"type":28,"maxContentLevel":21,"version":26,"orbs":350},"a16028df-eb53-49c3-b18b-ede200737abd",{"type":28,"title":348,"tagline":349},"Story Versus Plot and Narrative","How to use narrative structures to identify a plot and tell a story",[351,455,570],{"id":352,"data":353,"type":26,"version":25,"maxContentLevel":21,"pages":355},"d9c954d2-90a3-488c-b5aa-a3251829f3e6",{"type":26,"title":354},"Understanding Storytelling",[356,370,391,413,429],{"id":357,"data":358,"type":25,"maxContentLevel":21,"version":25,"reviews":362},"89d544c5-4c73-482d-80d9-6d088a5bb137",{"type":25,"title":359,"markdownContent":360,"audioMediaId":361},"The Essential Element ","One of the most essential elements of filmmaking is the art of telling a **story** and, in order to do that, a filmmaker must have a **plot**. The plot is what emotionally charges and binds the audience to a film. The struggle of a character to overcome adversity or the quest of a hero to save their world are all plots we know and love. \n\nWhen breaking down this essential element of filmmaking, it is important to distinguish between plot and story. And, once you understand the difference, we can then dive deeper into the types of narrative structures that often are seen on the big screen and how they influence us as audience members. \n\nWithout a story and a plot, there is no purpose to a film. There is nothing for characters to accomplish or overcome– there is no beginning, middle, or end. In order to understand if a movie has successfully told a story, we have to first understand what a story is, how a plot complements and expands on the story, and how narrative structures are the formulas for how different plots are told.\n","79c1cc4d-7752-4e90-aab0-032be2325a09",[363],{"id":364,"data":365,"type":51,"version":25,"maxContentLevel":21},"31de1b6a-f6b9-4de4-913d-e5b1d8472e44",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":366,"clozeWords":368},[367],"To tell a story that is meaningful, a filmmaker must have a plot",[369],"plot",{"id":371,"data":372,"type":25,"maxContentLevel":21,"version":25,"reviews":376},"973e4c84-de54-41aa-8c71-17c9781e916b",{"type":25,"title":373,"markdownContent":374,"audioMediaId":375},"Story and Plot","Storytelling is the oldest art form there is, so it’s important to recognize it and appreciate its significance. In order to best do that, we can study the difference between a story and a plot. E.M. Forster, an English writer and essayist, provides the clearest explanation between a plot and a story. \n\nAccording to Forster, **a story is a basic sequence of events**. He provides the example, ‘“The King died and then the Queen died next” is a story. It demonstrates a sequence of events that the audience can follow and watch logically progress. However, Forster goes on to explain that, ‘“The King died and then the Queen died of grief” is a plot.’ \n\nThis small change in execution has provided a plot to the story. Not only is there a sequence of events, the king dying and then the queen, but **the plot has added causality.** The queen died as a result of grief. ","c4509046-b302-4d75-8b2f-949b858aea3c",[377,384],{"id":378,"data":379,"type":51,"version":25,"maxContentLevel":21},"1a0ea8b3-6825-4ecd-ab98-9ed127405f47",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":380,"activeRecallAnswers":382},[381],"What is the difference between plot and story?",[383],"While a story is a sequence of events, a plot adds causality",{"id":385,"data":386,"type":51,"version":25,"maxContentLevel":21},"f41028fe-3bf7-4f01-a12e-bb5f92fa641b",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":387,"activeRecallAnswers":389},[388],"Which English writer and essayist explored the differences between plot and story? ",[390],"E. M. Forster",{"id":392,"data":393,"type":25,"maxContentLevel":21,"version":25,"reviews":397},"2715a847-8055-433c-a93c-5abbf3ffc25a",{"type":25,"title":394,"markdownContent":395,"audioMediaId":396},"Diving Into A Story","**A story, in its rawest form, is a series of events**. While this may seem simple, Forster explains that a story ‘can only have one merit: that of making the audience want to know what comes next.’ \n\nThe story is like the skeleton of a film. It is the basic series of events as seen in the example above with the full story being the King’s death and then the Queen’s. **The story is the basic sequence of events, it does not, however, have the detail or emotional dimension that comes from the plot.**  \n\nWhen identifying the story of a film, try breaking it down into the most essential elements by answering the questions who, what, and where. In the example of the story above, the ‘who’ would be the King and the Queen, and the ‘what’ would be their deaths. \n\nMaybe not all of these questions will be answered, but they will help you be able to identify the story as the most fundamental events of the film. Just as in Forster’s example of the death of the King, and then the death of the Queen, try identifying in your favorite flicks what their story-or basic sequence of events is. \n","2afbb215-fa95-4719-ba01-6b9c04b90502",[398,404],{"id":399,"data":400,"type":51,"version":25,"maxContentLevel":21},"645de310-d42a-4ec5-993a-41b097cd3206",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":401,"clozeWords":403},[402],"A plot helps provide emotional dimension to the story",[369,151],{"id":405,"data":406,"type":51,"version":25,"maxContentLevel":21},"b5650fbf-0c61-406d-8aaf-6f6cd592ec19",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":407,"binaryCorrect":409,"binaryIncorrect":411},[408],"\"The King Died and then the Queen Died\" is an example of a...",[410],"Story",[412],"Plot",{"id":414,"data":415,"type":25,"maxContentLevel":21,"version":25,"reviews":419},"8efeeb8e-cc39-48df-851f-84229511f4f8",{"type":25,"title":416,"markdownContent":417,"audioMediaId":418},"Identifying The Plot","If the story is the skeleton or the foundation, the raw data of a sequence of events, the plot is the flesh on the bones. The plot contains sequential information just as a story does, but it focuses on the causes of the events. \n\nAs Forster writes in his book Aspects of the Novel, ‘“The King died and then the Queen died of grief” is a plot…Time sequence is preserved, but the sense of causality overshadows it.’\n\n**The story provides the who, what, and where, but the plot provides the how and the why.** The plot is why a sequence of events moves us or stirs emotions within us. A great sequence of events may be exciting, but it becomes riveting and engaging only when we care about the story. And that binding emotional attachment is fulfilled through the plot which fleshes out the story. \n\nIn Forster’s example of a plot, the pivotal difference between the example of the plot versus the story is that we have a cause for the Queen’s death or a ‘why.’ Her death due to grief adds an emotional depth and dimension that the basic sequence of events of the story didn’t have. \n\nWithout a story, nothing happens. Without a plot, we don't care what happens. \n","b9e02b8d-d4b2-4161-9806-c91f073a1c26",[420],{"id":421,"data":422,"type":51,"version":25,"maxContentLevel":21},"2c32b920-2d62-4c19-969e-8269296a6abd",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":423,"binaryCorrect":425,"binaryIncorrect":427},[424],"What question does a story answer?",[426],"What happened?",[428],"Why do I care what happened?",{"id":430,"data":431,"type":25,"maxContentLevel":21,"version":25,"reviews":435},"ef25d3df-57b2-4061-8a54-238a5af78c17",{"type":25,"title":432,"markdownContent":433,"audioMediaId":434},"What Does It Matter Anyway?","Most people use the terms plot and story interchangeably, you may even be guilty of it yourself. But once you understand the difference between a plot and a story, it will help you be able to identify the strengths and weaknesses of each within a film and how that impacted the experience of viewing that film and the audience’s emotional connection to it. \n\nBeing able to identify the plot of a film, as opposed to the raw details that compose its story, also brings you one step closer to being able to identify the narrative structure of the plot and how the narrative relates to a film’s genre, and what expectation you may have for a film before you even watch it. \n\n**The plot of a film adds the details to the sequence of events that is the story**. These details the plot adds are the motivations and desires of the actors and their reactions to the events that make up the story. \n\n**The goal of the plot is to move the audience**, either emotionally or intellectually. To determine whether or not a movie has been successful in doing that, we have to first be able to identify the plot, story, and narrative structure a movie is utilizing. \n\nBeing able to identify these elements at play within a film will also help to identify where, if any, weaknesses lie. Maybe the story the film tells is fine, but the plot, the motivations, and reactions of the characters to the events of the story don’t make sense or are not explained well. This can make the audience unable to relate to the characters and undermine any intention the filmmaker had in telling the story. \n","c08d8da9-c5e6-46b6-91a6-10751aa7cf44",[436,444],{"id":437,"data":438,"type":51,"version":25,"maxContentLevel":21},"a535e72a-868e-43e0-90fc-1e6e4b2b3bf1",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":439,"clozeWords":441},[440],"The plot adds the motivations of the actors and their reactions to events",[442,443],"motivations","reactions",{"id":445,"data":446,"type":51,"version":25,"maxContentLevel":21},"f458cd39-2859-4b35-ab4f-34b347d11ead",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":447,"multiChoiceCorrect":449,"multiChoiceIncorrect":451},[448],"The goal of the plot is to move the audience...",[450],"intellectually and emotionally",[452,453,454],"intellectually and physically","emotionally and physically","just emotionally",{"id":456,"data":457,"type":26,"version":26,"maxContentLevel":21,"pages":459},"4f555f1a-88f1-49f6-9e40-3be001627f5d",{"type":26,"title":458},"Exploring Narrative Structures",[460,475,502,517,548],{"id":461,"data":462,"type":25,"maxContentLevel":21,"version":26,"reviews":466},"07c5a23f-eb16-43eb-ac56-90bb33fada2a",{"type":25,"title":463,"markdownContent":464,"audioMediaId":465},"Introduction To Narrative Structures","The plot of the movie is the aspect of the film that drives our emotional response to it. The reason we relate to a character’s struggle or find ourselves at the edge of our seat is that the filmmaker or writer has written a successful plot. They’ve given us characters and motivations that we care about and relate to. So what makes a plotline successful?\n\nA great plotline successfully utilizes narrative structures. **Narrative structures provide a framework for how the plot is told.**\n\nA narrative structure is a storytelling tool that is used to tighten the plot of a story and make us as an audience care about the characters on the screen and what is happening to them. Maybe, a writer wants to tell a story about the housing market crash, but how do they choose what characters’ perspective to tell this story from?\n\nShould this story be told from the perspective of a stockholder or homeowner? Should it show the events leading up to the crash or the fallout from it? A narrative structure is a tool for telling a story from a specific place and time and from a specific perspective. It also provides a structural framework for the sequence of events in the story.","f77f205a-df7d-49c7-84b2-448c13152dc6",[467],{"id":468,"data":469,"type":51,"version":25,"maxContentLevel":21},"458c5b07-1f98-4e26-af1d-c81fc5383f69",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":470,"clozeWords":472},[471],"A narrative structure is a tool for telling a story from a specific place and time and from a specific perspective",[473,474,330],"narrative","time",{"id":476,"data":477,"type":25,"maxContentLevel":21,"version":26,"reviews":481},"383e0e6c-fbfe-4718-8b67-22f463f6dffa",{"type":25,"title":478,"markdownContent":479,"audioMediaId":480},"Types Of Narrative Structures ","There are 5 main types of narrative structures that are commonly used in films: **Linear, Non-Linear, the Quest, Voice-Over, and Point of View**. These narrative structures drive the audience’s emotional response to a plot and help set expectations for a film.\n\nWould it shock you to learn that Shrek and The Lord of the Rings both share a Quest narrative structure? While these movies may not share many similarities on the surface, the plot of these films both utilizes the same structure while making the characters and their motivations unique.\n\nNarrative structures function as a tool to be wielded like any other cinematic technique and can be used to analyze a film and identify its strengths and weaknesses.","c627ad15-0213-4665-92b5-c854eeb252a1",[482,495],{"id":483,"data":484,"type":51,"version":25,"maxContentLevel":21},"02b8a686-4b52-4e1a-b9c4-535299365611",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":485,"multiChoiceCorrect":487,"multiChoiceIncorrect":489},[486],"Which of these is not a narrative structure?",[488],"Quadratic",[490,491,492,493,494],"Non-Linear","Linear","Voice-Over","the Quest","Point of View",{"id":496,"data":497,"type":51,"version":25,"maxContentLevel":21},"f379f7d5-e43d-4387-8e05-5ad6a3ff07f7",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":498,"activeRecallAnswers":500},[499],"How many types of narrative structure are commonly used in films?",[501],"5",{"id":503,"data":504,"type":25,"maxContentLevel":21,"version":26,"reviews":508},"87408872-8553-44c4-b669-097bc51778cd",{"type":25,"title":505,"markdownContent":506,"audioMediaId":507},"The Linear Narrative","**A narrative is a tool used by screenwriters to strengthen the plot of their screenplay**. The most common narrative form is the linear narrative. **This linear form follows a chronological series of events from start to finish**, like an arrow shooting straight across time.\n\nThese chronological events are linked causally and logically follow from one to the other, sticking to a clear timeline and ordered series of events. For example, telling a story of your own life, you could begin from the moment of your birth, through school, and up to this exact moment. Or it could be more specific to a period of time, such as telling the story of your high school years.\n\nExamples of linear narratives in films are seen easily in romantic movies, such as Joe Wright’s *Pride and Prejudice*. This linear narrative shows the romantic progression of 2 characters from the first moment they meet and the subsequent series of events lead to their eventual romance.","e9e26dad-0acc-406e-b428-d2512db75074",[509],{"id":510,"data":511,"type":51,"version":25,"maxContentLevel":21},"668358ef-2049-4143-8097-a9467bcef196",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":512,"clozeWords":514},[513],"A linear narrative follows a chronological series of events, which have a direct causal relationship from start to finish",[515,516],"linear","causal",{"id":518,"data":519,"type":25,"maxContentLevel":21,"version":26,"reviews":523},"f6377ea1-c527-47b4-9c78-33193cca9e71",{"type":25,"title":520,"markdownContent":521,"audioMediaId":522},"The Non-Linear Narrative ","Narrative techniques are how a storyteller chooses to place a story in time and what characters it chooses to tell the story about. **A non-linear narrative is a way to tell a story that does not follow a chronological progression**. It tells a story not from one set point in time and shows the events that follow by jumping around in time.\n\nCommon examples of non-linear narratives are the use of flashbacks in films. These flashbacks are glimpses to other points in time that have an impact on the story although they do not chronologically follow in order. Oftentimes, **non-linear plots are used to emphasize the emotional or mental state of the characters within the plot**.\n\nExamples of non-linear narratives are Quentin Tarantino’s *Pulp Fiction* and Christopher Nolan’s *Memento.* Each of these films is character-centric and manipulates how the audience experiences time, either to disorient and confuse or to shock and awe.","9fa9f5f3-581d-47df-909f-df9bd4593f8f",[524,533,540],{"id":525,"data":526,"type":51,"version":25,"maxContentLevel":21},"2863e723-9c16-4c4f-a105-08d203abe919",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":527,"binaryCorrect":529,"binaryIncorrect":531},[528],"Which of these follows a chronological series of events?",[530],"Linear Narrative",[532],"Non-Linear Narrative",{"id":534,"data":535,"type":51,"version":25,"maxContentLevel":21},"31ac7aed-d4db-4039-95e1-32eebcf6fdd7",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":536,"activeRecallAnswers":538},[537],"What are non-linear narratives usually trying to emphasize?",[539],"The emotional or mental state of characters",{"id":541,"data":542,"type":51,"version":25,"maxContentLevel":21},"37701889-ba49-4d88-8f3c-a6614af9c90d",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":543,"clozeWords":545},[544],"Flashbacks are used in non-linear narratives because they have an impact on the story even though they don't follow chronologically.",[546,547],"non-linear","chronologically",{"id":549,"data":550,"type":25,"maxContentLevel":21,"version":26,"reviews":554},"406df50b-ed28-46e3-bd1a-04f5f4a2e07c",{"type":25,"title":551,"markdownContent":552,"audioMediaId":553},"The Quest ","All stories are narratives, in fact, a narrative is just a tool to tighten the plot of a story and drive the audience’s emotional reaction. A common type of narrative structure is **the quest. In this plot, the protagonist is driven by a specific goal**. The plot is centered around this goal with the tension and conflict stemming from the obstacles the characters face that slow them down or divert them from their goal.\n\nThe progression of the plot in a quest narrative comes from a specific sequence of events. In these plots, the protagonist is introduced to its quest or given its goal, agrees to work toward this goal, and they face conflict and obstacles along the way until they (hopefully) reach this goal.\n\nGood examples of the quest narrative are *The Lord of the Rings*, *Interstellar*, and even *Shrek*.  These are stories with a specific goal that the protagonist goes on a journey to meet, whether it's across a kingdom or a galaxy.","751c2ab2-1413-4fb4-a40b-ce93e0f2c82c",[555,562],{"id":556,"data":557,"type":51,"version":25,"maxContentLevel":21},"a9a72266-5b0b-4cdb-a5a7-76e4f5f8232e",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":558,"clozeWords":560},[559],"In a Quest narrative structure, tension and conflict stems from obstacles between the protagonist and their goal",[561],"Quest",{"id":563,"data":564,"type":51,"version":25,"maxContentLevel":21},"e46d601e-3031-4fc7-8552-79df34167502",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":565,"multiChoiceCorrect":567,"multiChoiceIncorrect":568},[566],"What kind of narrative involves a character being driven by a specific goal?",[561],[491,490,569],"Point-of-View",{"id":571,"data":572,"type":26,"version":25,"maxContentLevel":21,"pages":574},"19089484-843e-44cb-bb4b-ac0acb1769c1",{"type":26,"title":573},"Narrative Techniques in Film",[575,596],{"id":576,"data":577,"type":25,"maxContentLevel":21,"version":25,"reviews":581},"c65b6e54-a4ff-411f-8342-4d41181471b9",{"type":25,"title":578,"markdownContent":579,"audioMediaId":580},"A New Viewpoint","**The viewpoint narrative is one that fully immerses the audience into a specific point of view**. This narrative is sometimes referred to as perspective narrative where the audience is being told a story from the specific, and often limited, perspective of a character. What the character knows, the audience knows, and what the character doesn't know, the audience doesn't either. \n\nThis narrative focuses on creating **a new perspective for the audience to live through**. The moods, knowledge, feelings, and mentality of the viewpoint character are what emotions or knowledge are meant to be conveyed to the audience. Much of the tension or conflict in the plot comes from limiting the perspective to just one character. \n\nSome great examples of viewpoint narratives are in the films The Others, Gone Girl, and Knives Out. Each of these films brings the audience into a specific character's point of view so that the audience shares in the fears and delights, triumphs, and losses of that character. ","f26316e1-46ca-43a4-ad10-28b888698f30",[582,589],{"id":583,"data":584,"type":51,"version":25,"maxContentLevel":21},"473527df-d6ec-4868-b4ad-b03f4ab7577f",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":585,"activeRecallAnswers":587},[586],"What perspective is a Viewpoint narrative told from?",[588],"A single character",{"id":590,"data":591,"type":51,"version":25,"maxContentLevel":21},"4d56ffce-6d35-4382-a6d4-ec85ef610de0",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":592,"clozeWords":594},[593],"In a Viewpoint narrative, audience members are invited to share in the moods, knowledge, feelings and mentality of the character because of their limited information",[595],"Viewpoint",{"id":597,"data":598,"type":25,"maxContentLevel":21,"version":25,"reviews":602},"76f32da4-e196-473d-bf97-a2d278fc0b10",{"type":25,"title":599,"markdownContent":600,"audioMediaId":601},"The Voice In Your Head","**The voice-over narrative is a technique used by films to draw a direct line from the plot of the story to the audience experiencing it.** This technique is easily recognized in the film as a voice that is not a part of the action onscreen that is letting the audience know something that they may not be able to learn strictly from the plot. \n\nThe voice-over invites the audience **deeper into the action** of the plot by giving them **knowledge of the character’s emotions, motivations, or even a glimpse into events that happened in the past or have not happened yet**. A voice-over in a film can be the protagonist themselves speaking to the audience or it may be another character that is providing this insight to the audience. \n\nSome examples of voice-over narratives are _A Clockwork Orange_, _The Big Lebowski_, and _Fight Club_. Each of these films has a certain amount of subjectivity built into them as the protagonist talks to the audience and allows them the information they wouldn’t otherwise have the privilege of knowing. ","4d40454b-eb87-486a-a5c1-48e16f7997e2",[603,609,616],{"id":604,"data":605,"type":51,"version":25,"maxContentLevel":21},"11a7ca2b-c6c1-44d3-95bc-aeb9ad26c7ec",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":606,"clozeWords":608},[607],"The Voice-Over Narrative is a technique used by films to draw a direct line from the plot of the story to the audience experiencing it",[492],{"id":610,"data":611,"type":51,"version":25,"maxContentLevel":21},"ded05078-b3af-4641-9c5c-cdc56ee939bf",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":612,"activeRecallAnswers":614},[613],"What does a Voice-Over Narrative allow audience members to receive?",[615],"Information they otherwise wouldn't have had",{"id":617,"data":618,"type":51,"version":25,"maxContentLevel":21},"e164d957-3a04-480f-8480-562b2d125ecd",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":619,"binaryCorrect":621,"binaryIncorrect":623},[620],"Does a Voice-Over Narrative always have to be from the perspective of the protagonist?",[622],"No",[624],"Yes",{"id":626,"data":627,"type":28,"maxContentLevel":21,"version":25,"orbs":630},"1e546f73-9234-49fe-9a63-4fb7853f33b2",{"type":28,"title":628,"tagline":629},"Editing","The Movement of Pictures and Why Its Is Important",[631,772,828,912],{"id":632,"data":633,"type":26,"version":25,"maxContentLevel":21,"pages":635},"08164f94-96b9-412a-b628-6c4b115f9018",{"type":26,"title":634},"The Art of Film Editing",[636,673,694,719,733],{"id":637,"data":638,"type":25,"maxContentLevel":21,"version":25,"reviews":642},"39278b9e-d413-40f4-b446-8a82b2f4b724",{"type":25,"title":639,"markdownContent":640,"audioMediaId":641},"The Visual Story ","One of the most fundamental, and often unrecognized, aspects of filmmaking is editing. **Film editing is the underappreciated but absolutely necessary art of assembling shots of a film together in a way that most powerfully emphasizes the theme and emotion of the story.** \n\nThis element, when done well, may go completely unnoticed, but **film editing is the cutting and splicing together of a finished film**. This part of filmmaking comes in post-production and blends visuals and sound together to create a final cut or version of the film.\n\nKnown as the ‘invisible art’, a film editor helps to complete the director’s vision of the movie as well as adding their own creative input to the film. \n\nFilm editing is just as important to a film as an editor is important to a great novel. The editor of a film can help set the **pace and atmosphere** of the film through the careful selection of shots and splicing them together as well as combining sound and scoring to these shots. \n\nWhile film editing began as a literal cut-and-paste process where editors spliced film by hand and glued it into a new place, the art of film editing has evolved just as the technology of filmmaking has. \n","1fefa85d-d13a-4186-9bd5-e7efe91c8318",[643,651,662],{"id":644,"data":645,"type":51,"version":25,"maxContentLevel":21},"57db0d9f-c2b9-4f5d-9d1f-5547b35f3625",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":646,"clozeWords":648},[647],"Film editing is the art of assembling shots together in a way that most powerfully emphasizes the theme and emotion of the story",[649,650],"shots","theme",{"id":652,"data":653,"type":51,"version":25,"maxContentLevel":21},"b9a1a37f-bebe-4925-8894-dde861788490",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":654,"multiChoiceCorrect":656,"multiChoiceIncorrect":658},[655],"What stage does film editing happen at?",[657],"Post-production",[659,660,661],"Pre-production","Mid-production","All of the above",{"id":663,"data":664,"type":51,"version":25,"maxContentLevel":21},"d1c44080-85dc-4cdf-80bb-de1c019e73c8",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":665,"multiChoiceCorrect":667,"multiChoiceIncorrect":669},[666],"What does film editing help add to a movie?",[668],"pace and atmosphere",[670,671,672],"infinity and beyond","depth and breadth","speed and power",{"id":674,"data":675,"type":25,"maxContentLevel":21,"version":25,"reviews":679},"586c0969-fc3d-429a-9b80-eca27e9cf824",{"type":25,"title":676,"markdownContent":677,"audioMediaId":678},"An Ancient Form ","**Gerald Mast**, a renowned author, film historian, and professor, described movies and film as a kind of new ‘hieroglyphic’ language because this art form relies heavily on imagery to produce emotion within the audience and relay a story. \n\nThe visual aspect of film is the content and the order of the images presented. What we see on screen and how we see it - meaning in what order, from what perspective, etc. - is an integral aspect of this new form of storytelling, even if the use of images to tell a story is not new, as Mast points out when mentioning hieroglyphs. \n\nConsider the start of cinema and silent film. These early movies captivated the audience and were able to tell full stories with a wide range of emotions from fear and suspense to wonder and romance through the use of the images on the screen alone. \n\nFilm editing is the manipulation of those visual images and means to tell a story while combining sounds and scoring. The editor of a film is concerned with how best to place shots beside each other to form a continuous story, how fast the movement between shots is, and how these elements impact the audience. \n","b4fb32c2-c35c-4246-8bba-23533ea2daba",[680,687],{"id":681,"data":682,"type":51,"version":25,"maxContentLevel":21},"87025d53-26b3-434f-9c21-7d67611ca276",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":683,"activeRecallAnswers":685},[684],"Who used the analogy of films as hieroglyphic?",[686],"Gerald Mast",{"id":688,"data":689,"type":51,"version":25,"maxContentLevel":21},"8de359eb-ddb8-4d7c-a648-2f6e6417f514",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":690,"clozeWords":692},[691],"Gerald Mast described film as a kind of hieroglyphic language.",[693],"hieroglyphic",{"id":695,"data":696,"type":25,"maxContentLevel":21,"version":25,"reviews":700},"90ea8380-e903-48e2-b679-1f24d89baa53",{"type":25,"title":697,"markdownContent":698,"audioMediaId":699},"A New Artform ","The blending of visual images, sound effects, and scoring is part of a film editor’s role in production. How best to time music to the action on the screen and when to employ the power of silence are techniques that can lend emotion to a film, and they are techniques that editors use to not only evoke that emotion but help fulfill the vision of the director and producers of the film. \n\nEditing in cinema is primarily concerned with 2 technical aspects – **fluidity and continuity**. These elements ensure that the story is consistent and that the passage of time is properly displayed in a way for the audience to understand. \n\nThis careful editing for heightened emotion, continuity, and fluidity may not be noticed when watching a film, you may only see a seamless transition from one shot to the next, but that just means the editor has done their job well. \n\nThere are also types of editing that a film might utilize, these are **Classical, Associative, Radical Continuity, and Dialectic Editing**. Each of these techniques helps to **emphasize the emotion** of the film as well as build a reality and perspective for the audience to step into. \n","69253872-e42e-4c2e-94c5-2546257724c3",[701,711],{"id":702,"data":703,"type":51,"version":25,"maxContentLevel":21},"5fa74679-1ed2-4881-8a97-43901472af9a",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":704,"activeRecallAnswers":706},[705],"What are the types of film editing?",[707,708,709,710],"Classical","Associative","Radical Continuity","Dialectic",{"id":712,"data":713,"type":51,"version":25,"maxContentLevel":21},"65e4e87a-8560-4f0d-976c-ad016bd02871",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":714,"activeRecallAnswers":716},[715],"What two concepts are integral to film editing?",[717,718],"fluidity","continuity",{"id":720,"data":721,"type":25,"maxContentLevel":21,"version":25,"reviews":725},"c4017cc8-d60c-4f01-85c7-3d09f63c73b8",{"type":25,"title":722,"markdownContent":723,"audioMediaId":724},"Fluidity of Action","One of the most critical technical aspects of a film editor’s job is **fluidity of action**. This term refers to the careful selection of shots to be used in the final cut of a film based on how well they flow together or maintain a unified sequence of action. \n\nWhen filming a movie, each scene is shot multiple times, which means that the film editor has many versions of the same scene they must choose from and piece together. The editor decides which scenes, or even shots within a scene, can be placed together in the most powerful way to evoke emotion or place the audience in a specific mentality. \n\nWhen piecing these shots together, **the editor must be consistent in their fluidity of action**. They must be careful that, when putting one shot beside another, **the actions of the actors** are not repeated and **lighting and color** are consistent across takes. The **angle of the camera** in each shot is something that a film editor must also consider and ensure is consistent across takes. \n\nThe fluidity of action also involves accurate **placement of scoring and sound effects**. If the orchestral climax comes before the long-awaited romantic reunion, the audience will not have the same emotional response and may notice only the jarring discrepancy. \n","9466e7a4-e040-481e-a370-b97898d76027",[726],{"id":727,"data":728,"type":51,"version":25,"maxContentLevel":21},"fab23fe2-b292-4786-87cb-e052da5858a3",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":729,"clozeWords":731},[730],"To ensure fluidity, an editor must ensure actions are not repeated and that lighting and color are consistent across takes",[732],"editor",{"id":734,"data":735,"type":25,"maxContentLevel":21,"version":25,"reviews":739},"d91dc604-ae1d-4870-a8e6-28332648c850",{"type":25,"title":736,"markdownContent":737,"audioMediaId":738},"What is Continuity?","Have you ever watched a movie and noticed an actor’s hair change from one shot to the next? Or maybe the coffee they were holding in their right hand is suddenly in their left hand? \n\nAfter a film is shot, the many different versions of scenes are given to a film editor who must then decide how best to place each and every shot next to each other. **Continuity** is the technical aspect of a film editor’s job that’s concerned with them placing together different shots while maintaining **consistent space, time, and sequencing**. \n\nSuppose in one shot, an actor is holding a cup of coffee, and the next time the camera pans to him he is no longer holding that cup of coffee. In that case, it can be disorienting and take the audience out of the carefully crafted illusion of reality. \n\nThe editor must ensure that, when piecing together shots of film, they agree with each other spatially and chronologically. **Continuity ensures that the audience can be fully immersed in the director’s vision.** For that emotional immersion and a successful suspension of disbelief, continuity must be ensured from shot to shot so as not to disorient or confuse the audience. \n\nWhile fluidity is concerned with consistency in lighting, angles, and the motion of actions onscreen, continuity is concerned with maintaining the consistent placement of objects, actors, and the actions or positions of the actors from shot to shot. \n","6c311e28-aa53-40a9-92ac-04628f46e952",[740,747,754,763],{"id":741,"data":742,"type":51,"version":25,"maxContentLevel":21},"0c869ced-74e3-458d-b658-03097be3cd8f",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":743,"activeRecallAnswers":745},[744],"What is continuity editing aimed at preserving?",[746],"Suspension of disbelief",{"id":748,"data":749,"type":51,"version":25,"maxContentLevel":21},"329333d5-c6bd-4df5-98c1-feb804c179e8",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":750,"clozeWords":752},[751],"Continuity is the aspect of editing concerned with maintaining consistent space, time and sequencing",[753],"sequencing",{"id":755,"data":756,"type":51,"version":25,"maxContentLevel":21},"32efbb60-5177-4de0-a877-da46e8204b5d",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":757,"binaryCorrect":759,"binaryIncorrect":761},[758],"What is it called if a coffee cup randomly changes between one hand and another in the middle of a take?",[760],"Continuity error",[762],"Fluidity error",{"id":764,"data":765,"type":51,"version":25,"maxContentLevel":21},"97056767-4bc9-48da-b0f5-816275bb3738",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":766,"binaryCorrect":768,"binaryIncorrect":770},[767],"What is concerned with lighting, angles and motions on screen?",[769],"Fluidity editing",[771],"Continuity editing",{"id":773,"data":774,"type":26,"version":25,"maxContentLevel":21,"pages":776},"1846442e-2f40-4443-9f05-d782c8780db7",{"type":26,"title":775},"Techniques in Continuity Editing",[777,791,813],{"id":778,"data":779,"type":25,"maxContentLevel":21,"version":25,"reviews":783},"92b6ca3f-7cf7-4b52-8936-425ec5398996",{"type":25,"title":780,"markdownContent":781,"audioMediaId":782},"Continuity Editing: Pulling A 180","For the budding film editor or the budding film critic, there are a few rules of thumb to know in order to enhance your own recognition and appreciation of film editing. \n\nThe first rule is known as the **180 Degree Rule**. This rule states that in a dialogue between 2 characters where the camera is cutting back and forth, it is important to keep the spatial relationship accurate.\n\n ![Graph](image://002f14a8-f279-467f-b9e6-30e35ae9f83e \"A diagram of the 180 degree rule. Grm wnr via Wikimedia Commons\")\n\nIf there’s a window to the right of one character, in a shot of a character sitting across from them, the window can’t also be coming from their right side. This rule imagines an axis on which the camera is rotating 180 degrees called **the crossing line**. \n\nTry to pay attention to the next onscreen conversation you watch. Do the position of lights and props follow the 180 Degree Rule? Are there any examples in a film you can think of that break this continuity editing rule? \n","4d1498d9-ab7e-4a44-840c-31632c065de1",[784],{"id":785,"data":786,"type":51,"version":25,"maxContentLevel":21},"9cff4d1e-f645-47d8-814b-638bcf33aced",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":787,"clozeWords":789},[788],"The 180 Degree Rule is concerned with keeping the spatial relationship accurate in dialogue between two characters where the camera cuts back and forward",[790],"spatial relationship",{"id":792,"data":793,"type":25,"maxContentLevel":21,"version":25,"reviews":797},"98aaafea-c2c8-461c-a4ec-9a9a96bb5934",{"type":25,"title":794,"markdownContent":795,"audioMediaId":796},"Continuity Editing: It’s All In The Eyes","Another rule film editors follow to maintain continuity is **eyeline match editing**. During a conversation between 2 characters not both on-screen at the same time, each shot of a character must match where the other character is placed in their view. \n\nFor example, a child talking to its parent will be looking up, but the parent must be looking down when they’re on screen in order for the eyeline to match.  \n\nWhile it may seem subtle, **these elements of continuity help maintain the audience’s engagement and ensure a vision of reality is maintained in the film**. While you may not notice an eyeline match done right, you definitely would if it was done wrong. \n\nAnother example of an eyeline match is in a film cutting technique. This is a shot of a character looking at something offscreen, then a shot of the object of their gaze. The object of their gaze is usually shown through the eyeline and perspective of that character so that the audience experiences the shot just as the character does. \n\n**This technique helps focus the audience on the object of the character’s attention.**\n","979b7441-4c97-4bda-8281-8f2890658523",[798,805],{"id":799,"data":800,"type":51,"version":25,"maxContentLevel":21},"4898d6bc-97a7-469b-8d90-69b6462346c0",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":801,"clozeWords":803},[802],"Eyeline match editing ensures continuity when it comes to what the character is looking at",[718,804],"looking",{"id":806,"data":807,"type":51,"version":25,"maxContentLevel":21},"dc2ebd46-6acc-4250-abea-0ffcd7636389",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":808,"activeRecallAnswers":810},[809],"What are the two types of editing methods used when two characters are talking but not simultaneously on screen?",[811,812],"180 Degree Rule","Eyeline Match Editing",{"id":814,"data":815,"type":25,"maxContentLevel":21,"version":25,"reviews":819},"c4856e29-8910-4820-9ac5-a411c4c93d00",{"type":25,"title":816,"markdownContent":817,"audioMediaId":818},"The Movement Of Time","Movies can be limited in their ability to convey information to the audience. This visual form of storytelling cannot always inform the audience about the passage of time or the specific location where a story is taking place, which is why a film’s editor will make use of specific shots. \n\nA shot of a plane taking off from a runway may not seem significant, but it helps the audience understand the physical movement of the characters as well as the passage of time. Similarly, a shot of sunset or sunrise is an easy way to convey the passage of time to the audience as well. \n\nThese **establishing shots** are chosen specifically by the film’s editor to help keep the movement and momentum of the plot but also inform the audience about the passage of time and the movement of the characters. \n","27b7e223-651b-4fa3-bb90-82896d6c527c",[820],{"id":821,"data":822,"type":51,"version":25,"maxContentLevel":21},"25b14b47-822f-4927-93a4-8a05162ccb64",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":823,"clozeWords":825},[824],"Establishing shots are designed to show the passage of time or movement to a new location without disrupting the plot's momentum",[826,474,827],"Establishing shots","momentum",{"id":829,"data":830,"type":26,"version":25,"maxContentLevel":21,"pages":832},"48f70d7d-0d8e-4fdb-9050-48ca528d342a",{"type":26,"title":831},"Classical and Associative Editing",[833,862,890],{"id":834,"data":835,"type":25,"maxContentLevel":21,"version":25,"reviews":839},"06555d86-3bdb-43a0-8227-2c8e22e42d93",{"type":25,"title":836,"markdownContent":837,"audioMediaId":838},"Classical Film Editing","Most films you see will utilize **classical film editing**. This is the consistent movement of long to medium to close shots to provide movement to the action of the plot while maintaining and heightening the emotion on screen. This technique is one of the oldest and most widely used.\n\nThis **fluid movement of wide to narrow shots** helps the audience to establish location and time and then eventually hone in on smaller, more specific actions and emotions. This type of editing is a smooth, seamless style of editing focused on maintaining the emotional and logical progression of the film. \n\n**Classical film editing also utilizes action and reaction shots** where the editor shows action on screen and then quickly cuts to show the actor’s reaction to that emotion. This type of editing cements an emotional connection between the characters on screen and the audience as the character’s reactions in turn become the audience’s reactions. \n\n**While associative editing is focused on splicing shots next to each other based on their ideas or themes, classical editing is concerned with seamlessly maintaining the emotion and logic of film.**\n","a62e0bb1-f2eb-427f-9fbd-bf77516e4746",[840,847,854],{"id":841,"data":842,"type":51,"version":25,"maxContentLevel":21},"4be8ec32-9da6-4c29-bf8e-0eb2308ff53e",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":843,"multiChoiceCorrect":845,"multiChoiceIncorrect":846},[844],"What is the most common type of film editing?",[707],[708,709,710],{"id":848,"data":849,"type":51,"version":25,"maxContentLevel":21},"9052570f-eec0-4e3f-95df-391af49433a8",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":850,"activeRecallAnswers":852},[851],"What is the sequence of shots in classical editing?",[853],"Wide to Narrow",{"id":855,"data":856,"type":51,"version":25,"maxContentLevel":21},"fc6ab0e9-a94c-4045-8d4f-59231e442b72",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":857,"clozeWords":859},[858],"Classical film editing also utilizes action and reaction shots where the editor shows action on screen and then quickly cuts to show the actor’s reaction to that emotion",[860,861],"reaction","cuts",{"id":863,"data":864,"type":25,"maxContentLevel":21,"version":25,"reviews":868},"93f1a471-33ff-4eb6-99a4-902d80eb2a03",{"type":25,"title":865,"markdownContent":866,"audioMediaId":867},"Associative Film Editing ","The artistry of film editing comes in how an editor can manipulate the emotional impact a film has on its audience by carefully placing shots next to each other. Sometimes, an editor can place 2 contradictory or separate images next to each other in order to emphasize a specific emotion or idea, this is called **associative editing**. \n\nHave you ever been watching a movie and, at the magical first kiss moment, the camera cuts away to a shot of fireworks? These 2 images when placed side by side emphasize the passion and raw emotion of each other. This was a specific choice by the editor to connect these 2 images because of their thematic significance, not necessarily their direct connection to each other. \n\n ![Graph](image://6dbe14d0-d93f-464c-90c4-299ff5b4d5bb \"Baz Lurhman’s ‘The Great Gatsby’ (2013) uses associative editing through the fireworks in the background to dramatize the magnitude and importance of this moment when Jay Gatsby is revealed (image copyrighted under WB Media)\")\n\n","05889277-25ef-4a14-a004-458ef1746070",[869,876,883],{"id":870,"data":871,"type":51,"version":25,"maxContentLevel":21},"379d3c91-8b86-4707-95e7-81053c3ba3b1",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":872,"binaryCorrect":874,"binaryIncorrect":875},[873],"Which type of editing is more concerned with continuity?",[707],[708],{"id":877,"data":878,"type":51,"version":25,"maxContentLevel":21},"92b47e29-6543-4e92-86e4-ff3a4481be23",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":879,"clozeWords":881},[880],"In associative editing, two distinct images are placed alongside each other to emphasize a specific emotion or idea",[882],"associative editing",{"id":884,"data":885,"type":51,"version":25,"maxContentLevel":21},"bcec51d2-8140-42d2-ad9b-dd15cb2230de",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":886,"activeRecallAnswers":888},[887],"What does associative editing focus on?",[889],"Ideas and themes",{"id":891,"data":892,"type":25,"maxContentLevel":21,"version":25,"reviews":896},"b595266f-6d26-4e7b-b329-78edea65dd79",{"type":25,"title":893,"markdownContent":894,"audioMediaId":895},"The Kuleshov Effect ","This film editing phenomenon of 2 separate images being able to convey more emotion or meaning than one individual image is referred to as the **Kuleshov Effect**.\n\nIn the early twentieth century, Soviet filmmaker **Lev Kuleshov** created this film editing effect where a montage, or series, of separate images were placed next to each other. By placing a carefully curated selection of images or shots next to each other, Kuleshov discovered that the overall theme or meaning was more readily emphasized than in a single image alone. \n\nMost montage film sequences are a way for the film’s editor to condense a series of images or shots to show the passage of time or quickly give the audience information. The Kuleshov effect is one of the first montage editing techniques utilized. \n\nThe **Kuleshov Effect** demonstrates a unique phenomenon wherein the audience can derive more meaning from 2 separate shots or images than a single shot. Splicing a shot of a first kiss with a burst of fireworks can evoke more emotion in the audience than a single shot of a kiss. \n","97f312b0-1a49-496e-a1a6-491f6b9563be",[897,904],{"id":898,"data":899,"type":51,"version":25,"maxContentLevel":21},"6bb11f2e-5ab5-48ca-b6bc-ff45a74b0ec8",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":900,"activeRecallAnswers":902},[901],"What is the name of the most famous montage editing effect?",[903],"Kuleshov effect",{"id":905,"data":906,"type":51,"version":25,"maxContentLevel":21},"d43e0b5e-d288-4eee-bfa8-c444b4c5642c",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":907,"clozeWords":909},[908],"The film editing phenomenon of two separate images being able to convey more emotion or meaning than one individual image is referred to as the Kuleshov Effect",[910,911],"emotion","Kuleshov",{"id":913,"data":914,"type":26,"version":25,"maxContentLevel":21,"pages":916},"2bf85bb5-608c-4978-a341-ba72d431047c",{"type":26,"title":915},"Radical and Subjective Editing",[917,932,958],{"id":918,"data":919,"type":25,"maxContentLevel":21,"version":25,"reviews":923},"8cc6bfde-dabf-4535-8902-0f21821469cd",{"type":25,"title":920,"markdownContent":921,"audioMediaId":922},"Radical Discontinuity","Another film editing technique is known as **radical continuity or discontinuity editing**. This technique describes a technique where the editing is done in such a way that is **radically discontinuous, either in its use of long takes or radical in its subjectivity**. \n\nA long take is a take in which the action and movement happen in front of the camera live during filming. This means the action is portrayed without the use of shots being spliced together later on in production.  **This single take means much of the editing and passage of time is happening in real-time in front of the camera.** \n\nA short take is the most commonly used shot where a director will shoot the same scene multiple times to ensure that, in post-production, the film editor has a variety of shots to splice together. \n\nThe use of a long take in a film is called radical continuity as the audience experiences these sequences similar to the way they experience reality, as one continuous series of events or conversations. This technique draws the audience into the film and allows them to experience and react to the unfolding of the events of the story in the same way and time the characters are. \n","48a3f68e-468a-4afa-877b-b73257b8933f",[924],{"id":925,"data":926,"type":51,"version":25,"maxContentLevel":21},"7c30898d-ed1b-49a2-a087-01c91a0c8f94",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":927,"clozeWords":929},[928],"In radical continuity editing, especially long takes are used to further the suspension of disbelief",[930,931],"radical continuity","suspension of disbelief",{"id":933,"data":934,"type":25,"maxContentLevel":21,"version":25,"reviews":938},"98247b33-aaf4-4c37-a6e6-a777e5752510",{"type":25,"title":935,"markdownContent":936,"audioMediaId":937},"Heightening Subjectivity ","Film editors and filmmakers can use specific techniques to heighten the emotional impact of a film and draw the audience deeply to a specific perspective or viewpoint. **Radical discontinuity is a technique used to heighten the subjectivity of a shot.** \n\nThis is when all the shots are edited together to emphasize the viewpoint or perspective of one character. When emphasizing subjectivity, there does not have to be any long takes and the experience of time and place is limited to one subjective perspective. \n\nThis editing technique is sometimes called **‘visible editing’** and usually calls attention to itself, making the audience aware of the break in time or subjectivity of the shots. \n\nA common example of this type of editing is the **jump cut**. This editing technique jumps to another point in time from one scene to another, purposefully drawing the audience’s attention to the break in time and the fact that there is time or information not being given to the audience, since the film is limiting the audience’s experience to one specific perspective. \n","954fedc9-1948-4354-826a-f41ca0bd01b0",[939,946],{"id":940,"data":941,"type":51,"version":25,"maxContentLevel":21},"9442de27-2082-435c-923d-e505c985d5ba",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":942,"clozeWords":944},[943],"Radical discontinuity is designed to heighten the subjectivity of a shot",[945],"subjectivity",{"id":947,"data":948,"type":51,"version":25,"maxContentLevel":21},"a0a19cd8-9f9a-4e5d-b172-ad8d5a053b7f",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":949,"multiChoiceCorrect":951,"multiChoiceIncorrect":953},[950],"Which of these editing techniques leads to a jump in time from one scene to another?",[952],"Jump cut",[954,955,956,957],"Long takes","Time cut","Short takes","Scene shift",{"id":959,"data":960,"type":25,"maxContentLevel":21,"version":25,"reviews":964},"410c98e1-c96a-4f86-aa0d-d8879fe83256",{"type":25,"title":961,"markdownContent":962,"audioMediaId":963},"Dialectic Montage Editing ","**Dialectic montage editing** is a montage film editing technique. This technique places contradicting images next to each other in order to emphasize or draw attention to an idea or theme represented by them while heightening the discontinuity. \n\nThis type of montage is similar to associative editing in that both montage techniques are tying a series of images together according to their themes or ideas. However, **dialectic montages emphasize the discontinuity in the sequence images**. \n\nThis type of editing uses **juxtaposition or contradiction** to emphasize a theme or sometimes a political or social ideology. The concept behind this editing technique is that some themes cannot be fully explained or understood with a single image alone and, by placing juxtaposing images beside each other, the audience is able to infer more of the theme or idea being conveyed. \n","21ec9775-80f4-44de-b90c-11510dc72f3e",[965,971],{"id":966,"data":967,"type":51,"version":25,"maxContentLevel":21},"371c3636-0f8e-4441-a268-f85c524e6ddd",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":968,"activeRecallAnswers":970},[969],"What editing technique places contradictory images alongside each other?",[710],{"id":972,"data":973,"type":51,"version":25,"maxContentLevel":21},"d07c2561-f4e8-43f9-be6a-ec6d9af34967",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":974,"clozeWords":976},[975],"Dialectic editing relies on the theory that people can learn more about something by being shown its antithesis",[977],"Dialectic editing",{"id":979,"data":980,"type":28,"maxContentLevel":21,"version":25,"orbs":983},"40385443-2360-484f-8270-da427b07fbaf",{"type":28,"title":981,"tagline":982},"Theme","What is the point of the plot anyway? ",[984,1078],{"id":985,"data":986,"type":26,"version":25,"maxContentLevel":21,"pages":988},"a3d3843c-9f7c-410c-954e-590414a65b2e",{"type":26,"title":987},"Understanding Film Themes",[989,1011,1029,1051,1064],{"id":990,"data":991,"type":25,"maxContentLevel":21,"version":25,"reviews":995},"2024b42a-21a6-4c5d-983c-5bd73004434d",{"type":25,"title":992,"markdownContent":993,"audioMediaId":994},"What’s The Point Anyway? ","Have you ever watched a movie and wondered what the point of it was or why it resonated so deeply with you? There are many aspects that go into the meaning of a film, from the plot to the score to the cinematography, and each of these elements works together to help the film convey a deeper, and usually a more resonating, message to the audience.\n\nThe **theme transcends the story because the theme is the aspect of the story that resonates with the audience on a deeper, more personal level** and conveys a message about human nature or reality. \n\nFor example, the plot of the movie may be about war or friendship, but **the theme is what is being said about those big topics**. A movie about war could be patriotic and show the heroism and glory of war, or it could show the havoc and destruction that comes with it. This message resonates with the audience and begs them to consider the deeper meaning. \n\nThis deeper message conveyed through the many technical aspects of a film is the theme. Being able to identify the theme of a movie helps to understand and analyze the many layers of a film. \n\nOnce you can identify the theme of a movie, you’ll have a greater understanding of what message the writer or director is trying to pass on to the audience and which has guided many of the decisions made during the filmmaking process. \n","650d36fb-481e-4a54-9aa6-98cc0f794729",[996,1003],{"id":997,"data":998,"type":51,"version":25,"maxContentLevel":21},"06aa5238-1781-4119-a901-c869d9250728",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":999,"clozeWords":1001},[1000],"The theme of a movie conveys a message about human nature or reality",[1002],"human",{"id":1004,"data":1005,"type":51,"version":25,"maxContentLevel":21},"b565bc0f-da53-4a23-8286-94a3013d8ef1",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1006,"multiChoiceCorrect":1008,"multiChoiceIncorrect":1009},[1007],"What is the deeper message of a film called?",[981],[412,410,1010],"Narrative",{"id":1012,"data":1013,"type":25,"maxContentLevel":21,"version":25,"reviews":1017},"9e061fa0-6b2c-4129-a92c-c4a5b3002468",{"type":25,"title":1014,"markdownContent":1015,"audioMediaId":1016},"The Unifying Concept","The importance of theme is seen in each and every aspect of the film but especially in the characters and the plot. In many ways, these 3 elements (character, plot and theme) work cohesively with each other and rely on one another for full impact. \n\nThe theme is **a way to engage with a story beyond what is strictly portrayed on screen**. It is the element that sticks with us and helps us as viewers relate to a movie. \n\nWithout a theme, there is no guiding force for a character's actions or even for the actions of the plot. The theme, whether it is love, death, sacrifice, etc., informs the plot and the characters. It is this **theme that drives the actions and sequence of events of the plot** and **helps the audience relate to the characters or feel threatened by and afraid of the villain**. \n\nIf someone is trying to tell a story about the pain that inevitably comes from love, that concept of pain and love will inform the actions of the characters, the dialogue between them, and the sequence of events within the plot. \n","350f30f9-edb8-4848-a589-235aaa7d3603",[1018],{"id":1019,"data":1020,"type":51,"version":25,"maxContentLevel":21},"25a3056b-98ca-45fb-9948-0b0bce9a6ed9",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1021,"multiChoiceCorrect":1023,"multiChoiceIncorrect":1025},[1022],"Which of these is not a potential theme for a film?",[1024],"guns",[1026,1027,1028],"love","death","sacrifice",{"id":1030,"data":1031,"type":25,"maxContentLevel":21,"version":25,"reviews":1035},"ae192bc3-9d8b-4036-8702-cd740da8ecbc",{"type":25,"title":1032,"markdownContent":1033,"audioMediaId":1034},"From The Unique To The Universal ","Have you ever wondered how it is that you can sympathize with a superhero or relate to someone from a completely different time, place, or perspective than your own? This is because the theme of a film is a message conveyed to us as the audience that is bigger than the individual story being told. \n\nWe can relate to people and stories we have never and will never personally experience because there are universal aspects of human nature and reality. These **universal aspects or themes**, such as friendship, love, revenge, war, etc., are things that everyone experiences in their own life, even if the situations or ways we experience them are unique. \n\nBecause of the universal aspect of themes, when they are conveyed in a film, **they help us to relate to the film and connect with experiences and perspectives that may differ from our own.** While the stories we watch on screen may differ from our own unique experiences, the universality of themes helps bind us to the story or characters on screen and help the story to resonate with us on a deeper, more intimate level. \n\nWhile we may not be able to completely sympathize with the plight of a superhero or understand what it was like to live at other points in history, it is the theme of a film, or the universal aspect, that helps us relate to it. \n","1f451368-53c6-4240-a3db-41f4dff72ea6",[1036,1042],{"id":1037,"data":1038,"type":51,"version":25,"maxContentLevel":21},"30d5a763-281c-4814-8660-1dc41d781995",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1039,"clozeWords":1041},[1040],"While the plot of a film is unique, the theme is ubiquitous",[369,650],{"id":1043,"data":1044,"type":51,"version":25,"maxContentLevel":21},"e605a5e6-4b48-4e31-97d6-234880bc4cd7",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1045,"binaryCorrect":1047,"binaryIncorrect":1049},[1046],"Themes make films more...",[1048],"relatable",[1050],"reliable",{"id":1052,"data":1053,"type":25,"maxContentLevel":21,"version":25,"reviews":1057},"1fae6fe6-435b-4272-8c15-24f2b2d5c2ea",{"type":25,"title":1054,"markdownContent":1055,"audioMediaId":1056},"Think Big ","**Themes are considered universal in their broadest sense because they touch on aspects of human nature or experiences that nearly everybody experiences in some way despite our unique experiences**. The broadest themes of a movie can usually be stated in a single word or short phrase such as ‘love,’ ‘death,’ ‘sacrifice,’ ‘perseverance,’ or ‘coming of age.’ \n\nTo identify a theme, try to identify that universal idea. To do this, consider the plot of the movie and where the emotion comes into the plot. Is the movie about falling in love? Is it about facing a villain or exploring the relationship between humanity and technology? Identifying where the emotion is in the plot will help you identify what the universal aspects of the film are. \n\nOnce you can identify where the emotion comes from in the film, or what aspects you relate to most, you can build on that to determine the broader themes of the movie.\n\nIn some way, each of us has experienced these major themes. It is precisely the **universality and centrality** of these themes that transcend the individual movies and speak to something bigger than the plot that we can each identify with. \n","a2fb1c1a-6fc5-45b6-a257-7c0128d21c61",[1058],{"id":1059,"data":1060,"type":51,"version":25,"maxContentLevel":21},"fae4c361-a8fa-4efd-a1dd-8171ec99dc39",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1061,"clozeWords":1063},[1062],"The theme is where the emotion comes from most in the film",[650],{"id":1065,"data":1066,"type":25,"maxContentLevel":21,"version":25,"reviews":1070},"9cc5f254-2a3a-4a3c-8b1c-79f1b5d2bc2a",{"type":25,"title":1067,"markdownContent":1068,"audioMediaId":1069},"What Is It Saying? ","Oftentimes, the theme of a movie is the **guiding message or idea that the filmmaker is wanting to impart to the audience**. This makes the theme extremely important to a film because each decision made by the filmmaker, from the lighting and sound, to the plot, and even the camera angles, is guided by the theme - or the message about reality or human nature that the director is trying to convey.\n\nAfter starting with a big thematic concept, such as ‘love’ or ‘sacrifice,’ the theme is usually broken down to a more specific statement regarding that concept. Two movies dealing with the theme of love may not be saying the same thing about it. One may tell a story of the restorative and sacrificial power of love while another may tell a story of the heartbreak, pain, and destruction that love wreaks. \n\nWhile the large concept theme may be love in both cases, the specific statement or message about that big idea being conveyed is very different. That’s why it's important to identify not only the universal theme of a movie but also dig deeper into what the movie is specifically saying about the theme. \n","ec51301e-41bb-41b7-8223-86b51009b9ec",[1071],{"id":1072,"data":1073,"type":51,"version":25,"maxContentLevel":21},"783f78cd-0982-4c85-8a2f-c117fb454bc5",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1074,"binaryCorrect":1076,"binaryIncorrect":1077},[1075],"Do all films convey the same message about their theme?",[622],[624],{"id":1079,"data":1080,"type":26,"version":25,"maxContentLevel":21,"pages":1082},"ba62e6a7-9ecf-42ef-8c86-6fca2243a960",{"type":26,"title":1081},"Exploring Thematic Elements",[1083,1097,1127,1140,1154],{"id":1084,"data":1085,"type":25,"maxContentLevel":21,"version":25,"reviews":1089},"82a8a52e-2183-48ba-9cc7-39d35f6bfb10",{"type":25,"title":1086,"markdownContent":1087,"audioMediaId":1088},"Theme In Action ","A great example of the theme, both the large and the specific aspects of it at play within a movie, is seen in Rob Reiner’s _When Harry Met Sally_. \n\nThis romantic movie features the theme of love. **Love motivates all the action in the plot and the motivations of the characters**. This is the big, universal concept behind the story. \n\nThe more specific concept at play within the movie, or what the movie is saying about the theme, is summarized in the line, ‘Can men and women be just friends?’ \n\nThis question haunts the film and all relationships and interactions between the characters in it. Each character has their own answer to the question at the beginning of the film, but, by the end of it, has come to a different conclusion. Through their actions and the plot, we as audience members get to explore our own assumptions about love and reflect on our own relationships. \n","53d957ba-968f-4389-8ad2-bb8d2abe315a",[1090],{"id":1091,"data":1092,"type":51,"version":25,"maxContentLevel":21},"05c6dd54-adbe-4b23-ae97-dd991d673001",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1093,"activeRecallAnswers":1095},[1094],"What motivates the plot in Rob Reiner's 'When Harry Met Sally'?",[1096],"Love",{"id":1098,"data":1099,"type":25,"maxContentLevel":21,"version":25,"reviews":1103},"6d4f28f4-807d-48f2-ae58-d2eb6be935ca",{"type":25,"title":1100,"markdownContent":1101,"audioMediaId":1102},"The 2 Faces Of The Theme","When understanding themes in films, there are 2 important aspects to consider – **thematic concept and thematic statement**. \n\nThe thematic concept is the **broader topic the movie is dealing with**, sometimes stated in a single word or idea such as love, revenge, judgment, or sacrifice. On the other hand, the **thematic statement is what the film is saying about the theme**. \n\nWhile one movie about war may show heroism and sacrifice, another film may show the destruction and pain it wreaks. On the other hand, the thematic statement is what the audience believes about the theme based on the movie. \n\nAfter watching a movie about war, the audience may see war as noble and necessary, or they may see it as degrading and dehumanizing despite what the film intended to portray about it. \n\nBoth of these ideas regard the theme as the central, universal, and unifying element of the film, but make an important distinction. While many films may revolve around the same central, unifying idea, they may not have the same message to tell regarding that idea. \n\nConsidering these two aspects of the theme will help to understand what the film is saying about the theme and how that may agree or contradict what the audience perceives about the theme based on their experience with the film. \n","fed56032-8b8c-46ff-a8b9-084d38adb914",[1104,1112,1119],{"id":1105,"data":1106,"type":51,"version":25,"maxContentLevel":21},"420696f5-b28f-407e-aeb6-cb32db4a4582",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1107,"clozeWords":1109},[1108],"While a thematic concept is the guiding idea, the thematic statement is what the director has to say about it specifically",[1110,1111],"concept","statement",{"id":1113,"data":1114,"type":51,"version":25,"maxContentLevel":21},"a64d4569-1734-40fd-a2da-95c360403647",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1115,"clozeWords":1117},[1116],"The thematic statement is what the audience believes about the theme based on the movie. ",[1118],"thematic statement",{"id":1120,"data":1121,"type":51,"version":25,"maxContentLevel":21},"d97bc477-a712-4037-9363-b550a4dbd52d",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1122,"activeRecallAnswers":1124},[1123],"What are the two important aspects of a film's theme?",[1125,1126],"Thematic concept","Thematic statement",{"id":1128,"data":1129,"type":25,"maxContentLevel":21,"version":25,"reviews":1133},"1b8a9782-4f4c-406c-8db2-ff95e8fc99ac",{"type":25,"title":1130,"markdownContent":1131,"audioMediaId":1132},"Thematic Concept","The **thematic concept** of a piece of work is another way to define theme. It is a large idea or universal message that transcends the plot of the movie. The thematic concept is the central knot tying every element of the story together.\n\nThe thematic concept of a film is one of 2 aspects of the theme and works alongside the **thematic statement** of a film; however, the thematic concept can be understood by compressing the whole movie into a single word or phrase. \n\n**While many movies may share a thematic concept, they can differ in their thematic statement**, or what the film is saying about the concepts. Take, for example, the film Rocky (1976) and the film The Pursuit of Happiness (2006). They both share a thematic concept, which is perseverance and, while their individual plots and stories are different, this concept is what lies at the heart of each film. \n","0e09c40f-a226-4ae2-b153-48704403361b",[1134],{"id":1135,"data":1136,"type":51,"version":25,"maxContentLevel":21},"a7cc71c4-ce82-4ef4-87bf-1c9695940bba",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1137,"clozeWords":1139},[1138],"The thematic concept is a large idea or central message that transcends the plot of a movie",[369],{"id":1141,"data":1142,"type":25,"maxContentLevel":21,"version":25,"reviews":1146},"991feca2-428e-46aa-b271-a9f12ced649a",{"type":25,"title":1143,"markdownContent":1144,"audioMediaId":1145},"Thematic Statement","There are 2 important aspects of the theme to consider and those are the **thematic concept and the thematic statement**. The thematic concept is the big idea of the film. In many ways, the thematic concept is synonymous with the theme. On the other hand, the **thematic statement is what the movie is saying about the theme**. \n\nTake a theme like technology, for example. What does the film The Matrix say about that theme? In this film, technology has taken over and become a tool for an oppressive and controlling force on humanity. It is something that can go too far and must be broken away from in order to find freedom. \n\nWhile 2 films may share a thematic concept, it is important to identify a film’s thematic statement because, while they may share a thematic concept, their thematic statements are unique. \n\nThe films _Stand By Me_ and _Dazed and Confused_ both share the thematic concept of coming of age. Despite this identical concept, each film is saying something different about the thematic concept. _Stand By Me_ shows the coming of age theme as one involving pain and the loss of innocence whereas _Dazed and Confused_ shows the coming of age story to be one of self-acceptance and optimism. \n\nThe importance of the thematic statement is that it helps us understand **what message a movie is trying to convey to us** regarding a universal concept. \n","1137d384-174a-4276-bdf0-121389ba93a5",[1147],{"id":1148,"data":1149,"type":51,"version":25,"maxContentLevel":21},"cbb29dbc-48cc-4c59-856a-bfa36b34a517",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1150,"binaryCorrect":1152,"binaryIncorrect":1153},[1151],"Does a thematic concept have to be the same as the thematic statement?",[622],[624],{"id":1155,"data":1156,"type":25,"maxContentLevel":21,"version":25,"reviews":1160},"dd8febc8-2d7d-4bcb-a61f-f1d4ae46aefa",{"type":25,"title":1157,"markdownContent":1158,"audioMediaId":1159},"Meaning And Motifs","Some films utilize specific techniques to emphasize the theme of the film. One specific technique that conveys the theme and what the film is trying to say about the theme is the use of motifs. \n\n**Motifs are repetitive elements in a film that are placed in the narrative to emphasize the theme**. These motifs may be sounds, images, lines of dialogue, songs, or symbols that are repeated through the film and help identify the theme of the movie and the thematic statement - or what the movie is saying about the theme. \n\nThe glowing briefcase in _Pulp Fiction_, the ticking of the clock in _Peter Pan_, and the red balloon in It are all great cinematic examples of motifs that emphasize the theme of the movie’s respective plots. \n\n ![Graph](image://e5937c32-8355-4ed8-a6f1-deb91bdea6c3 \"Quentin Tarentino’s ‘Pulp Fiction’ (1994) uses the motif of the glowing briefcase to re-emphasize the theme of greed (image copyrighted under Miramax Films)\")\n\n","2dfae16b-db8b-442a-a3d6-b1cbb795b84b",[1161,1172],{"id":1162,"data":1163,"type":51,"version":25,"maxContentLevel":21},"7a0648e3-8aaf-4fbf-9d1a-0720e7d76e85",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1164,"activeRecallAnswers":1166},[1165],"What forms can a motif take?",[1167,1168,1169,1170,1171],"sounds","images","lines of dialogue","songs","symbols",{"id":1173,"data":1174,"type":51,"version":25,"maxContentLevel":21},"c34f2154-6668-4529-8c1f-9d55571cd34b",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1175,"clozeWords":1177},[1176],"Motifs are repetitive elements that are placed in the narrative to emphasize the theme",[1178,650],"Motifs",{"id":1180,"data":1181,"type":28,"maxContentLevel":21,"version":25,"orbs":1184},"ccfba6ba-bad9-4ae9-9c4b-a0a649caf355",{"type":28,"title":1182,"tagline":1183},"Genre and Setting","Identifying the where and the when of a film and why it matters.",[1185,1269,1362],{"id":1186,"data":1187,"type":26,"version":25,"maxContentLevel":21,"pages":1189},"f365bc07-3f79-48ab-abfe-66cb8399b302",{"type":26,"title":1188},"Introduction to Genre",[1190,1212,1246],{"id":1191,"data":1192,"type":25,"maxContentLevel":21,"version":25,"reviews":1196},"177d740b-ee2c-4304-b0e8-a36f7188368c",{"type":25,"title":1193,"markdownContent":1194,"audioMediaId":1195},"Introduction To Genre","According to the Merriam-Webster dictionary, **genre is ‘a category of artistic, musical, or literary composition characterized by a particular style, form, or content.’** In regard to movies and cinema, genre is not only characterized by ‘style, form, or content’ but also by theme. \n\nIn other words, **genre is a way of categorizing movies**. Genre gives audiences an idea of what to expect before watching a movie. Just like genres of music, the preference and taste for the many different genres and sub-genres are completely up to the individual, but the genre forms a collection of songs that all sound similar or share similar styles. \n\nMovie genres work in exactly the same way. \n\nA film’s genre is determined by the plot of the movie, the type of character and their actions, the setting and time period, as well as the theme. All of these elements form cohesive and identifiable categories of films. \n","b10f9ca7-2e0e-4a59-86ea-441463c13526",[1197,1205],{"id":1198,"data":1199,"type":51,"version":25,"maxContentLevel":21},"5e3d5407-e55a-4037-a45d-c4fbad3acc8c",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1200,"binaryCorrect":1202,"binaryIncorrect":1203},[1201],"Genre is not only characterized by 'style, form, or content', but also by ...",[981],[1204],"Ideas",{"id":1206,"data":1207,"type":51,"version":25,"maxContentLevel":21},"e8ad78ef-9c9b-4953-82ed-37393a9e7f29",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1208,"clozeWords":1210},[1209],"According to the Merriam-Webster dictionary, genre is 'characterized by style, form or content'",[1211],"style",{"id":1213,"data":1214,"type":25,"maxContentLevel":21,"version":25,"reviews":1218},"7ca9fe04-30aa-4ed1-9a46-ce3c588c4fca",{"type":25,"title":1215,"markdownContent":1216,"audioMediaId":1217},"Follow The Formula ","While it may not be exactly mathematical, there’s actually a formula for determining the genre of a film and that is **‘story + plot + character + setting = genre’.** This formula provides an easy way to remember the 4 elements that go into determining a film’s genre. \n\nFor example, a film is considered a Western usually if it features cowboys in the nineteenth and early twentieth century, out in the Midwest. There are common plotlines featured in Westerns, although the plots may vary, the characters and story are usually easily identifiable. \n\nEach genre has its own **common plotlines, character tropes, and settings** that form the basis of that genre and provide the audience with a set of expectations even before they see the movie, but the 4 essential elements of the genre remain the same. \n","c4fad550-6332-4c18-9e8d-5dc6a19c8a41",[1219,1228,1239],{"id":1220,"data":1221,"type":51,"version":25,"maxContentLevel":21},"1cc438f7-8437-43d4-8166-b427b795c731",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1222,"clozeWords":1224},[1223],"Each genre has its own common plotlines, character tropes and settings",[1225,1226,1227],"plotlines","tropes","settings",{"id":1229,"data":1230,"type":51,"version":25,"maxContentLevel":21},"466b8450-e2a4-4a7a-abb7-558bb8fceb17",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1231,"multiChoiceCorrect":1233,"multiChoiceIncorrect":1235},[1232],"Which of these is not part of the formula for genre?",[1234],"score",[1236,1237,1238],"story","character","setting",{"id":1240,"data":1241,"type":51,"version":25,"maxContentLevel":21},"46ecb7d5-c950-46eb-ad8b-86d77ec34ea5",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1242,"activeRecallAnswers":1244},[1243],"What is the formula for genre?",[1245],"story + plot + character + setting = genre",{"id":1247,"data":1248,"type":25,"maxContentLevel":21,"version":25,"reviews":1252},"d66312ea-636b-412a-adbf-1fb734884122",{"type":25,"title":1249,"markdownContent":1250,"audioMediaId":1251},"The Film Goer’s Contract ","The importance of classification is nothing new. There are many ways to classify art based on its style, medium, and content. In recent times, however, film genre has become an increasingly large dimension of cinema. \n\n‘Genre’ is a French word meaning ‘kind’ or ‘type.’ What started as merely a way to classify movies based on their similarities has turned into a recognizable entity that is just as integral to a movie as the elements that make up the movie. \n\nA **film genre creates a sort of contract with the audience**. Specific genres have specific expectations and those expectations are ones that directors and filmmakers agree to uphold. This mutual agreement provides comfort to the audience as they come to expect familiar tropes and plotlines. \n\nIf a movie that’s advertised as a cute, lighthearted romantic comedy ends in tragedy, the audience is going to feel betrayed. Every past experience they have had with similar films will teach them to expect certain things. \n\nBreaking this contract can be detrimental to a film’s commercial success and can be upsetting to the audience. \n","4cc2ee0c-a4d7-45aa-acb6-198c767d593e",[1253,1262],{"id":1254,"data":1255,"type":51,"version":25,"maxContentLevel":21},"020d7acc-8daf-4af5-9bea-c9be7afcf74a",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1256,"binaryCorrect":1258,"binaryIncorrect":1260},[1257],"What impact does defying an advertised genre typically have on a film's success?",[1259],"Negative",[1261],"Positive",{"id":1263,"data":1264,"type":51,"version":25,"maxContentLevel":21},"78385b9e-84d1-4b5c-9046-22ae4f311e15",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1265,"clozeWords":1267},[1266],"Specific genres have expectations, which the directors agree to uphold",[1268],"expectations",{"id":1270,"data":1271,"type":26,"version":25,"maxContentLevel":21,"pages":1273},"7b9ea490-7391-4903-ab44-69341e652371",{"type":26,"title":1272},"The Four Elements of Genre",[1274,1295,1321,1339],{"id":1275,"data":1276,"type":25,"maxContentLevel":21,"version":25,"reviews":1280},"9439c72f-5e25-44e4-8b51-702167c11e54",{"type":25,"title":1277,"markdownContent":1278,"audioMediaId":1279},"The 4 Elements Of Genre: Story And Plot","When determining a movie genre, there are 4 elements of a movie that sort it into its proper genre. These are the **story, plot, character, and setting**. \n\n**Story and plot** are often mistakenly used interchangeably, but it's important to note the distinction between the two. \n\nThe story is the action or basic sequence of events in the movie. Usually, there are 3 parts to this element: the beginning, middle, and end. This is the bare bones of the movie or the movie reduced to its simplest form. \n\nThe plot on the other hand is how the filmmaker fleshes out the bones of the story or how the story is told. It is composed of the motivations of the characters and their reactions to the events of the story. If the story is the bare bones, the plot is the details that flesh it out. \n\nThe **story and plot of a film help determine its genre**. A movie about 2 characters meeting and falling in love places it in the romance genre whereas a movie about a family moving into a house that turns out to be haunted will place it in the horror genre. The plot and story of these films are major contributing factors to the film’s overall genre.\n","1fd03e34-0702-44fb-be3d-0fe6180960da",[1281,1288],{"id":1282,"data":1283,"type":51,"version":25,"maxContentLevel":21},"7f78b8e0-f0f7-403d-b875-4eb4517443ed",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1284,"clozeWords":1286},[1285],"A plot is composed of the motivations of characters and their reactions to the events of the story",[442,1287],"events",{"id":1289,"data":1290,"type":51,"version":25,"maxContentLevel":21},"b8440c51-c3f6-46f5-b620-1696ede7d9e8",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1291,"clozeWords":1293},[1292],"While a story is the sequence of events in the movie, plot attempts to establish causality",[1287,1294],"causality",{"id":1296,"data":1297,"type":25,"maxContentLevel":21,"version":25,"reviews":1301},"4a3a17b2-3538-48d3-a3ae-c0c613c61750",{"type":25,"title":1298,"markdownContent":1299,"audioMediaId":1300},"The 4 Elements Of Genre: Character And Setting","There are 4 main elements of a movie that determine its genre, the story, plot, characters, and setting. \n\nCharacter is extremely important to the movie because it’s usually what the audience relates to the most. These are the people that the plot revolves around and that are being forced into the series of events that is the story. \n\nCharacter goes a long way in determining genre because, within each genre, there may be **specific character tropes or types of characters that audiences recognize as belonging to that genre**. It would be out of place to see a cowboy as the lead character in a movie about a viral zombie outbreak, right? \n\nThe **setting is one of the most influential elements of genre**. The **where and the when** of the movie can become one of the most recognizable aspects of different genres. Whether it’s the haunted house on the hill or the plains of Wyoming, these specific locations evoke a specific story the audience expects to be told. \n\nThe location and time, or setting, of a film, can dictate what stories the audience expects to watch and the genre those stories will fall into. \n","bbcc49c6-508d-4856-b860-e2531a1deec4",[1302,1308,1314],{"id":1303,"data":1304,"type":51,"version":25,"maxContentLevel":21},"6c28385d-b341-4c6f-8970-0ba4cc37e3fb",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1305,"clozeWords":1307},[1306],"The setting is important in establishing the genre because of the associations people have with different geographical landscapes",[1238],{"id":1309,"data":1310,"type":51,"version":25,"maxContentLevel":21},"8a837b5f-6e3e-4c56-9295-22c8cc318407",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1311,"clozeWords":1313},[1312],"Specific character tropes are associated with the genre of a film",[1226],{"id":1315,"data":1316,"type":51,"version":25,"maxContentLevel":21},"8e07c108-c0d7-4ab5-ba87-6909afa3371a",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1317,"activeRecallAnswers":1319},[1318],"What is the lead character trope of a Western movie?",[1320],"The Cowboy",{"id":1322,"data":1323,"type":25,"maxContentLevel":21,"version":25,"reviews":1327},"9495b6ee-a7f2-4b16-84bb-8c5e562e1622",{"type":25,"title":1324,"markdownContent":1325,"audioMediaId":1326},"The Big Genres ","A film’s **story, plot, characters, and setting** go into determining what its genre will be. These 4 elements will place a film in one of the major film genres and help set an expectation for the audience on what they are about to experience in a film. \n\nThe main genres of film are **Drama, Comedy, Horror, Action, Fantasy, SciFi, Romance, and Western**. These are the largest classifications of film genres. Whether or not audiences realize it, each of these genres sets an expectation. \n\nYou would probably be surprised to walk into what you thought was a romantic comedy and find high-speed car chases or alien abductions, right? That’s because the film’s genre, and all your experience with films in that same genre, go into setting an expectation of the type of film you are going to see and the story and plot that will be told.  \n\nWhile some movies do subvert the genre and there are smaller, more specific sub-genres within a large genre, most of the time you can comfortably assume with a certain amount of confidence what the film you are about to see will be like based on your prior experience with its genre. \n","f2cb2730-50a5-4f76-9ac5-f96abac209bf",[1328],{"id":1329,"data":1330,"type":51,"version":25,"maxContentLevel":21},"f3664411-c5a2-4926-a32b-14c2d67e4a8f",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1331,"multiChoiceCorrect":1333,"multiChoiceIncorrect":1335},[1332],"Which of these is not a main genre of film?",[1334],"Northern",[1336,1337,1338],"Western","Drama","Fantasy",{"id":1340,"data":1341,"type":25,"maxContentLevel":21,"version":25,"reviews":1345},"06725100-5ea2-42d8-87ed-cff4fcacbb24",{"type":25,"title":1342,"markdownContent":1343,"audioMediaId":1344},"Two Ways To Genre","As we said, there are 8 main genres of film, **Drama, Comedy, Horror, Action, Fantasy, SciFi, Romance, and Western**, and most film genres rely heavily on either the story (or subject matter) or the setting for their classification. \n\nMovies that are sorted into genres based on their stories, or the basic sequence of events in the film, are usually more plot or character-driven movies rather than movies sorted into a genre based on their setting. \n\nThese films based on stories share characteristics such as an emphasis on exploring the experience and perspective of different characters whether they be historical or modern, biographic or fictional. Some genres of film that are grouped based on their stories are Drama, Comedy, Romance, Crime, and Sports movies. \n\nSorting a movie into a genre based on its setting is done by considering the setting to be a character itself in the movie. In this way, the time and place of the story become just as important, if not more so, than the movie’s characters or story. The setting is usually what the characters are reacting to or overcoming throughout the plot. Some genres based on the film’s setting are the Western, SciFi, Fantasy, or Horror.\n","61ee558a-68ae-42e1-b4e8-e12dd4f7a315",[1346,1355],{"id":1347,"data":1348,"type":51,"version":25,"maxContentLevel":21},"140a0d1c-c30c-4f4f-8b20-5e3bb2c91b6f",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1349,"binaryCorrect":1351,"binaryIncorrect":1353},[1350],"Drama, Comedy, Romance, Crime and Sports are all genres based on what type of classification?",[1352],"Story Based",[1354],"Setting Based",{"id":1356,"data":1357,"type":51,"version":25,"maxContentLevel":21},"60dad044-f1b5-416d-8212-f230a1424900",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1358,"binaryCorrect":1360,"binaryIncorrect":1361},[1359],"Western, SciFi, Fantasy and Horror are all genres based on what type of classification?",[1354],[1352],{"id":1363,"data":1364,"type":26,"version":25,"maxContentLevel":21,"pages":1366},"d07f5cea-24d0-48c8-8868-ae83b6e8bad0",{"type":26,"title":1365},"Sub-Genres and Genre Subversion",[1367,1396],{"id":1368,"data":1369,"type":25,"maxContentLevel":21,"version":25,"reviews":1373},"ec649455-d5e6-40f9-be3f-9c9fd12cb922",{"type":25,"title":1370,"markdownContent":1371,"audioMediaId":1372},"Understanding The Sub-Genre","When determining a movie’s genre, it's easiest to place it into one of the large categories of genres such as Drama, Horror, Comedy, or Romance. The themes, mood, and plotlines of each of these genres are usually recognizable and provide the audience with a set of expectations before they watch the film. \n\nHowever, **within each genre, there are also sub-genres**. These are a smaller, more specific way of categorizing all the movies within a specific genre. \n\nTake, for example, the Romance genre. Within this genre, there are countless sub-genres that give the audience an even greater expectation for the film and plot. For example, there are **Historical Romances, Romantic Comedies, Romantic Thrillers, and ‘Chick-flicks’**. \n\nThe movies within a sub-genre share more specific traits with each other and set an even more specific level of expectation with the audience. \n","ca01497f-89ae-4dfc-9d50-5fa6f2c771e0",[1374,1382,1389],{"id":1375,"data":1376,"type":51,"version":25,"maxContentLevel":21},"5a1b516f-a59a-4067-b725-11fa411b238e",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1377,"binaryCorrect":1379,"binaryIncorrect":1380},[1378],"Western, Sci-Fi and Comedy are all examples of ...",[73],[1381],"sub-genre",{"id":1383,"data":1384,"type":51,"version":25,"maxContentLevel":21},"7ad49b77-2631-4e51-970a-32dff2ab50c8",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1385,"binaryCorrect":1387,"binaryIncorrect":1388},[1386],"Historical Romance, Romantic Comedies and Romantic Thrillers are all examples of ...",[1381],[73],{"id":1390,"data":1391,"type":51,"version":25,"maxContentLevel":21},"bf0d2a59-92f9-4883-ae6f-69f3d4f2e0d4",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1392,"clozeWords":1394},[1393],"Within each genre, sub-genres set an even more specific level of expectation",[1395],"sub-genres",{"id":1397,"data":1398,"type":25,"maxContentLevel":21,"version":25,"reviews":1402},"806488e3-8aa7-406c-aa6e-caa336b2c1a5",{"type":25,"title":1399,"markdownContent":1400,"audioMediaId":1401},"Letting Go Of What You Think You Know","There are some films that purposefully set out to subvert the expectations and tropes associated with their genre. These films walk a tricky line of keeping the audience comfortable in the genre tropes that they know, while also asking them to take a leap of faith in a new direction. \n\nIn an interesting example, the film Iron Man subverts the superhero genre. This genre usually features heroes who attempt to live normal lives while living a spectacular, super life in secret. However, Iron Man subverts this expectation when Tony Stark reveals his superhero identity to the world. \n\nSimilarly, the popular show Game of Thrones subverts many expectations by continuously killing off main characters throughout its seasons. \n\n**Subverting expectations, when done correctly, can intrigue and shock the audience in an entertaining way**. It asks the audience to let go of what they think they know and expect to see and experience a familiar story told in a new way. \n","84db37b7-d84d-4e97-8afa-2241c5fae869",[1403],{"id":1404,"data":1405,"type":51,"version":25,"maxContentLevel":21},"e0d3e432-138f-4623-a5c2-314b584deb80",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1406,"clozeWords":1408},[1407],"Subverting genre expectations, when done correctly, can intrigue and shock audiences in an entertaining way",[1409,1410],"Subverting","intrigue",{"id":1412,"data":1413,"type":28,"maxContentLevel":21,"version":25,"orbs":1416},"f59ad7dc-7b99-4596-987e-4868a80b9f71",{"type":28,"title":1414,"tagline":1415},"Character and Acting","The heroes and villains we love and why we love them",[1417,1488,1612,1698],{"id":1418,"data":1419,"type":26,"version":25,"maxContentLevel":21,"pages":1421},"ad174b47-ea6c-4eea-b6e6-daf780e5129a",{"type":26,"title":1420},"Introduction to Characters and Archetypes",[1422,1443,1466],{"id":1423,"data":1424,"type":25,"maxContentLevel":21,"version":25,"reviews":1428},"a857c323-2b4b-4dde-8bfb-7b0ec21f4e5a",{"type":25,"title":1425,"markdownContent":1426,"audioMediaId":1427},"Introduction To Character","One of the most exciting, and perhaps most memorable, aspects of the movies we love are the characters within them. The mind-blowing plot twists, heart-wrenching moments, and intense action are made more powerful when experienced by characters that we as audience members care about. \n\n**Character is a pivotal aspect of the plot of a film and is a dimension of filmmaking that brings soul and relatability to a piece of art**. Just like other aspects of cinema, making the audience relate to a character or fall in love with or even fear them is a careful balance of art and creativity combined with carefully cultivated techniques. \n\nSo why do we care about the characters on screen the way we do and why don’t we care for others? Why do we root for the hero instead of the villain?\n\nHow we relate to the characters onscreen depends on the archetypal role that character plays and how they react when obstacles are put in the way of their desires or motivations. ","3e200935-a3ba-4af5-91a7-8fb9f19d61a4",[1429,1436],{"id":1430,"data":1431,"type":51,"version":25,"maxContentLevel":21},"8d820a22-a85f-49aa-a801-6353854b78f9",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1432,"activeRecallAnswers":1434},[1433],"What brings soul and relatability to filmmaking as an art form?",[1435],"Character",{"id":1437,"data":1438,"type":51,"version":25,"maxContentLevel":21},"e73fb42c-6979-467f-bf03-f66b0ce50b20",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1439,"activeRecallAnswers":1441},[1440],"What determines the way we relate to a character on screen?",[1442],"The archetypal role the character plays",{"id":1444,"data":1445,"type":25,"maxContentLevel":21,"version":25,"reviews":1449},"0793b361-3b78-4cce-85a2-90406704e169",{"type":25,"title":1446,"markdownContent":1447,"audioMediaId":1448},"Introduction To Archetypes ","The word ‘archetype’ is a combination of ancient Greek words meaning ‘original’ or ‘old’ and ‘pattern.’ When analyzing movies, it is pivotal to understand how the characters on the screen either relate to the audience or alienate them. While the audience roots for the hero, they are supposed to be scared of the villain. \n\nBut why do the characters we love mean so much to us?\n\nStorytelling is an ancient art, one of humanity’s oldest forms. Stories have been used to pass down histories and lessons from the dawn of time, but they also demonstrate aspects of our own nature and help us understand ourselves. Through these stories, certain types of characters have emerged consistently across time and culture. These are **archetypal characters**. \n\nBy viewing movies with a critical lens and an understanding of how the characters on the screen actually reveal something about our own psyches, you’ll be able to understand the importance of cinema not only as a popular or influential form of entertainment but as a continuation of an ancient art form that is meant to teach us about the world and ourselves. \n","2f77ae8d-1634-468d-b1e5-0ef2b8ef6a75",[1450,1458],{"id":1451,"data":1452,"type":51,"version":25,"maxContentLevel":21},"01690f62-ac52-4e70-8cb4-08cf065507cc",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1453,"clozeWords":1455},[1454],"When analysing movies, it is pivotal to understand how the characters on screen either relate to the audience or alienate them",[1456,1457],"relate","alienate",{"id":1459,"data":1460,"type":51,"version":25,"maxContentLevel":21},"356ac4af-b40a-4ee8-8349-eb14b4919931",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1461,"clozeWords":1463},[1462],"Archetypes are the types of characters that appear consistently across films",[1464,1465],"Archetypes","consistently",{"id":1467,"data":1468,"type":25,"maxContentLevel":21,"version":25,"reviews":1472},"312cea92-7995-4079-93a9-5179830d30d9",{"type":25,"title":1469,"markdownContent":1470,"audioMediaId":1471},"The Hero Needs No Introduction ","**Joseph Campbell**, a writer and professor who studied the archetypes present in literature and art, defined a hero as ‘someone who has given his or her life to something bigger than oneself.’ \n\nAn aspect of movies that captivates and draws audiences in is the plight of the hero on the big screen who believes so much in a cause or purpose that they are willing to sacrifice their own comfort, safety, or even sense of self. \n\nBut why does this story speak so much to us? Why are superhero movies so popular and why have _Star Wars_, _Lord of the Rings_, or _Harry Potter_ not lost any traction in pop culture?\n\nAccording to Campbell, this is because we all love, and even need, **the hero’s journey** or hero myth in our lives. **The hero’s journey is a specific story structure that speaks to something within the audience that they are looking for**. We each have obstacles in our own lives that must be overcome, whether they are internal or external. \n\nWatching the hero’s journey play out in film helps us to not only relate with the hero facing similar challenges but also gives us a roadmap to dealing with our own obstacles and facing our own villains. \n","4f9d6a37-b67e-4f83-bb61-73376937beb3",[1473,1480],{"id":1474,"data":1475,"type":51,"version":25,"maxContentLevel":21},"76a640d6-cafe-44b1-9f4a-cc07c9a8300d",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1476,"activeRecallAnswers":1478},[1477],"What was Joseph Campbell's definition of a hero?",[1479],"Someone who has given his or her life to something bigger than oneself",{"id":1481,"data":1482,"type":51,"version":25,"maxContentLevel":21},"9108dabe-8012-4b87-9df8-b4b221aa4337",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1483,"clozeWords":1485},[1484],"According to Campbell, watching the hero's journey gives us a roadmap to dealing with our own obstacles or facing our own villains",[1486,1487],"obstacles","villains",{"id":1489,"data":1490,"type":26,"version":25,"maxContentLevel":21,"pages":1492},"ae93edfb-f1cf-4de1-a3ee-a2d4e4f78544",{"type":26,"title":1491},"The Hero's Journey and Monomyth",[1493,1515,1553,1579],{"id":1494,"data":1495,"type":25,"maxContentLevel":21,"version":25,"reviews":1499},"f0e6f9fd-9bee-49a8-ba4c-65525ba6ef98",{"type":25,"title":1496,"markdownContent":1497,"audioMediaId":1498},"Introduction To The Monomyth In Popular Culture","**Joseph Campbell’s work, The Hero with A Thousand Faces**, attempts to define and detail what he coined as a ‘monomyth,’ a single story that is articulated over and over again across time and cultures, even though the specific characters and circumstances would change. He was intrigued that this one story had so thoroughly captured audiences of so many varying walks of life. \n\nHe called this **monomyth the Hero’s Journey** and determined that this single story, reiterated across time, culture, and even religion, is not just a story we innately love and don’t get bored with, it also speaks to something deeper in humanity’s psyche.\n\nEver wonder why _Star Wars_ has impressed generations? What about _Harry Potter_? Would you say he’s the same as Frodo or Luke Skywalker? Would you believe that Captain America and Neo from _The Matrix_ share the same story? \n\nAll of these characters follow the hero’s journey and, according to Campbell, it is because this story and the plight of these heroes speaks to something deep within our unconscious mind so that we will never tire of watching these movies or rooting for these characters. \n","61f3d8c4-75aa-4c4a-aa96-ff869b37fd73",[1500,1507],{"id":1501,"data":1502,"type":51,"version":25,"maxContentLevel":21},"6c173756-7314-4dd0-8999-c79274cad9b1",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1503,"activeRecallAnswers":1505},[1504],"What was Joseph Campbell's treatise on the monomyth called?",[1506],"The Hero with a Thousand Faces",{"id":1508,"data":1509,"type":51,"version":25,"maxContentLevel":21},"c8d0d1b8-f3f1-47c8-ad3b-45f0caa0fb85",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1510,"clozeWords":1512},[1511],"According to Campbell, it is because the monomyth speaks to something deep within our subconscious mind that we will never tire of watching hero movies",[1513,1514],"monomyth","subconscious",{"id":1516,"data":1517,"type":25,"maxContentLevel":21,"version":25,"reviews":1521},"f659f3ae-ca4f-46d7-8d4e-a85c85fdef9d",{"type":25,"title":1518,"markdownContent":1519,"audioMediaId":1520},"The Stages Of The Monomyth","According to J Campbell, there are certain archetypes in art that reflect our psyches. What he coined as the Hero’s Journey is the quintessential archetypal plot. It is one of the oldest stories to be told and is seen in many different cultures and time periods. \n\nCampbell identified 3 main parts to this **‘monomyth’** or archetypal Hero’s Journey.  The first part is **‘The Departure’**. Here, the hero is introduced to their journey to come, although the full extent of the conflict hasn’t been revealed, just like when Gandalf asks Frodo to bring the Ring to Mordor in _The Lord of The Rings_ but the full dangers of that journey aren't yet known. \n\nThe second part is **‘The Initiation’**. This is where the hero has faced such transformative obstacles and no longer has the ability to return home, forcing them to continue with their quest or purpose. The final state Campbell identified is **‘The Return’** where the hero has accomplished their goals and returns to a new, although hopefully improved world. \n","aa980102-ee58-473d-b5a0-e48227d3d1ab",[1522,1529,1539,1546],{"id":1523,"data":1524,"type":51,"version":25,"maxContentLevel":21},"2122e0f7-1f5b-4961-8118-7b87835b743e",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1525,"activeRecallAnswers":1527},[1526],"At which stage of the monomyth does the hero go home to a new, improved world?",[1528],"The Return",{"id":1530,"data":1531,"type":51,"version":25,"maxContentLevel":21},"6d71cd4d-c46d-46da-80c7-631b65e53568",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1532,"multiChoiceCorrect":1534,"multiChoiceIncorrect":1536},[1533],"Which of these is not a part of Campbell's monomyth?",[1535],"The Arrival",[1537,1538,1528],"The Departure","The Initiation",{"id":1540,"data":1541,"type":51,"version":25,"maxContentLevel":21},"b12b38a2-84cf-449b-b0a1-de3ccf171c92",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1542,"binaryCorrect":1544,"binaryIncorrect":1545},[1543],"What is the point in the monomyth at which the hero can no longer return home?",[1538],[1537],{"id":1547,"data":1548,"type":51,"version":25,"maxContentLevel":21},"dd0b1422-fa6c-41d1-9ee9-23e5f0684aff",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1549,"binaryCorrect":1551,"binaryIncorrect":1552},[1550],"Is the full extent of the movie's conflict revealed in the departure stage of the monomyth?",[622],[624],{"id":1554,"data":1555,"type":25,"maxContentLevel":21,"version":25,"reviews":1559},"29dd90b8-5acf-4a53-bf77-f5d33df94648",{"type":25,"title":1556,"markdownContent":1557,"audioMediaId":1558},"The Antihero ","While the Hero myth and character is recognized not only across varying films and genres but across cultures, time, and religion, **the antihero** is a fairly modern character archetype, but one you’ll probably recognize. \n\nAs opposed to the traditional hero who is moral, just, humble, and brave, the antihero is a character without these traditionally heroic characteristics. Usually **morally ambiguous**, reluctant to fight for a cause beyond their own intentions, and lacking some of the core virtues the hero embodies, **the antihero is a complex character** that’s ripe for analysis. \n\nWhile heroes are beloved and model behaviors and virtues we all wish we could embody, the reality is we’re all neither heroes nor villains. We’re somewhere in between, just like the antihero is. \n","a1e88747-b48d-4f62-ae75-78735526931a",[1560,1568],{"id":1561,"data":1562,"type":51,"version":25,"maxContentLevel":21},"5fe21e49-3892-4332-9188-4165c0634ed5",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1563,"clozeWords":1565},[1564],"An anti-hero is a morally ambiguous protagonist who is reluctant to fight for a cause beyond their own intentions and lacks some of a hero's core virtues",[1566,1567],"ambiguous","virtues",{"id":1569,"data":1570,"type":51,"version":25,"maxContentLevel":21},"6a116357-6c06-4896-956c-32f28b1cb7d4",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1571,"multiChoiceCorrect":1573,"multiChoiceIncorrect":1575},[1572],"Which of these is not a characteristic of a conventional hero?",[1574],"Efficacy",[1576,1577,1578],"Morality","Bravery","Humility",{"id":1580,"data":1581,"type":25,"maxContentLevel":21,"version":25,"reviews":1585},"7b8da044-7f44-405d-bce0-fef120e8488a",{"type":25,"title":1582,"markdownContent":1583,"audioMediaId":1584},"Understanding The Antihero","The antihero is a complex character filled with conflicting motivations and desires that audiences usually relate to because they see that same battle warring inside themselves. Unlike the hero, who is resolved in their motivations and firm in their virtue, the antihero is usually not as easy to understand. \n\nSome great examples from television and movies of these antiheroes are Han Solo from _Star Wars_, Captain Jack Sparrow from _The Pirates of the Caribbean_, and Walter White from _Breaking Bad_. Each of these characters are morally ambiguous and self-serving in many ways, but, despite their flaws, they manage to pull off heroism when the situation demands it, and that’s why we love them. \n\nWhile the hero is determined to fight the villain, the hero maintains a code of conduct or rules that they will not stoop below in order to win, in other words, the hero fights fair and it is exactly their just and noble cause that helps them win. \n\n**The antihero, on the other hand, is not driven by the same code of conduct**. Whether past traumas haunt them or the desire to simply survive, they do not have the same nobility or justice that the hero does and must overcome these obstacles within themselves just as they must fight off or overcome the external conflict. \n","517defc2-a7a4-4cda-8721-6f9f770a4042",[1586,1595,1603],{"id":1587,"data":1588,"type":51,"version":25,"maxContentLevel":21},"2bd0cc4a-fd3f-46e8-91d4-1daa1a3337d8",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1589,"binaryCorrect":1591,"binaryIncorrect":1593},[1590],"Antiheroes are popular because...",[1592],"we can relate to their moral conflict",[1594],"the perfection of the hero is intimidating",{"id":1596,"data":1597,"type":51,"version":25,"maxContentLevel":21},"f417b89c-f712-41ed-b859-1aad8a1c76b8",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1598,"clozeWords":1600},[1599],"The antihero is a complex character filled with conflicting motivations and desires",[1601,1602],"complex","conflicting",{"id":1604,"data":1605,"type":51,"version":25,"maxContentLevel":21},"fc4ea43f-10bd-4369-b0ff-9c883d58e4e5",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1606,"binaryCorrect":1608,"binaryIncorrect":1610},[1607],"What type of protagonist follows a strict set of rules, below which they refuse to stoop?",[1609],"The Hero",[1611],"The Antihero",{"id":1613,"data":1614,"type":26,"version":25,"maxContentLevel":21,"pages":1616},"3ec4673d-9e9c-4227-9342-99d910fffbaa",{"type":26,"title":1615},"Understanding Villains and Antagonists",[1617,1638,1661,1684],{"id":1618,"data":1619,"type":25,"maxContentLevel":21,"version":25,"reviews":1623},"14f712c3-3939-42c8-a561-50c075410d5a",{"type":25,"title":1620,"markdownContent":1621,"audioMediaId":1622},"Understanding Opposing Forces","As much as audiences across time love and appreciate the hero of the story, without a great villain to match the hero, there really is no story. **The villain of most stories is the antagonist or the character who stands in the way of the protagonist**. \n\nThis antagonistic force has motivations, desires, and goals that oppose those of the protagonist and they usually fight just as hard, if not harder, to stop the protagonist from interrupting their goals or reaching their own. \n\nWithout conflict, there is no plot. There is nothing for the hero to overcome or defeat. Without a villain, there’s no plot and there’s not even a real hero. \n\nAs **Roger Ebert**, film critic and author, writes, ‘Each film is only as good as its villain…only a great villain can transform a good try into a triumph.’\n","72431b60-e415-4bdc-bff9-aeb43ef14b8a",[1624,1631],{"id":1625,"data":1626,"type":51,"version":25,"maxContentLevel":21},"77573e0e-e365-44a0-8321-05f3b7c041ff",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1627,"activeRecallAnswers":1629},[1628],"Who wrote that 'each film is only as good as its villain'?",[1630],"Roger Ebert",{"id":1632,"data":1633,"type":51,"version":25,"maxContentLevel":21},"c7330723-66da-43a2-8df6-cb585c470568",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1634,"clozeWords":1636},[1635],"The villain of most stories is the antagonist or the character who stands in the way of the protagonist",[1637],"antagonist",{"id":1639,"data":1640,"type":25,"maxContentLevel":21,"version":25,"reviews":1644},"7fe00734-1e9a-425b-ba2e-d5c536c7b73f",{"type":25,"title":1641,"markdownContent":1642,"audioMediaId":1643},"Villain Versus Antagonist","When analyzing movies through the lens of their characters, it's important to distinguish between the villains of the plot and the antagonists. The villain of a plot is the character who stands in fundamental distinction from the Hero. **This villain is ‘evil’** in that their very existence in some way threatens the existence or reality of the hero, or perhaps the whole world. \n\nWhile evil is subjective, the evil of the villain in a plot is that their actions are so heinous that they cannot coexist with the hero - the character we care about and root for. \n\nThe **antagonist of a story is a force of character that stands in opposition to the hero**. While they may stand in opposition to the hero, **that doesn’t mean they're evil** or cannot coexist with the hero. For example, in _Top Gun_, Ice Man stands in opposition to Maverick and presents him with many obstacles, but he doesn't threaten his existence nor is he evil or malicious. \n\nIn some cases, the villain and the antagonist are one and the same, but to really hone your analytical skills when it comes to films, practice recognizing these differences.\n","038e1dbd-e339-4386-b814-6867b18c8c6b",[1645,1654],{"id":1646,"data":1647,"type":51,"version":25,"maxContentLevel":21},"0b726f4a-1995-4085-aae4-abe37cc87a88",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1648,"binaryCorrect":1650,"binaryIncorrect":1652},[1649],"Which of these statements is correct?",[1651],"Villain is a subset of antagonist",[1653],"Antagonist is a subset of villain",{"id":1655,"data":1656,"type":51,"version":25,"maxContentLevel":21},"ef1f39bc-27c4-469b-a966-01abbd56ca6f",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1657,"clozeWords":1659},[1658],"While a villain is necessarily evil, an antagonist can simply be a rival with equally good intentions",[1660,1637],"villain",{"id":1662,"data":1663,"type":25,"maxContentLevel":21,"version":25,"reviews":1667},"7f41afdf-a798-4cb8-acc9-38085c383bc5",{"type":25,"title":1664,"markdownContent":1665,"audioMediaId":1666},"The Foil; Another Side To The Hero","One of the most important and memorable aspects of cinema is the characters in the movies we love. The history of movies and television is full of iconic duos. Some of these duos are a specific type of character set called foils. Foil characters are 2 characters, one of which usually being the hero or protagonist, that are meant to teach the audience something about the story’s main character. \n\nThe term foil character comes from the many works of Shakespeare, who commonly used this character duo, but it is a common way writers and directors explore the protagonist from different angles. \n\n**A foil is the opposite of the main character**. Think of a piece of aluminum foil that is reflective and malleable. This reflection is exactly what a foil character does, reflects the opposite traits of the protagonists. \n\nSome famous examples of antagonistic foil characters are Frodo Baggins and Gollum from _The Lord of the Rings_. The role of Gollum’s character is to emphasize the danger that Frodo is in as well as highlight the virtue that Frodo possesses that Gollum does not. \n\n ![Graph](image://11cf6430-491c-4ca5-b8aa-0143751488f2 \"Peter Jackson’s ‘The Lord of the Rings’ (2002) uses presentation of foil characters alongside each other to expose their simultaneous flaws (image copyrighted under New Line Cinema)\")\n\n","8ff17991-ebaf-40b0-9f72-a7b6b8984d3b",[1668,1677],{"id":1669,"data":1670,"type":51,"version":25,"maxContentLevel":21},"11c107d5-3e34-49cc-993c-0dbdead04938",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1671,"binaryCorrect":1673,"binaryIncorrect":1675},[1672],"A foil character is...",[1674],"opposite to the main character",[1676],"identical to the main character",{"id":1678,"data":1679,"type":51,"version":25,"maxContentLevel":21},"912939ce-d683-4b94-b5a0-1445c27bc9db",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1680,"clozeWords":1682},[1681],"A foil character reflects traits that are opposite to that of the protagonist to expose their characteristics more vividly",[1683],"protagonist",{"id":1685,"data":1686,"type":25,"maxContentLevel":21,"version":25,"reviews":1690},"96b27f02-0ae4-42df-8853-f113035b1d6c",{"type":25,"title":1687,"markdownContent":1688,"audioMediaId":1689},"The Purpose Of The Foil; Opposites Attract","Shadows tend to look darker when compared to light, and that is exactly what the foil character is meant to do to the protagonist, cast them in a new light. \n\nWhile most character foils are antagonistic duos, such as Frodo and Gollum from The _Lord of the Rings_ or Clarice and Hannibal Lecter from _The Silence of the Lambs_, foils don’t have to be contrary. In fact, **some examples of foil characters demonstrate companionship.**\n\nWhile in _Harry Potter_, the titular character and Draco Malfoy serve as a contrast of each other’s traits, Harry and Hermione complement each other. Harry is rash and decides to act based on his intuition. However, Hermione plans each step out and it's this careful consideration that helps Harry through his trials while also demonstrating his recklessness. \n\nAnother complementary set of foils is Sherlock Holmes and Dr. Watson. Sherlock is arrogant and cold but Watson is practical and sympathetic. Their verbal sparring and mutual annoyance are entertaining and demonstrate the flaws in one another’s character, but they always come to each other’s rescue.\n","82bd8f71-3e8e-41fe-8024-744253f9d5be",[1691],{"id":1692,"data":1693,"type":51,"version":25,"maxContentLevel":21},"c5cc76ed-f7ed-4e1a-9ab9-2ee20d1da3f7",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1694,"activeRecallAnswers":1696},[1695],"What is the aim of a foil character?",[1697],"To cast the protagonist in a new light",{"id":1699,"data":1700,"type":26,"version":25,"maxContentLevel":21,"pages":1702},"7487a1bb-fe5a-4fd5-98e9-139b755b454b",{"type":26,"title":1701},"Character Studies and Types",[1703,1717,1741,1757],{"id":1704,"data":1705,"type":25,"maxContentLevel":21,"version":25,"reviews":1709},"ed665dd1-3c3b-4ee1-837e-4f88f68cd709",{"type":25,"title":1706,"markdownContent":1707,"audioMediaId":1708},"The Character Study","It is the characters onscreen that we relate to the most. Their obstacles, traumas, triumphs, and relationships are what draw us into a plot and heighten the emotional impact a film can have on us. \n\nA **character study is a popular type of film that focuses intently on the motivations, desires, and struggles of a character**. It is their internal conflict and their reactions to the events of the plot that becomes the movie’s central focus. A character study film is meant to give the audience an intimate glimpse into the character’s experience and perspective and watch as they change and grow throughout the plot of the film. \n\nSome examples of character studies are Darren Aronofsky’s _The Wrestler_ and Todd Phillip’s _Joker_. In each of these films, it is the single character that drives the emotion and action of the plot and we as audience members get an intimate glimpse into their lives, desires, and struggles. ","89324e2d-5ad9-4572-bad7-dbe5f947957e",[1710],{"id":1711,"data":1712,"type":51,"version":25,"maxContentLevel":21},"de150b87-89e8-4684-bcb4-2debfce4a674",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1713,"clozeWords":1715},[1714],"In a character study, a character's internal conflict often becomes the movie's central focus",[1716],"internal",{"id":1718,"data":1719,"type":25,"maxContentLevel":21,"version":25,"reviews":1723},"27b2bba6-8dc4-4d71-a16d-037dfca3cc47",{"type":25,"title":1720,"markdownContent":1721,"audioMediaId":1722},"Introduction To Other Character Types ","Oftentimes, filmmakers will utilize tropes or types, which are common elements in plots despite the uniqueness of the plot itself.  A character type specifically is a formulaic character with distinct traits and roles that remain the same despite the film.\n\nWhen analyzing films, learning to recognize if a film utilizes character types is important in discovering the filmmaker's message. Similar to a film’s genre, a character type is easily recognized and sets an expectation with the audience. \n\nIf I asked you to name a movie with a ‘dumb jock’ or a ‘mad scientist’ in it, you could probably come up with a whole list. That’s because, despite the story, there are specific types of characters that are easily recognizable. \n\nThese **character types are based on character archetypes or a character representing a universal pattern**. Character types are more specific than simply the hero and the villain. The ‘mad scientist’ type may be the villain of the movie, but the character is more widely recognized for their traits that represent a universal pattern or theme. \n\nCharacter types, just like a film’s genre or other film tropes, can be used by directors to let the audience know what to expect. But while they provide a set of expectations for the audience, those expectations can either be upheld or carefully subverted.  \n","5909bbb1-6e87-40ce-8664-1d5dc525331b",[1724,1732],{"id":1725,"data":1726,"type":51,"version":25,"maxContentLevel":21},"3e3327ac-3dc4-4b90-a3df-049b265fddfa",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1727,"clozeWords":1729},[1728],"A character type, is a formulaic character with distinct traits and roles, that remain the same despite the film",[1730,1731],"traits","roles",{"id":1733,"data":1734,"type":51,"version":25,"maxContentLevel":21},"d66cb4c9-6e7d-4a8c-8f55-fa9711b168a1",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1735,"binaryCorrect":1737,"binaryIncorrect":1739},[1736],"Mad scientist, damsel in distress and mentor are all examples of a ...",[1738],"character type",[1740],"genre type",{"id":1742,"data":1743,"type":25,"maxContentLevel":21,"version":25,"reviews":1747},"2006d000-c576-4df8-89cd-c0cfaafe906f",{"type":25,"title":1744,"markdownContent":1745,"audioMediaId":1746},"Character Types In Film: The Chosen One ","**Joseph Campbell** famously articulated a specific, universal narrative called the ‘Hero’s Journey.’ While the story the hero tells is usually the same, what about the hero themselves?\n\nOne of the most easily recognizable character types is **The Chosen One**. This character is recognized as being meant for a greater purpose, specifically the hero’s journey. They are charged with the responsibility of saving their world and facing the antagonist. \n\nSome notable examples of the Chosen One are Harry Potter, Frodo from The Lord of the Rings, and Luke Skywalker from Star Wars. Each of these characters is the same type and, while their individual journeys may be the different, they share very specific characteristics. \n\nSome specific traits of the Chosen One are that they are known for their virtue and intuition and are the only ones able to fulfill a specific duty. Interestingly, the Chosen One usually doesn’t have parents, they are commonly orphans or being raised by someone other than their parents. \n\nThe type of the Chosen One brings a set of expectations with it. The audience expects them to be capable and virtuous. They also expect that they are going to fulfill a role they are destined for. However, these expectations can be subverted.\n\nIn _Blade Runner 2049_, the protagonist, Officer K, begins to meet the audience's expectations for the Chosen One. The audience begins to believe through the use of character types that Officer K fits this type, until the film subverts this expectation. The film points out that through the use of these types;  the audience has expected Officer K to fulfill this role and specific journey and they are left as disappointed as Officer K is to learn that they were wrong. ","16e2bc91-8a64-462c-9fa5-93144dadcff2",[1748],{"id":1749,"data":1750,"type":51,"version":25,"maxContentLevel":21},"c38578f7-2572-4790-8157-9646cc412d3d",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1751,"binaryCorrect":1753,"binaryIncorrect":1755},[1752],"The chosen one trope requires characters to be",[1754],"unique",[1756],"ubiquitous",{"id":1758,"data":1759,"type":25,"maxContentLevel":21,"version":25,"reviews":1763},"4040b447-d4cd-42d9-abbb-ec4e9c36e72b",{"type":25,"title":1760,"markdownContent":1761,"audioMediaId":1762},"Examples Of Character Types In Film","In film, there are specific character types or characters based on a universal pattern that the audience comes to recognize as possessing specific traits. \n\nA common example of a character type seen in film is **the Mentor** who works closely with the protagonist, usually the hero of the story, to train them and prepare them for the responsibility of being the protagonist. The Mentor usually possesses knowledge and skill that the protagonists need in order to face their antagonist or villain. \n\nSome examples of the Mentor type in film are Yoda from _Star Wars_, Mr. Miyagi from _The Karate Kid_, and Dumbledore from _Harry Potter_. \n\nAnother notable example of a character type is the **Mad Scientist**. Usually cast in the role of an antagonist, the Mad Scientist is a recognizable character with distinct traits. They are usually brilliant and passionate, willing to put the pursuit of science before all else and push the limits of human knowledge and ability to a dangerous extent. \n\nThis character is a universal pattern in that it touches on fears or hopes that most people experience, namely the desire to eradicate death and disease or the hope that humanity can evolve or find a new state that is more adapted to their environment. \n\nExamples of the Mad Scientist are Victor Frankenstein from Frankenstein, Dr. Moreau from The Island of Dr. Moreau, and Nathan Bateman from Ex Machina. ","0ee3e3eb-d628-46ed-85c6-e9b6f1729717",[1764],{"id":1765,"data":1766,"type":51,"version":25,"maxContentLevel":21},"e7fc3e25-573b-4254-90f6-9b45b4c14fad",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1767,"clozeWords":1769},[1768],"As a character type, the Mentor usually possesses knowledge and skill that the protagonists need in order to face their antagonist or villain.",[1770,1771],"Mentor","skill",{"id":1773,"data":1774,"type":28,"maxContentLevel":21,"version":25,"orbs":1777},"8abe93b0-8a69-4dd7-9be8-c071afad5ddf",{"type":28,"title":1775,"tagline":1776},"Shots and Angles","How every frame of a film becomes a tool for meaning",[1778,1890,1965],{"id":1779,"data":1780,"type":26,"version":25,"maxContentLevel":21,"pages":1782},"7471c8c3-8c10-4f03-8cd6-33f469aa17ae",{"type":26,"title":1781},"The Importance of Cinematography",[1783,1797,1831,1855,1869],{"id":1784,"data":1785,"type":25,"maxContentLevel":21,"version":25,"reviews":1789},"a8e97e8d-90ea-4ed3-a4e2-bc2e15b0b3c0",{"type":25,"title":1786,"markdownContent":1787,"audioMediaId":1788},"Why Does Cinematography Matter Anyway? ","Movies and television, like any other art form, are a careful balance between **creativity, passion, and carefully cultivated technique**. Being able to recognize the technical aspects and techniques filmmakers use to manipulate and extract specific emotions or feelings from the audience will help you not only understand why you love or hate certain films but also how to appreciate and analyze the mastery of the artist. \n\nThe artistry of filmmaking comes in turning something technical, such as the shots used in a film and the camera angles, into a work of art. In each of these aspects of the film, the camera’s shots and angles are pivotal in understanding how the audience experiences the movie. \n\n**The director uses specific camera angles and shots in order to evoke emotion from the audience** and help draw them deeper into the story. Once you can recognize these different shots and angles, you’ll be able to analyze how they influenced an audience’s engagement with the film and emotions.\n","46d278e3-66dc-4cff-a47b-fe42b764d725",[1790],{"id":1791,"data":1792,"type":51,"version":25,"maxContentLevel":21},"0c973e93-4571-4aa3-b4b6-b9c847dcc3e6",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1793,"clozeWords":1795},[1794],"In a film, a director uses specific camera angles and shots in order to evoke emotion from the audience",[1796,649],"angles",{"id":1798,"data":1799,"type":25,"maxContentLevel":21,"version":25,"reviews":1803},"3896208e-d5eb-4b46-996a-41e2d400a166",{"type":25,"title":1800,"markdownContent":1801,"audioMediaId":1802},"Introduction To Different Shots ","The camera shots a director chooses to use when making a movie determines how the audience will receive and relate to the action on the screen. While it may seem simple, classic camera shots are based on extremely technical attributes like **shot size, framing, camera movement and mechanisms, and depth of field**.\n\nA director must consider each of these elements along with the emotional aspects of the film’s plot or action when choosing which shot to use. \n\nThe shots a director chooses will influence the mood the film takes on as well as the emotion of the audience. The camera shots become something of an eye, a way to focus the audience’s attention and direct their experience of the film’s plot. \n\nThere are 3 main types of shots used by directors, **the Close-Up, the Wide Shot (otherwise known as the Long shot), and the Point of View (POV) shot**. \n","f20046d5-0bf0-43e7-afc8-8b24765e26c2",[1804,1815,1825],{"id":1805,"data":1806,"type":51,"version":25,"maxContentLevel":21},"2cecfbad-f4e4-45bb-9dc6-cffb088ff9ba",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":1807,"multiChoiceCorrect":1809,"multiChoiceIncorrect":1811},[1808],"Which of these is not a type of shot?",[1810],"Hotshot",[1812,1813,1814],"Close-up","Wide shot","POV shot",{"id":1816,"data":1817,"type":51,"version":25,"maxContentLevel":21},"69420358-f76b-4cfa-9f17-e77c25c24877",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1818,"activeRecallAnswers":1820},[1819],"What are the metrics for classic camera shots?",[1821,1822,1823,1824],"shot size","framing","camera movement","depth of field",{"id":1826,"data":1827,"type":51,"version":25,"maxContentLevel":21},"9146a3b4-7e05-4e31-b5b6-f7f3c2ae22e6",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1828,"activeRecallAnswers":1830},[1829],"What are the three main types of shot used by directors?",[1812,1813,1814],{"id":1832,"data":1833,"type":25,"maxContentLevel":21,"version":25,"reviews":1837},"ae4520c0-d20b-4a63-a35a-6401dac07d04",{"type":25,"title":1834,"markdownContent":1835,"audioMediaId":1836},"I’m Ready For My Close-Up: Introduction To The Close-Up Shot ","The **close-up shot** is perhaps the most recognizable shot in cinema; it brings the camera up close to the action on the screen whether it be a high-speed chase or a close shot of a character’s reaction. \n\nThe close-up shot is a tightly framed shot that is meant to hone the audience’s attention and focus intensely on a specific aspect of the action on the screen. This usually draws the audience more closely into the story and places them mentally within the space the film is creating. \n\n**Close-ups can heighten the emotion on screen**. By intensely focusing on a character’s reaction or a detail in the midst of the action, it heightens the emotion and intensity of the action because all extraneous detail is cut out of the frame. We as audience members are forced to focus solely on the emotional reactions of a character or the minute detail of the action. ","d2e3ec0c-16ce-4695-924f-a63cc4f99f70",[1838,1846],{"id":1839,"data":1840,"type":51,"version":25,"maxContentLevel":21},"1d95fd40-ba8f-4f4e-a778-c0012d77e25e",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1841,"clozeWords":1843},[1842],"The Close-Up shot is a tightly framed shot that is meant to hone the audience’s attention and focus intensely on a specific aspect of the action",[1844,1845],"tightly framed","specific aspect",{"id":1847,"data":1848,"type":51,"version":25,"maxContentLevel":21},"52c0d4bc-8223-4097-a0e4-fdaba27d4d0e",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1849,"binaryCorrect":1851,"binaryIncorrect":1853},[1850],"What impact should a close-up shot have on the level of emotion on screen?",[1852],"Increase",[1854],"Decrease",{"id":1856,"data":1857,"type":25,"maxContentLevel":21,"version":25,"reviews":1861},"9c447030-ef3e-4ac8-9b0f-9a9f786ec1ca",{"type":25,"title":1858,"markdownContent":1859,"audioMediaId":1860},"Examples Of The Close-Up Shot","The **close-up shot is a regularly used shot that is tightly framed on a specific subject whether it is a character or an action they’re engaged in**. While this shot can heighten emotion and tension, it can also be restrictive. \n\nFocusing closely on the actor's face and not on any background information not only heightens the audience’s response to the character, but also evokes a feeling of restriction or limitation. \n\nClose-up shots are an easy way for directors to deepen the connection between the audience and the characters on screen as well as showcase emotion and heighten tension. A famous example of the close-up is in Stanley Kubrick’s _The Shining_ where Jack Nicholson’s character is attempting to break through a bathroom door.\n\n ![Graph](image://677f1d4f-d9af-4d50-b7ac-8ee16ce883df \"Stanley Kubrick’s ‘The Shining’ (1980) uses a close-up shot to heighten the intensity of the protagonist’s facial expressions, increasing the emotive effect (image copyrighted under WB Media)\")\n\nThe camera focuses on Nicholson’s face as well as the reaction of Shelly Duval inside the bathroom to heighten the horror and intensity of the moment and force the audience to focus solely on their action and reactions.\n","72042ca5-910e-476e-a08f-751663d829d0",[1862],{"id":1863,"data":1864,"type":51,"version":25,"maxContentLevel":21},"df5f603e-cf10-4c6f-b051-e0c21c2056bb",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1865,"clozeWords":1867},[1866],"Focusing closely on the actor's face and not on any background information can evoke a feeling of restriction or limitation",[1868],"restriction or limitation",{"id":1870,"data":1871,"type":25,"maxContentLevel":21,"version":25,"reviews":1875},"4271c117-1148-4b5f-9e67-d0642d5e42ac",{"type":25,"title":1872,"markdownContent":1873,"audioMediaId":1874},"Far And Wide ","While the close-up shot intensifies emotion and provides a feeling of restriction to the audience, **the wide shot adds drama by focusing on the atmosphere or environment as well as the character**. \n\nA wide, sometimes called long shot, is one where the subject, usually the character, is relatively small in comparison to the scenery. This shot minimizes the character; the audience does not as clearly get a reading of their emotions and reactions but instead is left to feel the wide expanse of space onscreen as a sort of desolation. \n\nFor example, in the Coen Brother’s film, _No Country For Old Men_, wide shots are used often to show the magnitude and emptiness of the landscape compared to the small size of the characters on screen. This provides the audience a connection with the characters in establishing a sense of futility and vulnerability, that the characters are swallowed by the landscape, and relates to the audience that they have no power to stop what’s coming. \n\n ![Graph](image://fe0fd013-f1c2-4217-baa4-a5665a93cc22 \"Coen Brother’s ‘No Country for Old Men’ (2007) uses a wide shot of an unforgiving landscape to emphasize the vulnerability of the character and set a mood of apprehension in the audience (image copyrighted under Mirimax Films)\")\n\nJust as the close-up heightens emotions by drawing the audience’s attention to specific details, **the wide shot can heighten drama and tension** by providing an atmosphere of desolation or futility. ","016bd795-41f1-4492-a640-9a31dc368d86",[1876,1883],{"id":1877,"data":1878,"type":51,"version":25,"maxContentLevel":21},"aacf6a4a-0991-416b-8c32-ebe1430ee7a2",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1879,"clozeWords":1881},[1880],"A wide shot minimizes the character to heighten their sense of desolation",[1882],"wide",{"id":1884,"data":1885,"type":51,"version":25,"maxContentLevel":21},"c55d8558-1809-496d-bb5a-0d034d29725a",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1886,"binaryCorrect":1888,"binaryIncorrect":1889},[1887],"What is better for exposing the impact an atmosphere or environment has on a character?",[1813],[1812],{"id":1891,"data":1892,"type":26,"version":25,"maxContentLevel":21,"pages":1894},"c7e0fe80-7f07-4c22-8896-35d390f1ca24",{"type":26,"title":1893},"Types of Camera Shots",[1895,1915,1930,1944],{"id":1896,"data":1897,"type":25,"maxContentLevel":21,"version":25,"reviews":1901},"7db2f785-c007-469f-b01e-c61d3f90e72f",{"type":25,"title":1898,"markdownContent":1899,"audioMediaId":1900},"A New Point Of View","The importance of camera shots is that they hone an audience’s attention and focus it on specific emotions or aspects of the plot. There is no greater way to put the audience in a character’s shoes than **the POV shot**. \n\nThe POV shot, or point of view, is one where the camera is set from the point of view of the subject or an object on the screen. A POV shot from a character allows the audience to step into the character’s shoes and see what they see, almost literally through  their eyes. This technique suspends the audience’s disbelief and allows them to fully lose themselves in the plot and emotions of the character. \n\n ![Graph](image://3d67340b-1b27-4608-b814-62ea0f478a91 \"Paul Verhoeven’s ‘RoboCop’ (1987) uses a POV shot to allow the audience to see exactly what the character on screen sees and step into their perspective (image copyrighted under Orion Pictures)\")\n\n\n**POV shots do not have to be from the character’s perspective but can come from inanimate perspectives**. One example of this is the POV shots in _The Truman Show_ directed by Peter Weir. This movie utilized POV shots from inanimate perspectives to bring out the plot of the movie which is that Truman is the star of a television show without his knowledge or consent. \n\n ![Graph](image://82af55ea-fbad-4ce3-8dc0-8d627083e427 \"Peter Weir’s ‘The Truman Show’ (1998) uses a POV shot to place the audience in the perspective of someone watching The Truman Show in the movie. This adds a meta layer in which the audience is made aware of their own participation as spectators (image copyrighted under Paramount Pictures)\")\n\n\nBy using these specific camera shots, it heightens the tension of the plot and brings the audience further into the movie by placing us in a meta role of being audience members both on and off-screen. \n\n","b4aac0de-aec3-4244-8ad8-cca63b6a2381",[1902,1908],{"id":1903,"data":1904,"type":51,"version":25,"maxContentLevel":21},"92dc30c8-c1a2-426c-8882-7b73a130d538",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1905,"clozeWords":1907},[1906],"A Point of View shot is set from the perspective of a character or object on screen",[494],{"id":1909,"data":1910,"type":51,"version":25,"maxContentLevel":21},"9af16699-0dad-4784-b9a6-f654231ed1e6",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1911,"binaryCorrect":1913,"binaryIncorrect":1914},[1912],"Does a POV shot have to be from the perspective of the protagonist?",[622],[624],{"id":1916,"data":1917,"type":25,"maxContentLevel":21,"version":25,"reviews":1921},"572edb00-87ea-4bc7-8c17-2c192e0460e8",{"type":25,"title":1918,"markdownContent":1919,"audioMediaId":1920},"Establishing The Groundwork","An important shot in the film that, once you learn, you’ll be able to recognize, is **‘the establishing shot’**. This is a shot at the start of a new scene that shows the location of the action to follow. The establishing shot may be one of a house or a city line or even a view of the countryside. \n\nUnlike a novel, movies are limited in their ability to inform the audience of a change in location or time without showing it on the screen. That’s where the establishing shot comes in. It’s meant to give the audience grounding for the action to follow and help them establish if there has been a change in location or time. \n\n**Establishing shots can also be used to show the movement of progress in the plot**. A shot of a plane taking off on a runway or landing demonstrates to the audience the movement of characters across space and to a new location. This simple shot provides an orientation to the audience and helps them subconsciously understand that time is moving and the characters are moving as well. \n","14c9c9bc-365d-4cf3-bf8e-5f36065696f0",[1922],{"id":1923,"data":1924,"type":51,"version":25,"maxContentLevel":21},"53efb5a8-97fd-49e9-bd77-03290cf708e7",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1925,"activeRecallAnswers":1927},[1926],"What two things can an establishing shot show change in?",[1928,1929],"Time","Location",{"id":1931,"data":1932,"type":25,"maxContentLevel":21,"version":25,"reviews":1936},"f659a250-50cd-4271-bd82-6280125d0746",{"type":25,"title":1933,"markdownContent":1934,"audioMediaId":1935},"Introduction To Camera Angles ","While the shot is the depth and perspective of the camera, the camera angle is its location relative to ground level. **Varying camera angles can elicit emotion, build mood and suspense, and create a specific atmosphere.**\n\nThere are 4 main angles commonly used by directors, each with their own specific emotional response from the audience and influencing how the audience experiences the plot and action. \n\nThe angle and movement of the camera provide the same function to a director that adjectives, adverbs, and punctuation are to an author. These techniques provide a way for the director to manipulate the audience’s emotional response and experience during the film. Where the director chooses to position the camera can provide us valuable insight into the director’s creative vision and an understanding of its effects on the audience. \n","ad5b261b-9fa9-48a6-afa2-3528cc80886b",[1937],{"id":1938,"data":1939,"type":51,"version":25,"maxContentLevel":21},"f821ca85-9f66-4207-9a48-c14e6128fa5b",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":1940,"clozeWords":1942},[1941],"Varying camera angles can elicit emotion and build mood, creating suspense",[910,1943],"mood",{"id":1945,"data":1946,"type":25,"maxContentLevel":21,"version":25,"reviews":1950},"783321db-51cc-4c35-a88a-bbe7b21cc7ae",{"type":25,"title":1947,"markdownContent":1948,"audioMediaId":1949},"The Camera’s New Eyes ","An **eye-level shot** is a common shot utilized by filmmakers that does exactly what it sounds like. The camera is set up to provide an eye-level perspective of the action or characters on screen. However, the eyeline used to line up with the camera is the eye level of the character onscreen. \n\nThis **neutral angle** is most commonly used because **it does not distort or interrupt the audience’s viewing experience**. The **eye-level shot provides a clear focus to the audience**, honing their attention on a character or scene. However, the eye-level shot focuses the audience’s attention without heightening the tension or dramatization of it as other camera shots do.\n\nThis camera angle portrays the environment onscreen directly as though you were standing in the center of the action yourself. Because of this, it helps draw the audience into the story. When used in motion, the eye-level, or eyeline, shot can also add momentum or increase the movement of the camera such as an eye-level shot from a car in a high-speed chase. \n","263fc1bd-a39c-4d39-8568-a0972401e7e2",[1951,1958],{"id":1952,"data":1953,"type":51,"version":25,"maxContentLevel":21},"938c6f71-c60b-4e19-929f-979c53ad1d20",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1954,"activeRecallAnswers":1956},[1955],"What is the most common camera angle?",[1957],"Eye-Level Shot",{"id":1959,"data":1960,"type":51,"version":25,"maxContentLevel":21},"d30f1773-2726-4201-bc92-fdcafef71e0e",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":1961,"activeRecallAnswers":1963},[1962],"What is the advantage of an eye-level shot?",[1964],"Clear focus to the audience",{"id":1966,"data":1967,"type":26,"version":25,"maxContentLevel":21,"pages":1969},"c2ef3730-9ae2-418a-9dbb-03929498e414",{"type":26,"title":1968},"Types of Camera Angles",[1970,1986,2007],{"id":1971,"data":1972,"type":25,"maxContentLevel":21,"version":25,"reviews":1976},"f4b1d78b-c2d2-4471-9a52-c7925ac077e4",{"type":25,"title":1973,"markdownContent":1974,"audioMediaId":1975},"From Higher Ground","A **high camera angle** is a technique used by filmmakers in which the camera is placed above the characters or the action. The view for the audience is that they are looking down upon the action on the screen. \n\nThis is a tool filmmakers have at their disposal that makes the **characters or action look small on the screen**, appearing almost insignificant or as though they are being swallowed up. \n\nSimilar to a wide shot, **the high camera angle emphasizes the smallness of the characters and the vastness of the space around them**. This provides a feeling of insignificance or futility. The high-angle shot, which shows meekness or vulnerability, is usually paired with a low camera angle to show the disparity in power between the 2 characters. \n","6e013096-ec1d-4e84-a95c-39f8dec0c951",[1977],{"id":1978,"data":1979,"type":51,"version":25,"maxContentLevel":21},"ec15ce0a-edb3-4957-be1e-37ab810fa3ce",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1980,"binaryCorrect":1982,"binaryIncorrect":1984},[1981],"A High Camera Angle makes characters appear...",[1983],"smaller",[1985],"larger",{"id":1987,"data":1988,"type":25,"maxContentLevel":21,"version":25,"reviews":1992},"15e1c095-a7da-4720-806d-d4f71f63e982",{"type":25,"title":1989,"markdownContent":1990,"audioMediaId":1991},"Getting Low ","Camera angles are used by directors to place the audience in the story and guide their emotional response to the action on screen. One way for a director to place the audience within the story and heighten the tension or emotion on screen is through the use of the low-angle shot. \n\nThis shot places the camera at a level **below eye-line** and oftentimes even below knee-level. When the audience experiences this shot, they may be placed in the perspective of a character looking up at characters placed above them. \n\nThis angle **shows the power disparity between characters**. It places the audience in a perspective of **vulnerability** and demonstrates the authority and power of the characters on screen who have the upper hand. \n\n ![Graph](image://dfc08fe8-0662-46ad-9526-2fbc10aafa94 \"Chris Columbus’ ‘Home Alone; (1990) uses a low shot to place the audience in a vulnerable perspective. This emphasizes the threatening presence and power of the characters onscreen (image copyrighted under Hughes Entertainment) \")\n\n","5ccc6222-3a72-4b0a-a070-d32c7fc9061d",[1993,2000],{"id":1994,"data":1995,"type":51,"version":25,"maxContentLevel":21},"4c5ea687-ed3e-43f4-8d59-6170a678f381",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":1996,"binaryCorrect":1998,"binaryIncorrect":1999},[1997],"A Low Camera Angle makes characters appear...",[1985],[1983],{"id":2001,"data":2002,"type":51,"version":25,"maxContentLevel":21},"bd2a855c-83d5-494f-ab5c-be24836a2f1c",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2003,"clozeWords":2005},[2004],"Low camera angles are often used to show vulnerability and power disparity",[2006],"disparity",{"id":2008,"data":2009,"type":25,"maxContentLevel":21,"version":25,"reviews":2013},"986969d1-b50c-43fa-8813-15fe98cc8190",{"type":25,"title":2010,"markdownContent":2011,"audioMediaId":2012},"Going Dutch","Camera angles and shots are used by filmmakers to heighten the tension on-screen and evoke specific emotions from the audience. One way that filmmakers can provide a feeling of distortion or disorientation to the audience is through ‘The Dutch’ camera angle. \n\nThis camera angle is one where **the camera tilts to the side**. It creates a feeling of disorientation or an altered or unstable mental state because this is not an angle the human eye can naturally see. To use this effect, the camera will usually start at a neutral or eye-level angle and then tilt to the side to create an atmosphere that is distorted or off-kilter.\n\nThis angle is a great tool for directors to subconsciously relate to the audience the mental state of the characters and, in turn, place the audience in that same mentality. \n","9b9fe787-32e5-47a4-be7e-f2bfe59cbacf",[2014,2024,2031],{"id":2015,"data":2016,"type":51,"version":25,"maxContentLevel":21},"477f3522-ae2e-4b6d-a70b-ed273f07c30a",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2017,"activeRecallAnswers":2019},[2018],"What are the four different camera angles?",[2020,2021,2022,2023],"Eye-Level shot","High shot","Low shot","Dutch",{"id":2025,"data":2026,"type":51,"version":25,"maxContentLevel":21},"4b0848fb-4a67-4f94-983f-fe9961b602d6",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2027,"activeRecallAnswers":2029},[2028],"What happens in a Dutch shot?",[2030],"The camera tilts to the side",{"id":2032,"data":2033,"type":51,"version":25,"maxContentLevel":21},"dd925e77-b3a2-42be-82a5-46864fddde21",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2034,"clozeWords":2036},[2035],"Filmmakers provide a feeling of distortion or disorientation through the Dutch camera angle",[2023],{"id":2038,"data":2039,"type":28,"maxContentLevel":21,"version":25,"orbs":2042},"9cbec22c-b10d-4bbb-94b9-8b917b6f248f",{"type":28,"title":2040,"tagline":2041},"Mood and Tone","How to analyze the atmosphere of a film and its impact on the audience. ",[2043,2134],{"id":2044,"data":2045,"type":26,"version":25,"maxContentLevel":21,"pages":2047},"80e2efe1-9dd9-4f05-8723-48a8e1598efd",{"type":26,"title":2046},"Understanding Film Atmosphere",[2048,2071,2086,2114,2120],{"id":2049,"data":2050,"type":25,"maxContentLevel":21,"version":25,"reviews":2054},"7a585285-5d61-4f43-a637-c53e8e3e5d06",{"type":25,"title":2051,"markdownContent":2052,"audioMediaId":2053},"Introduction To Atmosphere","Film theory and analysis is the art of understanding the technical and creative aspects of film and analyzing how these elements create an atmosphere and emotional experience for the audience. \n\nTo understand the atmosphere within a film and how filmmakers create it along with how that atmosphere affects the audience’s experience, it is important to understand the concept of **tone and mood.** \n\nWhile **tone describes the atmosphere**, or emotional landscape, of the characters within the movie, **mood describes how the audience feels** about the movie. The atmosphere of a film is a key element in the audience’s experience of it. These 2 key concepts highlight the interplay of art and technical skills coming together. \n","a2ba429c-9916-41ac-9004-c7f64f966ba7",[2055,2062],{"id":2056,"data":2057,"type":51,"version":25,"maxContentLevel":21},"3282a957-fa73-446f-a733-569105bccabe",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2058,"clozeWords":2060},[2059],"While tone describes the atmosphere, or emotional landscape, of the characters within the movie, mood describes how the audience feels about the movie",[2061,1943],"tone",{"id":2063,"data":2064,"type":51,"version":25,"maxContentLevel":21},"6936adb8-7d2a-4cbd-8841-5a0b58eeeb84",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2065,"binaryCorrect":2067,"binaryIncorrect":2069},[2066],"Film theory looks at...",[2068],"both how the film is made and what impact it has on audiences",[2070],"just how the film is made",{"id":2072,"data":2073,"type":25,"maxContentLevel":21,"version":25,"reviews":2077},"af39ba5d-1289-49d6-99c9-519ac3526d0c",{"type":25,"title":2074,"markdownContent":2075,"audioMediaId":2076},"Leave A Message At The Tone ","The **tone of a film is the atmosphere created for the characters on the screen or what the movie’s attitude is toward the subject it is depicting**. \n\nTake for example a film about war. In a war film, despite the scenes of violence and danger, it may still be able to show the self-sacrifice and heroism found in times of war. This means that, despite the depiction of the horror of war,  the tone of the film will be hopeful and optimistic, such as in _Saving Private Ryan_. This film is about a band of soldiers coming together to save a lost comrade. It has scenes of violence and doesn't shy away from the gravity of war, but its overall tone is hopeful and heroic. \n\nOn the other hand, in Christopher Nolan’s _Dunkirk_, another movie about war, while there are moments of heroism and sacrifice, the overall tone of the movie is desolate. It shows the destruction of the individual and the misery that comes with war, even despite moments of heroism. \n\nThe tone of a film, or the film’s atmosphere and attitude toward the subject, is important to analyze when trying to understand what message a director is trying to convey to the audience through the tone.  \n","8b1d01ed-48b2-40fa-be89-509289153310",[2078],{"id":2079,"data":2080,"type":51,"version":25,"maxContentLevel":21},"32c45e29-fe8f-42f1-8d80-24165e81d015",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2081,"clozeWords":2083},[2082],"The tone of a film is the atmosphere created for the characters onscreen or what the movie's attitude is towards the subject it is depicting",[2084,2085],"atmosphere","depicting",{"id":2087,"data":2088,"type":25,"maxContentLevel":21,"version":25,"reviews":2092},"85f7e947-3cfc-4077-b32e-ad26f87b95d8",{"type":25,"title":2089,"markdownContent":2090,"audioMediaId":2091},"What Mood Are You In?","While the tone of a film is the atmosphere within the movie or the attitude of the filmmaker toward the subject, the mood of the movie is **what the audience is meant to feel** based on what they’re seeing.\n\nOftentimes, the mood and the tone go hand in hand. Watching a girl go down into the haunted basement or being chased by a serial killer, both the tone and the mood of the movie are bleak and frightening. \n\nThe mood of a movie is how you feel while you’re watching it, whether you’re frightened or sitting at the edge of your seat, or falling in love along with the protagonist. The mood is created by specific choices a filmmaker utilizes in the film’s production, such as color and lighting. \n\nSometimes, **there can be a contradiction between the mood of the film and the tone**. On these occasions, dramatic irony is drawn in that what the audience is feeling doesn’t necessarily match the onscreen atmosphere or emotional landscape. \n\nFor example, in Billy Wilder’s _Sunset Boulevard_ the final moments present a tone of triumph for Norma, an aged movie actress. This triumph comes after the death of the protagonist, Joe, who the audience sympathized with, so the mood, or what the audience feels, is bleak. This disunity between the tone and mood creates a dramatic irony for the audience. ","6d26096b-ead6-45d5-9f14-395300b76311",[2093,2101,2107],{"id":2094,"data":2095,"type":51,"version":25,"maxContentLevel":21},"8238a0df-79ba-4e5d-84b5-32b33fc38dbc",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2096,"binaryCorrect":2098,"binaryIncorrect":2100},[2097],"Which of these is reliant on the audience?",[2099],"Mood",[2061],{"id":2102,"data":2103,"type":51,"version":25,"maxContentLevel":21},"9b65f038-5116-4123-aeb4-452578e535e6",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2104,"clozeWords":2106},[2105],"While the tone of a film is the atmosphere within the movie or the attitude of the filmmaker toward the subject, the mood of the movie is what the audience is meant to feel based on what they're seeing",[2061,1943],{"id":2108,"data":2109,"type":51,"version":25,"maxContentLevel":21},"ac110237-1fa8-4dc8-8803-c3d0c23bc3f7",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2110,"activeRecallAnswers":2112},[2111],"What does disunity between tone and mood create?",[2113],"Dramatic Irony",{"id":2115,"data":2116,"type":25,"maxContentLevel":21,"version":25},"d09e6f2b-dc4e-492e-9830-046641aeb418",{"type":25,"title":2117,"markdownContent":2118,"audioMediaId":2119},"Identifying Tone And Mood","In order to practice your skills in film theory and analysis, practice some of these techniques to identify the tone and mood of any movie you watch. \n\nBefore watching a movie, reflect on what you expect to feel while watching it based on the movie’s trailer and advertising material. Does the trailer promise suspense or terror? Maybe lightheartedness or romance? \n\nDuring a movie, take time to check in with your emotions. At what points do you notice your heart racing or your eyes welling up? Once you’ve taken note of your emotional response during a film, try to watch the movie critically–even on the first viewing. Try to notice the techniques the filmmaker is using, such as lighting, color, and sound and if they have any effect on the emotions you’re feeling. \n\nDuring the conclusion of a movie, try to notice how the characters have changed after living through the action of the plot. Do you feel differently about the characters now than you did at the beginning? After your viewing, did the film meet the expectations you initially had for it? \n","386b3597-f7a7-41c9-955b-2de67018e85b",{"id":2121,"data":2122,"type":25,"maxContentLevel":21,"version":25,"reviews":2126},"a7c94f12-dfec-4cfb-812c-fd81899c645f",{"type":25,"title":2123,"markdownContent":2124,"audioMediaId":2125},"Why Does Tone Matter? ","Analyzing a film’s tone and mood means teaching yourself to notice not only the technical aspects of the film, such as the **lighting, color, and sound that create atmosphere**, but also noticing your own emotional reactions to it. \n\nA filmmaker is trying to tell you a message or convey an idea to you, and they do that through the use of the plot along with the camera, lighting, color, and sound. To identify and understand these messages being relayed, try to identify the tone and mood of a film. \n\nThe tone and mood of a film are extremely important in identifying and understanding the hidden or deeper layers of meaning in a film. Not only is an analysis of the film’s plot important, but the mood and tone, or the movie’s attitude toward the subject and what the audience is meant to feel regarding that subject, will add a deeper layer of meaning to be extracted from a film.\n","ea8be03c-b31a-4083-b362-b719c80c6776",[2127],{"id":2128,"data":2129,"type":51,"version":25,"maxContentLevel":21},"f8088940-0062-4681-8cf1-6bc06fb5f98d",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2130,"activeRecallAnswers":2132},[2131],"What is the point of analysing tone and mood?",[2133],"To understand the deeper meaning of the film",{"id":2135,"data":2136,"type":26,"version":25,"maxContentLevel":21,"pages":2138},"62ec8acd-10cd-4958-a45b-0342dff188ff",{"type":26,"title":2137},"Color Theory in Filmmaking",[2139,2165,2197,2221,2242,2258],{"id":2140,"data":2141,"type":25,"maxContentLevel":21,"version":25,"reviews":2145},"737ea054-f020-444e-9456-de4859e7ac98",{"type":25,"title":2142,"markdownContent":2143,"audioMediaId":2144},"Coloring In The Mood ","The mood of a film is how the audience is being made to feel about the plot and characters. The unique way that each filmmaker chooses to unfold the film’s plot and the many emotions of the characters within those plots all contribute to a type of landscape of mood being presented to the audience. \n\n**Color, just like lighting, goes a long way in creating an emotional landscape for the audience to step into**. The first movies were shot in black and white, so the interplay of **shadows and lighting** was used to create a dramatic effect and emotional engagement. \n\nNow, filmmakers employ the use of color to create the mood of a film. Color can heighten the emotion an audience is feeling. A film with saturated, bright colors can create a bright or happy mood within the audience just as a desaturated, dim movie can create a depressed or uneasy mood. \n\nWithin the use of color, there are 2 important aspects to consider and that is the **symbolism of color and color theory**. \n","d0ab86e5-0491-4338-baf5-9b0840474362",[2146,2157],{"id":2147,"data":2148,"type":51,"version":25,"maxContentLevel":21},"a90725d0-f8a2-4785-871e-691d194c1a05",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":2149,"multiChoiceCorrect":2151,"multiChoiceIncorrect":2153},[2150],"How do saturated colors typically make an audience feel?",[2152],"Happy",[2154,2155,2156],"Depressive","Pensive","Apprehensive",{"id":2158,"data":2159,"type":51,"version":25,"maxContentLevel":21},"af93f976-ac83-4be9-a636-e233ba429d67",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2160,"activeRecallAnswers":2162},[2161],"What are the two important aspects of color?",[2163,2164],"Color Theory","Color Symbolism",{"id":2166,"data":2167,"type":25,"maxContentLevel":21,"version":25,"reviews":2171},"5373896a-2307-4353-b122-50aa88c9f30b",{"type":25,"title":2168,"markdownContent":2169,"audioMediaId":2170},"Introduction To Color Theory","Color theory is the study of specific colors and the emotions or moods they can evoke in the viewer. This theory is one commonly employed by filmmakers, in fact, color palettes are often chosen for a film long before production even starts. \n\nColor theory in film supposes that the manipulation of colors can be used to guide the audience toward the intended message of the filmmaker, contrasted against one another to send a message or highlight importance, or subverted to create dramatic irony and suspense.  \n\nFor example, the color red is generally considered a hot color. It's associated with war, violence, and passion. This is usually why characters such as the Devil or Cupid are dressed in red. Understanding the emotional association that colors can have will help you as a viewer understand what meaning a filmmaker is trying to convey.  \n\nWhat colors a director chooses to use will help them to create an atmosphere on screen and manipulate the audience’s emotional experience of a film. Take, for example, Martin Scorsese’s _Taxi Driver_. Scorsese employs the color red to color much of the movie to heighten the emotional landscape of increasing passion and violence. \n\n ![Graph](image://93c26230-9ea7-4595-aae4-932151304d89 \"Martin Scorsese’s ‘Taxi Driver’ (1976) uses colour symbolism - the color red to denote the growing violence and intensity of the plot and characters (image copyrighted under Columbia Pictures).\")","7c0d75e7-3346-43c9-a8cd-d9a752d444b1",[2172,2181,2189],{"id":2173,"data":2174,"type":51,"version":25,"maxContentLevel":21},"0f6839a7-b5b1-4fbf-8b9f-2e34c2299714",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2175,"binaryCorrect":2177,"binaryIncorrect":2179},[2176],"What type of color is red?",[2178],"Hot",[2180],"Cold",{"id":2182,"data":2183,"type":51,"version":25,"maxContentLevel":21},"3c59fe24-d08a-4010-b597-29c23d8c3407",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2184,"activeRecallAnswers":2186},[2185],"What are the two ways colour theory can be used?",[2187,2188],"Contrastingly","Subversively",{"id":2190,"data":2191,"type":51,"version":25,"maxContentLevel":21},"92ae1225-0357-48dc-aef5-1f2b1858af0c",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2192,"clozeWords":2194},[2193],"Color theory is the study of specific colors and the emotions or moods they can evoke in the viewer",[2195,2196],"Color theory","moods",{"id":2198,"data":2199,"type":25,"maxContentLevel":21,"version":25,"reviews":2203},"95f3499c-d0f5-491d-bc81-20410f49edf9",{"type":25,"title":2200,"markdownContent":2201,"audioMediaId":2202},"Saturation Matters","Color goes a long way in creating an emotional landscape for the audience. An aspect of color to consider when watching a movie is saturation, which is defined as the intensity and vibrancy of the colors onscreen. \n\n**A film that uses highly saturated and bright colors conveys a mood of grandiosity**. Saturated movies are generally positive, such as romantic movies or superhero movies. The intensity of colors creates a heightened sense of reality for the audience, which, in turn, heightens an audience's emotional response. \n\nOn the other hand, filmmakers may choose to desaturate a film’s colors. **Desaturated colors in film create a sense of despair or depression**. These colors are generally used in dystopic movies or movies meant to convey a sense of gritty realism such as in John Hillcoat’s _The Road_. \n\n ![Graph](image://69632aed-5ef3-4bed-87c0-5be808b53276 \"John Hillcoat’s ‘The Road’ (2009) shows a desaturated color palette to convey the bleakness of the scene (image copyrighted under The Weinstein Company)\")\n\n","3d5ea052-2cd2-4769-bddb-ac67d336e80d",[2204,2211],{"id":2205,"data":2206,"type":51,"version":25,"maxContentLevel":21},"2a5d0bd6-c523-491a-afb1-43cfe9908617",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2207,"clozeWords":2209},[2208],"The intensity of saturated colours creates a heightened sense of reality for the audience",[2210],"intensity",{"id":2212,"data":2213,"type":51,"version":25,"maxContentLevel":21},"da1b93a9-01bc-4e67-9b81-3245a4441b66",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":2214,"multiChoiceCorrect":2216,"multiChoiceIncorrect":2218},[2215],"Which of these moods can saturated colors create?",[2217],"Grandiosity",[2219,2220,2154],"Serenity","Manic",{"id":2222,"data":2223,"type":25,"maxContentLevel":21,"version":25,"reviews":2227},"0c64ffa5-48a0-4f7c-8865-d515efda420f",{"type":25,"title":2224,"markdownContent":2225,"audioMediaId":2226},"Color Discordance","A technique that filmmakers use to create a specific tone within the movie and evoke an emotional response in the audience through the film’s mood is the use of discordant colors and symbolic colors. \n\n**Color discordance is when one color juxtaposes or clashes with the overall color palette of a scene**. The clash of colors is meant to emphasize a subject and draw the audience's attention and emotions to it. \n\nA fantastic example of exaggerated color discordance is in Steven Spielberg’s _Schindler’s List_. The camera tracks a young girl wearing a bright red dress in a black and white scene to highlight the juxtaposition of her innocence with the violence and despair embodied in the background in black and white. \n\nThe use of color discordance to manipulate mood is a technique filmmakers may choose to employ. Color has the unique ability to present information to our subconscious minds that our conscious minds may not even understand. Filmmakers understand this concept. Understanding it yourself provides you the ability to extract a deeper layer of meaning out of a film and analyze exactly how discordant colors evoked specific emotions from the audience. \n\n ![Graph](image://2c829918-067c-418b-890b-0e3e92436fb0 \"Steven Spielberg's ‘Schindler’s List’ (1993) employs the use of color discordance to heighten the emotional landscape of the scene and draw a juxtaposition between the violence in black and white and the naivety and innocence of youth (copyrighted under Universal Pictures)\")\n\n","80b72a1d-e9a9-4524-8a17-b094f4795a52",[2228,2235],{"id":2229,"data":2230,"type":51,"version":25,"maxContentLevel":21},"12c524f7-34e1-4bbe-9f47-58831845282f",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2231,"clozeWords":2233},[2232],"Color discordance is when one color clashes with the overall color palette of a scene",[2234],"discordance",{"id":2236,"data":2237,"type":51,"version":25,"maxContentLevel":21},"2f54c429-c223-41c7-a575-7637df222a22",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2238,"activeRecallAnswers":2240},[2239],"What does color discordance allow directors to do?",[2241],"Highlight specific features of a scene",{"id":2243,"data":2244,"type":25,"maxContentLevel":21,"version":25,"reviews":2248},"bca0acd1-d0ee-428f-ac52-80d28a9a5a81",{"type":25,"title":2245,"markdownContent":2246,"audioMediaId":2247},"The Symbolism Of Color ","**Color symbolism is the use of color to embody a theme or motif**. A common example of the symbolism of specific colors is seen in the color red. Red subconsciously denotes to the audience passion of some kind whether it is love or violence. In fact, the color red has been shown to have actual physiological effects on the viewer such as increasing heart rate or blood pressure. \n\n ![Graph](image://213010a1-500b-4580-82dc-010446fe9898 \"Sofia Coppola’s The Virgin Suicides (1999) deliberately uses the color blue to denote isolation, exhaustion, and depression (image copyrighted under Paramount Pictures).\")\n\nThese physiological changes in the viewer help the audience to engage emotionally in the film and help the filmmakers manipulate what emotions the audience will experience. \n\nThis color can be used to demonstrate lust, passion, or the desire for violence or blood in film, as seen in Sam Mendes’ film _American Beauty_ and the use of red roses to symbolize the protagonist's association of his own lust with a young girl. \n\n ![Graph](image://f60bab6e-3023-45fc-9b8a-0b9ea3fca618 \"Sam Mendes’ American Beauty (1999) contrastingly uses the color red to symbolize lust and passion to the audience (image copyrighted under Cohen Company). \")","6aab7156-ee65-47a5-8842-29d51860b4e4",[2249],{"id":2250,"data":2251,"type":51,"version":25,"maxContentLevel":21},"d6c48bb9-94ff-45eb-8ec8-66e2c10112c1",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2252,"binaryCorrect":2254,"binaryIncorrect":2256},[2253],"Color symbolism is often tied to...",[2255],"Scientific psychological responses",[2257],"The director's childhood trauma",{"id":2259,"data":2260,"type":25,"maxContentLevel":21,"version":25,"reviews":2264},"d5e0c352-95bb-4f8c-bc4c-997a2f36f1e1",{"type":25,"title":2261,"markdownContent":2262,"audioMediaId":2263},"Coloring In The Scene","**A trick that filmmakers have used from the dawn of colored-image cinema is the use of color symbolism**. This specific technique uses a single color to express a theme or idea. \n\nWhile red commonly symbolizes passion and violence, the color blue can symbolize peace and serenity or melancholy, emotional exhaustion, and isolation. \n\nBlue is seen as a more tranquil color, such as the ocean or the sky. However, just as the ocean or the sky can be calming and awe-inspiring, it can also be vast and dangerous- a seemingly limitless expanse. Drawing on these expressions of color in nature and the physiological effects they may have on the viewer, filmmakers can utilize color symbolism to help convey a message to the audience. \n\nNext time you are watching a film, try to notice how the director has chosen a color palette to extract emotion and meaning from a film. Ask yourself how those colors affect your experience of a film and evoke emotions. How would the movie change if the color palette or colors chosen were different? \n","25b614f6-dce4-47c9-8f32-24b5c46e3125",[2265],{"id":2266,"data":2267,"type":51,"version":25,"maxContentLevel":21},"ecd5e499-8b00-4bb4-a69e-46e14120b8d7",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2268,"clozeWords":2270},[2269],"Color symbolism allows the director to show the theme even more quickly",[650],{"id":2272,"data":2273,"type":28,"maxContentLevel":21,"version":25,"orbs":2276},"bd8405f7-70da-4815-9b21-1f45e3eda25c",{"type":28,"title":2274,"tagline":2275},"Sound and Lighting","Visual and auditory techniques used on film to create a story for our senses.",[2277,2380,2459],{"id":2278,"data":2279,"type":26,"version":25,"maxContentLevel":21,"pages":2281},"8c98e521-a0c7-448f-88f9-96848df26068",{"type":26,"title":2280},"The Role of Sound and Lighting in Film",[2282,2304,2310,2339,2355],{"id":2283,"data":2284,"type":25,"maxContentLevel":21,"version":25,"reviews":2288},"b70aaa94-e26b-487b-b48e-23120a1ae62c",{"type":25,"title":2285,"markdownContent":2286,"audioMediaId":2287},"Introduction To Sound and Lighting","Each and every aspect of a movie is carefully chosen by filmmakers in order to present the plot in the most powerful and impactful way using a myriad of tools and techniques at their disposal. Two of those important elements at a filmmaker’s disposal are **sound and lighting**. \n\nThe sound and score of a film add a dimension to the images on the screen that other mediums of visual art cannot offer. This audio element is meant to enhance an audience’s experience with a film and provide added effect and dramatization of the movie’s plot. \n\nSimilarly, the lighting of a movie establishes the tone and mood. **The mood and tone of an entire scene, and even film, can be changed depending on the lighting**. The lighting in a movie helps to establish the reality within the movie and helps to subconsciously signal to the audience an emotional landscape. \n","f2dc6945-0168-496d-936d-a49f253711e9",[2289,2297],{"id":2290,"data":2291,"type":51,"version":25,"maxContentLevel":21},"234e946f-ba18-4380-bdcb-e49ec121d6c2",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2292,"activeRecallAnswers":2294},[2293],"What are the two technical aspects that can add an extra dimension to images on screen?",[2295,2296],"Lighting","Sound",{"id":2298,"data":2299,"type":51,"version":25,"maxContentLevel":21},"8840ff72-c9c4-413e-a215-07de329a291f",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2300,"activeRecallAnswers":2302},[2301],"What two things does a film's lighting attempt to establish?",[2303,2099],"Tone",{"id":2305,"data":2306,"type":25,"maxContentLevel":21,"version":25},"b0616569-8c94-47a3-bc55-f1e61c8d4df9",{"type":25,"title":2307,"markdownContent":2308,"audioMediaId":2309},"Music To Your Ears","When you hear the first twinkling notes of Harry Potter’s theme, or the infamous march of Darth Vader, or even the theme song of your favorite television show, you can be instantly transported back to the world of the film that music scores. \n\nBut have you ever wondered why that is? \n\nFilm is unique in its ability to combine **sound and visuals**. A fantastic piece of music will move you, just like a work of art or a novel might bring you to tears or inspire you to change your habits, but no other art form can bring each visual and auditory art together in such a distinct way. \n\nA film’s soundtrack and score help conceptualize the film while also setting the mood and tone of the movie. Before there was dialogue and sound effects, movies were composed solely of their scores and their onscreen visuals. This goes to show how powerfully music can set the tone and mood of a film while also heightening the emotions of a story. \n","fc24af9c-d39f-49eb-a7fc-c2c19c13b8e4",{"id":2311,"data":2312,"type":25,"maxContentLevel":21,"version":25,"reviews":2316},"23c062cc-8840-4dd7-bf3c-7ca72642e322",{"type":25,"title":2313,"markdownContent":2314,"audioMediaId":2315},"Soundtrack Versus Score ","When analyzing a film based on its audioscape, it's important to be able to distinguish between soundtrack, scoring, and sound effects. \n\nA **film’s score is an original piece of music specifically written for the film**. It is meant to embody and evoke specific emotions about the characters or plot. It's important to recognize that film scores are unique because they will help you understand what the composer, and the filmmaker, is meaning the audience to feel based on the soundscape they are creating. \n\nOn the other hand, **a soundtrack does not have to be original music**. These may be common songs we recognize and love ourselves or they may be classical music. A film’s soundtrack can help to set the time and space for a film. \n\nFor example, you probably won't hear Michael Jackson playing in a movie set in the Great Depression unless that film is making a specific stylistic choice to include it. Discontinuity of music and time and setting can be used purposefully to emphasize a theme or idea in the story. \n","653af65f-bd81-485e-81d8-9f8bee2edbbb",[2317,2326,2332],{"id":2318,"data":2319,"type":51,"version":25,"maxContentLevel":21},"1a1b678e-253e-493b-a0f0-94deca85e18d",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2320,"binaryCorrect":2322,"binaryIncorrect":2324},[2321],"Which of these contains both original and non-original music?",[2323],"Soundtrack",[2325],"Score",{"id":2327,"data":2328,"type":51,"version":25,"maxContentLevel":21},"8afe7f0b-7fe7-4b28-bb51-a6aa2e6cbe20",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2329,"clozeWords":2331},[2330],"Checking that a soundtrack matches up with the era and setting of a movie is called ensuring musical continuity",[718],{"id":2333,"data":2334,"type":51,"version":25,"maxContentLevel":21},"b384f553-bdb7-4cff-9a8c-a6ceb38993c7",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2335,"binaryCorrect":2337,"binaryIncorrect":2338},[2336],"What do you call an original piece of music specifically written for a film?",[2325],[2323],{"id":2340,"data":2341,"type":25,"maxContentLevel":21,"version":25,"reviews":2345},"f9b458d0-ddfa-459d-b6ae-d7affd34c12c",{"type":25,"title":2342,"markdownContent":2343,"audioMediaId":2344},"Mood And Tone","In order to understand the importance of lighting and sound in a film and analyze their significance, it is important to understand what mood and tone are.\n\n**The tone of the movie is how the world appears to the characters on the screen.** A bleak or cold tone shows the harshness of the character’s world and their desperation within it, whereas a bright, happy tone shows the opportunity and optimism within a character. In other words, the tone of the film is how the characters on the screen feel. \n\n**A film’s mood is how the audience is meant to feel about the scenes we are watching given our unique perspective as a spectator.**\n\nTone and mood work in harmony with each other and are both affected by the lighting and sound of a film. It is hard for the audience to feel optimistic and happy regarding a character’s choices if the score is discordant and the lighting is dim. For this reason, lighting and sound go a long way in directly influencing the audience’s emotional experience in a film. \n","1b7d1008-dab8-4350-bf4e-7024212981aa",[2346],{"id":2347,"data":2348,"type":51,"version":25,"maxContentLevel":21},"dbed424b-3702-4315-b93f-66b15b746ef3",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2349,"binaryCorrect":2351,"binaryIncorrect":2353},[2350],"Darkened lighting tends to be more ...",[2352],"pessimistic",[2354],"optimistic",{"id":2356,"data":2357,"type":25,"maxContentLevel":21,"version":25,"reviews":2361},"b8e77e45-da2f-4e8f-863c-3097dcb4d5e2",{"type":25,"title":2358,"markdownContent":2359,"audioMediaId":2360},"Settling The Score ","The score, or original music written for a film, can heighten the passion and romance between 2 characters or deepen the grief and loss another character is experiencing. Sound and music are unique in their ability to convey emotions to the audience. **The mood of a film, or how the audience feels about the movie, is oftentimes highly impacted by a film’s score**. \n\nIt's hard to imagine Darth Vader’s entrance without _The Imperial March_ or Captain Jack Sparrow without his jaunty theme. That’s because music not only evokes emotion but can elicit psychological responses in the audience as seen in leitmotifs. \n\n**Leitmotifs are short, recurring musical phrases** that are played at specific times in a film to associate themselves with a specific character or idea so that, every time you hear that music, a specific image is evoked in your mind. \n\nIn the same way romance is heightened with a beautiful score, so can horror or fear be increased. While most film scores are harmonious, discordant music subconsciously has a disturbing effect on the audience. It immediately makes audiences uneasy, even if they don't understand why. The use of discordant music and jarring sound or notes is a weapon used by many directors. Alfred Hitchcock was known as a master of manipulating the audience and he understood how scoring can heighten the intensity of fear onscreen and utilized this technique in many of his films. \n","30dc51fb-2b5e-41e9-af4d-fea7c8519c42",[2362,2369],{"id":2363,"data":2364,"type":51,"version":25,"maxContentLevel":21},"59ef6f20-2293-4f90-a6bb-3451bbe2c702",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2365,"clozeWords":2367},[2366],"While most film scores are harmonious, discordant music can have a subconsciously disturbing effect on audiences",[2368],"harmonious",{"id":2370,"data":2371,"type":51,"version":25,"maxContentLevel":21},"a695a66f-4079-4464-9aa7-066a106bab0e",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":2372,"multiChoiceCorrect":2374,"multiChoiceIncorrect":2376},[2373],"What term is used to describe a short, recurring musical phrase that's associated with an idea or character?",[2375],"Leitmotifs",[2377,2378,2379],"Darkmotifs","Locomotifs","Automotifs",{"id":2381,"data":2382,"type":26,"version":25,"maxContentLevel":21,"pages":2384},"a04a203a-9d8f-49d7-8060-ecdc4e95f46e",{"type":26,"title":2383},"Techniques in Film Sound",[2385,2414,2435],{"id":2386,"data":2387,"type":25,"maxContentLevel":21,"version":25,"reviews":2391},"f653532d-6e57-4ce1-a649-a7e4a1b93a9e",{"type":25,"title":2388,"markdownContent":2389,"audioMediaId":2390},"Diegetic Versus Non-Diegetic ","When analyzing a film’s soundscape, there are 2 categories of sound to consider – diegetic and non-diegetic sound. \n\n**Diegetic sound is sound from a visible source onscreen**. This is the dialogue that you watch unfold between 2 characters or the sound of props such as cars or characters walking. It can also be music if a character is singing or playing music or turns on the radio. Diegetic sound originates from a clear source on the screen. To identify a diegetic sound, ask yourself, is this sound one that the characters onscreen can hear? \n\n**Non-diegetic sound on the other hand is sound that is not visible and doesn’t originate from the action onscreen**. The most common non-diegetic sound is the film’s score which isn't usually seen as coming from an orchestra onscreen. Other examples of non-diegetic sound are voice-over narration and sound effects. The girl going into the basement of a haunted house doesn't hear the music increasing in intensity; that’s for our own benefit and response. \n","1b924acc-ab74-49ba-88b8-b23211a84d65",[2392,2401,2408],{"id":2393,"data":2394,"type":51,"version":25,"maxContentLevel":21},"70406d97-83d0-4c29-94ff-917944b4ef37",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2395,"binaryCorrect":2397,"binaryIncorrect":2399},[2396],"What type of sound is voice-over narration?",[2398],"Non-diegetic",[2400],"Diegetic",{"id":2402,"data":2403,"type":51,"version":25,"maxContentLevel":21},"b42bd6db-c05e-44fd-92ee-9c8df04fd50a",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2404,"binaryCorrect":2406,"binaryIncorrect":2407},[2405],"What type of sound has a visible source onscreen?",[2400],[2398],{"id":2409,"data":2410,"type":51,"version":25,"maxContentLevel":21},"e968821e-18d3-440f-9319-1d0ed1775977",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2411,"activeRecallAnswers":2413},[2412],"What are the two categories of noise in a soundscape?",[2400,2398],{"id":2415,"data":2416,"type":25,"maxContentLevel":21,"version":25,"reviews":2420},"f4f70479-926f-45dc-8959-7256d9a36d8b",{"type":25,"title":2417,"markdownContent":2418,"audioMediaId":2419},"The Power Of Silence ","While scoring and soundtrack are invaluable in setting the tone and mood of a movie and guiding the audience’s emotional response, silence can be just as powerful a tool at a director’s disposal. \n\nSome filmmakers use the technique of filmic silence; this is when there is little to no noise during a scene. \n\nThis technique is **commonly used to heighten the suspense of a scene** so that the audience is forced to focus on another aspect of the film the director wishes to focus on such as the action on the screen, the reaction of a character, or the injury or pain of a character in a certain circumstance. \n\nThe next time you are watching a film, pay attention to when the filmmaker chooses to score a scene, use a soundtrack or sound effects, or provide no sound at all. This specific artistic choice will help you to understand what mood and tone the filmmaker is trying to set. \n","5a59d050-9bfc-4fbc-bcbb-4a41daf137ce",[2421,2428],{"id":2422,"data":2423,"type":51,"version":25,"maxContentLevel":21},"2927132b-ba29-4a53-8036-8b7a2acde1be",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2424,"clozeWords":2426},[2425],"Filmic silence is commonly used to heighten suspense by forcing the audience to focus on another visual aspect of the scene",[2427,132],"suspense",{"id":2429,"data":2430,"type":51,"version":25,"maxContentLevel":21},"ec97a626-7216-419e-8fea-2dea5c82f746",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2431,"activeRecallAnswers":2433},[2432],"What is it called when a soundscape for a film is particularly sparse?",[2434],"Filmic silence",{"id":2436,"data":2437,"type":25,"maxContentLevel":21,"version":25,"reviews":2441},"c1b2bb8d-ef75-4985-afc8-907cf0409b7d",{"type":25,"title":2438,"markdownContent":2439,"audioMediaId":2440},"Introduction To Lighting","The tone, or atmosphere, within the film’s plot, evokes very specific moods from the audience. When attempting to understand this, it's important to identify what elements go into creating the tone and mood of a film. One important element that directly relates to the tone within a film, and the mood invoked within the audience of the film, is lighting. \n\n**Lighting refers to the depth, quality, and saturation of light onscreen**. Whether a film is cast in shadow and the action and characters are hard to see or whether a film is bright and the lighting is sharp and clear affects the audience’s mood. \n\nLighting is able to create atmosphere and mood more quickly than other elements or filmmaking techniques. Consider this, if you were to take the same image and cast it in bright, natural lighting, it would appear happy or normal. If you take that same image and cast it in shadowy or murky lighting, the same image automatically takes on a more sinister or unsettling mood. \n","1cbe0c16-4f65-4400-a8c5-f88d3868d401",[2442,2451],{"id":2443,"data":2444,"type":51,"version":25,"maxContentLevel":21},"9cc4dfa0-6c1a-446c-8857-24def5d77818",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2445,"activeRecallAnswers":2447},[2446],"What are the three attributes of film lighting?",[2448,2449,2450],"Depth","Quality","Saturation",{"id":2452,"data":2453,"type":51,"version":25,"maxContentLevel":21},"a3742f27-027e-4f81-923f-230f7311b4a5",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":2454,"multiChoiceCorrect":2456,"multiChoiceIncorrect":2458},[2455],"Which of these is not a quality of film lighting?",[2457],"Breadth",[2448,2449,2450],{"id":2460,"data":2461,"type":26,"version":25,"maxContentLevel":21,"pages":2463},"6d6806d7-a77f-44a5-a8ae-842d16af2b71",{"type":26,"title":2462},"Techniques in Film Lighting",[2464,2487,2509],{"id":2465,"data":2466,"type":25,"maxContentLevel":21,"version":25,"reviews":2470},"dea4032d-c924-4784-bd13-3b6bd005b4cf",{"type":25,"title":2467,"markdownContent":2468,"audioMediaId":2469},"What is Key Lighting?","Within the world of film lighting, there are many different techniques a director may choose to employ in order to carefully craft the tone and mood they desire. Key lighting is a technique in which the filmmaker places the subject in the brightest spot of light onscreen. This automatically directs the audience’s focus to a main character or important piece of action and ensures that key information is being delivered. \n\n**High-key lighting removes the difference between the lights and the shadows onscreen**. This technique is meant to invoke a feeling of optimism or brightness in the audience. Additional lighting may be used to brighten the background so that, while the subject remains in focus, the mood and tone of the scene remain bright and maybe even hopeful. \n\n ![Graph](image://4efa5ac1-25c5-4aa1-8c9f-194657711047 \"Wes Anderson’s ‘Moonrise Kingdom’ (2012) uses key lighting to keep the subject in the main source of light but attempts to remove the contrast of shadows in the scene to create a bright, cheerful atmosphere (image copyrighted under American Empirical Pictures)\")\n\n","7fc31c91-4f04-4c32-a0ac-4bc17274057c",[2471,2480],{"id":2472,"data":2473,"type":51,"version":25,"maxContentLevel":21},"a1bc726a-fbe9-46c1-be6b-d0d0de79fea3",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2474,"binaryCorrect":2476,"binaryIncorrect":2478},[2475],"What removes the difference between the lights and shadows on screen?",[2477],"High-key Lighting",[2479],"Low-key Lighting",{"id":2481,"data":2482,"type":51,"version":25,"maxContentLevel":21},"d6f74889-fae3-4f12-9dcf-235d660f665f",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2483,"clozeWords":2485},[2484],"Key lighting is when a filmmaker places the subject in the brightest spot on screen",[2486],"Key lighting",{"id":2488,"data":2489,"type":25,"maxContentLevel":21,"version":25,"reviews":2493},"dc2c30fd-bdba-42b2-adaf-fef77006a8d6",{"type":25,"title":2490,"markdownContent":2491,"audioMediaId":2492},"High-Key Versus Low-Key Lighting","Key lighting is a lighting technique used to keep the subject at the center focus of the shot. These lighting techniques are carefully chosen by filmmakers to create a specific atmosphere and mood both onscreen and within the audience. \n\nWhile **high-key lighting removes the difference between the light and the shadows** onscreen, **low-key lighting keeps the subject within the main source of light but emphasizes the shadows** and contrast within a scene. \n\nThis lighting technique **creates an ominous mood and heightens the suspense**. The subject, although it is more illuminated than other details onscreen, is only barely brighter than the background, providing a feeling of fear or hopelessness that both the character and the audience can share. \n\n ![Graph](image://2ee3e1e9-8683-4c8b-98a5-e1bbe89a71fb \"Todd Phillips ‘Joker’ (2019) uses low key lighting to ensure that subject remains in focus but the shadows within and around the subject are emphasized to create an uneasy atmosphere (image copyrighted under WB Media)\")\n\n","0f9ae7db-487a-4db5-a464-49c3cade732f",[2494,2502],{"id":2495,"data":2496,"type":51,"version":25,"maxContentLevel":21},"09901fba-7e29-4af0-8639-124f5d8a6783",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2497,"clozeWords":2499},[2498],"Low-key lighting increases contrast to show the shadows onscreen, creating an ominous mood",[2500,2501],"Low-key","ominous",{"id":2503,"data":2504,"type":51,"version":25,"maxContentLevel":21},"0a233ad2-cfa9-4c73-b75f-412c96a40b7b",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2505,"binaryCorrect":2507,"binaryIncorrect":2508},[2506],"Which lighting style creates more suspense?",[2479],[2477],{"id":2510,"data":2511,"type":25,"maxContentLevel":21,"version":25,"reviews":2515},"e7696518-a051-4cae-bfc5-7370df3a70f6",{"type":25,"title":2512,"markdownContent":2513,"audioMediaId":2514},"The Film Noir ","Perhaps one of the most notable uses of lighting to pervade cinema that creates an easily identifiable tone and mood is film noir. **The film noir is a term describing an era and genre of filmmaking that relied heavily on low-key lighting**, chiaroscuro, and low-angle lighting to create drama and mood. \n\nLow-key lighting emphasizes the subject of a scene while casting them and the background in shadow to create a murky, uneasy environment. Chiaroscuro lighting comes from an Italian term meaning ‘light to dark.’ This technique, also used in visual art, employs the use of high contrast or an emphasis on the difference between light and shadow. Chiaroscuro places the subject in light but darkens the background to heighten the drama and tension of the scene. \n\n**Low-angle lighting typically places the light source at a point lower than the subject**. This means that shadows on the subject and features will be distorted. This angle emphasizes the shadows on a character or actor’s face in order to show the tension or conflict and contradiction at play within a character. \n\n ![Graph](image://abdf7814-e590-485c-b21c-3d97a0213315 \"John Huston’s ‘The Maltese Falcon’ (1941) demonstrates the use of low-angle and chiaroscuro lighting which is a dominant element in film noir to create a dramatic mood and atmosphere (image copyrighted under WB Media)\")\n\n","767c9e96-48f9-46c3-9eff-a6cd3815c30a",[2516,2525,2532],{"id":2517,"data":2518,"type":51,"version":25,"maxContentLevel":21},"75b7969e-7f3b-400d-a63d-154d97e8a73e",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2519,"binaryCorrect":2521,"binaryIncorrect":2523},[2520],"Where is the light source in relation to the subject in low-angle lighting?",[2522],"Lower",[2524],"Higher",{"id":2526,"data":2527,"type":51,"version":25,"maxContentLevel":21},"c16114aa-bf1a-482f-b35c-1adb603b752e",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2528,"activeRecallAnswers":2530},[2529],"What is the Italian word for lighting that employs high contrast by darkening a background?",[2531],"Chiaroscuro",{"id":2533,"data":2534,"type":51,"version":25,"maxContentLevel":21},"eed07860-7ad4-43a4-83fb-1b2cb1c5621c",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2535,"clozeWords":2537},[2536],"Film noir relies heavily on low-key lighting, chiaroscuro and low-angle lighting",[2538],"chiaroscuro",{"id":2540,"data":2541,"type":28,"maxContentLevel":21,"version":25,"orbs":2544},"b4b677be-92ea-432f-853d-9cfb6eb28abb",{"type":28,"title":2542,"tagline":2543},"A Director's Repertoire","Understanding and identifying the individual style and techniques in a filmmaker’s repertoire. ",[2545,2632],{"id":2546,"data":2547,"type":26,"version":25,"maxContentLevel":21,"pages":2549},"5fc47d31-709a-4c99-b15b-456ea0443a98",{"type":26,"title":2548},"The Art of Filmmaking",[2550,2565,2579,2594,2615],{"id":2551,"data":2552,"type":25,"maxContentLevel":21,"version":25,"reviews":2556},"ed6165f3-a43f-4995-98e4-491455ed1a38",{"type":25,"title":2553,"markdownContent":2554,"audioMediaId":2555},"The Art Of Filmmaking","The art of filmmaking, like any other art form, is a unique blend of technical expertise, creative intuition, and an individual’s own unique style. \n\nJust as every novel you’ve ever read is composed of the same 26 letters but tells a unique story, so are films composed of the same use of shots, color, lighting, sound, etc., to create something unique. \n\nThe artful analysis of film comes when you understand how to recognize how a director is employing the same techniques that all other filmmakers do, and yet creating something wholly unique and new. To identify a director’s style, there are both technical aspects to identify as well as forming a cohesive analysis of how all a director’s works form a message or motivation to understand. \n\nBeing able to identify the individual style and techniques used by each director can help you understand how the same tools can be used in a variety of different ways. \n","fd1b01f5-b4bb-489b-9f3d-054eb3e7091d",[2557],{"id":2558,"data":2559,"type":51,"version":25,"maxContentLevel":21},"c1db4cca-7610-4b32-8e9b-ab3687cc6874",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2560,"activeRecallAnswers":2562},[2561],"What two things do you need to evaluate to identify a director's style?",[2563,2564],"The technical elements","The director's message",{"id":2566,"data":2567,"type":25,"maxContentLevel":21,"version":25,"reviews":2571},"a06f9e22-e37a-4477-96c0-efd61d99b76b",{"type":25,"title":2568,"markdownContent":2569,"audioMediaId":2570},"The Importance Of Pacing","When the filmmaker is crafting their vision, it's important as an audience member to understand that the filmmaker intended you to see it in one, uninterrupted sitting. Everything from the pacing of the action in the plot to the movement of the camera has been meticulously cultivated by the director to ensure an emotional and intellectual journey. \n\nThis journey is created through pacing. **Pacing is the speed at which the plot unfolds for the audience**. The emotional depths it explores and the rising sense of drama or action that we love so much about movies are carefully cultivated by the director. The director wanted you to move from one scene to the next in a specific order and at a specific time so that the message they are trying to convey or the emotion they are trying to evoke is successful. \n\nThe pacing that the filmmaker has set within the film is done for our entertainment as audience members and it can be interrupted when we do not do our best to eliminate as many distractions as possible. This could be as simple as silencing your phone, or, if you’re watching it at home, gather any snacks or walk the dog ahead of time. \n","2133c498-dd34-4030-afd8-19a41a05f201",[2572],{"id":2573,"data":2574,"type":51,"version":25,"maxContentLevel":21},"401fcf85-5383-4591-b28c-cefa141399de",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2575,"clozeWords":2577},[2576],"Pacing is the speed at which the plot unfolds for the audience",[2578],"Pacing",{"id":2580,"data":2581,"type":25,"maxContentLevel":21,"version":25,"reviews":2585},"5f5249a9-5785-4ebe-8ba2-841b77d3ea2a",{"type":25,"title":2582,"markdownContent":2583,"audioMediaId":2584},"Understanding Directorial Style ","**A director’s style is totally unique to them as an artist**. It is the way in which their personality, ideas, and beliefs are expressed in a film. Every single element onscreen or combination of elements, such as lighting, sound, color, and angles, reveals the director’s creative personality and distinct style. In every lighting of a scene or sound used or any technical element, the director is trying to convey a message to the audience. \n\nTo understand a director’s unique style, it's important to first recognize overall styles in film. Is a film light and comical or dark and moody? Does it deal with heavy and complex subject matters or simple, straightforward ideas? \n\nOftentimes, individual directors are drawn to a specific style of film, such as those with complex plots or character-driven plots, because they themselves are interested in that subject. Once you recognize style in film, you’ll be able to more easily pinpoint a director’s unique style. \n","1afe4e6d-e169-45a2-b030-974beac37fb0",[2586],{"id":2587,"data":2588,"type":51,"version":25,"maxContentLevel":21},"11eeaa12-2009-4cfb-9db6-445a32ffb117",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2589,"binaryCorrect":2591,"binaryIncorrect":2592},[2590],"All directorial styles are...",[1754],[2593],"the same",{"id":2595,"data":2596,"type":25,"maxContentLevel":21,"version":25,"reviews":2600},"2bdf1fc7-8a28-4252-a467-3e6a487e8e2b",{"type":25,"title":2597,"markdownContent":2598,"audioMediaId":2599},"Everything Matters","Everything a director chooses to put on the screen in front of you matters, from the objects on the table in the background of a scene to the costumes a character is wearing. Everything matters because it is all chosen by a director to be a part of a shot. \n\nTo truly understand a director’s style and voice, a good rule of thumb is to watch at least 3 of their movies. By doing so, you will be able to have a firmer grasp on how the director uses sound, lighting, and camera shots and angles with their own unique flare. \n\nThe term used to describe everything seen on-screen is **‘mise-en-scene’** which literally means ‘placed on stage.’ everything in front of the camera matters to a director and, therefore, it matters when analyzing a film. \n\nFor example, **Stanley Kubrick** is known for his incredibly detailed mise-en-scene. In his films such as _The Shining_ or _2001: A Space Odyssey_ everything placed within the shot matters to the meaning of the film, from the props on a tabletop to the art of the walls. While not every filmmaker will be as meticulously detailed, it is important to take note of what they are choosing to put in front of the audience. \n\nOftentimes directors are referred to as **‘auteurs’** or authors. This is because, just as the author of a novel has control over how you experience the emotions and actions of a story, so does the director play the role of an author of a movie. \n","a5460bf5-0285-4e85-bd12-7403935ab36f",[2601,2608],{"id":2602,"data":2603,"type":51,"version":25,"maxContentLevel":21},"52da2158-79b0-42a0-9b33-feb557d10e79",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2604,"activeRecallAnswers":2606},[2605],"What is the term used to describe everything placed on screen?",[2607],"mise-en-scene",{"id":2609,"data":2610,"type":51,"version":25,"maxContentLevel":21},"e8595ab1-af05-4ef9-a251-d77735354e00",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2611,"clozeWords":2613},[2612],"Directors deliberately place items on screen in order to draw mental associations in their audience",[2614],"deliberately",{"id":2616,"data":2617,"type":25,"maxContentLevel":21,"version":25,"reviews":2621},"32c5d01d-db92-4fbe-b741-0a0a4607886e",{"type":25,"title":2618,"markdownContent":2619,"audioMediaId":2620},"The Subject Matters","An essential element of understanding a director’s style in regards to their own repertoire is the subject matter. What a director chooses to make films about can help you to understand what message they are trying to convey and how their own personal beliefs and ideas color the essence of a film. \n\nSome directors may make many films based on political or social causes while others may make films that feature heavy, complex plots. Other directors may be interested in exploring the different perspectives of people and often make character-driven movies. \n\nExamples of a director commonly returning to a specific subject matter are clearly seen in the repertoire of **Alfred Hitchcock**. Most of Hitchcock’s career was spent making movies revolving around fear and terror. He’s known for using camera angles and lighting in order to emphasize and heighten suspense and terror in unique ways. \n\n ![Graph](image://a80c9cb8-3215-4c11-ba84-a84b6b2733f5 \"Alfred Hitchcock’s ‘Psycho’ (1960) employs a high camera angle to show the vulnerability of the characters onscreen. The murky figure in the background heightens the suspense of the scene and instills in the audience a foreboding terror (image copyrighted under Shamley Productions)\")\n\n","c33f68de-6605-4471-8057-a34f9ab51acd",[2622],{"id":2623,"data":2624,"type":51,"version":25,"maxContentLevel":21},"167741ba-e570-448e-b0c8-d96faa228ab2",{"type":51,"reviewType":21,"spacingBehaviour":25,"multiChoiceQuestion":2625,"multiChoiceCorrect":2627,"multiChoiceIncorrect":2629},[2626],"Many directors focus their work on examining a specific...",[2628],"subject matter",[2630,1234,2631],"camera angle","character trope",{"id":2633,"data":2634,"type":26,"version":25,"maxContentLevel":21,"pages":2636},"e79e9ad9-72ed-493b-bc51-7455c2ee4b36",{"type":26,"title":2635},"Cinematography and Narrative",[2637,2653,2667,2681,2704],{"id":2638,"data":2639,"type":25,"maxContentLevel":21,"version":25,"reviews":2643},"8bcee9db-64a1-4987-80ed-844b219f4b71",{"type":25,"title":2640,"markdownContent":2641,"audioMediaId":2642},"Cinematography ","To understand a director’s unique style, look at their cinematography or composition of scene. Where the director places the camera, what they fill the scene with, and the lighting they choose to cast over the subjects, are all essential elements of cinematography. \n\nThe movement of the camera and the angles the camera is placed in are distinct elements of style a director may accentuate. \n\nFor example, director **Orson Wells** is known for his subjective camera shots and wide angles. He places the camera in the perspective of specific characters; therefore, casting the audience into the same emotional landscape as the character. This use of subjective camera angles has become a distinct element of his style seen in many of his films. \n\n**Camera shots and angles are the basic building blocks of filmmaking**. How a director chooses to set up their shots and place the camera in regard to the action onscreen are important stylistic techniques to note when attempting to understand a director's unique style and vision. \n\n ![Graph](image://2cdc2a14-e41a-4e8b-9b80-f368fe07bafd \"Orson Wells’ ‘A Touch of Evil’ (1958) shows the camera placed at the subjective perspective of the characters onscreen. The audience is forced into a position of vulnerability to emphasize the power disparity and authority of specific characters (image copyrighted under Universal International).\")\n\n","90d073f2-1b07-4bb2-ac32-101d71e3adc8",[2644],{"id":2645,"data":2646,"type":51,"version":25,"maxContentLevel":21},"9cd5bf07-5538-4d1b-a684-ab81460af46e",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2647,"binaryCorrect":2649,"binaryIncorrect":2651},[2648],"What is the term used to describe a director's composition of a scene?",[2650],"Cinematography",[2652],"Photography",{"id":2654,"data":2655,"type":25,"maxContentLevel":21,"version":25,"reviews":2659},"c5cc3fe5-f072-425d-953e-72a506b957d2",{"type":25,"title":2656,"markdownContent":2657,"audioMediaId":2658},"Narrative And Plot","The technical elements of filmmaking, such as camera shots and angles, lighting, and sound, are complemented by the more creative aspects of filmmaking such as the plot and narrative structure. While there are technical aspects to writing, what sets cinema apart from other storytelling forms is its ability to combine subjective storytelling with technical visuals. \n\n**The narrative structure is the way a director chooses to tell a story**. It is the characters that inhabit the world, the setting and location of a story, and the experience of time within the story. Each director will likely have narrative techniques that they commonly employ in their repertoire. \n\nDirectors **Christopher Nolan** and **Quentin Tarantino** have built a reputation on their complex plots and the decision to tell stories in a non-linear fashion. Martin Scorsese, on the other hand, often focuses on intense, character-driven stories.\n\nAfter watching at least 3 of a director’s films, you’ll be able to get a sense of the type of story a director is drawn to and how they choose to tell it. Once you can identify this, you’ll be closer to identifying what messages and ideas they want to convey to the audience through their works. \n","7cbd78c0-4f86-4490-b1ca-ee4bb71be464",[2660],{"id":2661,"data":2662,"type":51,"version":25,"maxContentLevel":21},"ad727cbe-6716-4e79-995f-563eb576fa27",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2663,"clozeWords":2665},[2664],"Many directors use the same narrative techniques on repeated occasions to tell different stories",[2666],"narrative techniques",{"id":2668,"data":2669,"type":25,"maxContentLevel":21,"version":25,"reviews":2673},"bd3f95b8-72d2-48da-b66b-425c997337c8",{"type":25,"title":2670,"markdownContent":2671,"audioMediaId":2672},"Audience Expectations","Whether you realize it or not, you recognize a director’s style. **A director’s style and repertoire of works begin to form a set of expectations for audiences**. Once a director becomes known for the way they tell stories through film, the audience begins to expect this style and form. \n\nJust as a movie’s genre provides the audience with a set of expectations they may not even consciously recognize they have, so too does a director’s own past works begin to form a similar set of expectations with the audience. \n\nA director with an established repertoire and style begins to form a type of contract with the audience through a set of expectations. If they were to branch out to a new style of filmmaking completely, the audience may be disappointed or upset with this new direction. \n\nTo identify a director’s style, consider your expectations for what watching a movie of theirs will be like and you’ll be able to identify distinguishing stylistic elements that are unique to that director. \n","2f7dd8ef-1fbe-47f0-bfb9-27b7d889a25d",[2674],{"id":2675,"data":2676,"type":51,"version":25,"maxContentLevel":21},"397f7c7a-a354-4f92-bfdf-71e789c0eae9",{"type":51,"reviewType":25,"spacingBehaviour":25,"activeRecallQuestion":2677,"activeRecallAnswers":2679},[2678],"A director's style can set expectations for audiences. What are these expectations based on?",[2680],"The director's previous works",{"id":2682,"data":2683,"type":25,"maxContentLevel":21,"version":25,"reviews":2687},"3c0cdb49-32a3-4ff1-99f1-22dade7c36d2",{"type":25,"title":2684,"markdownContent":2685,"audioMediaId":2686},"Budgeting Expectations","In the business of filmmaking, **there is a central divide between large budget, commercial movies**, sometimes called ‘blockbusters’, and lower budget or independent movies. \n\nThe Avengers franchise has consistently broken box office records, meaning the number of people that go to see that movie in theaters far exceeds other films. However, along with these incredible box office numbers and the budget that goes into making them, comes a series of expectations from the audience. \n\nFor a film that is being produced in a major studio and given a multi-million dollar budget, the audience expects to be wowed. They can expect to see mind-blowing special effects or tightly choreographed and climactic action. \n\nOn the other hand, **a movie with a tight budget cannot compete with the special effects and scale of action that these large blockbusters offer**. A movie with a smaller budget or that’s produced independently of major production companies cannot offer the same scale, so these movies are usually more focused on the plot and the character--elements of a film that do not require special stunts or effects. \n\nWhile streaming services have made it easier for independent films to find wider audiences, it's important to recognize how these financial constraints on a film can limit the production and distribution and how these limitations, or lack of, set a series of expectations within the audience for the film to meet. \n","e1eea994-28aa-4c24-a7a4-e97108c5ef3b",[2688,2697],{"id":2689,"data":2690,"type":51,"version":25,"maxContentLevel":21},"6d0fe172-2896-458c-b365-6c593418c350",{"type":51,"reviewType":26,"spacingBehaviour":25,"binaryQuestion":2691,"binaryCorrect":2693,"binaryIncorrect":2695},[2692],"One can usually estimate the quality of cinematography based on a film's...",[2694],"budget",[2696],"poster",{"id":2698,"data":2699,"type":51,"version":25,"maxContentLevel":21},"a30ff015-d6b8-4fe9-88da-c033acf65feb",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2700,"clozeWords":2702},[2701],"Movies made by smaller production studios often have fewer special effects and focus more on their core story",[2703],"special effects",{"id":2705,"data":2706,"type":25,"maxContentLevel":21,"version":25,"reviews":2710},"d1f85029-bef2-4bed-b66d-351b980caa8c",{"type":25,"title":2707,"markdownContent":2708,"audioMediaId":2709},"Context And Criticism ","After reflecting on your experience with a film and attempting to articulate your own opinions and ideas, it's time to seek out other people’s opinions. As a piece of art like any other, it's important to consider a film in lieu of its context. \n\nDid the movie come out to a slew of controversy? Did it make political headlines or feature content that upset audiences? Maybe it’s a fan favorite but critics hated it. \n\nBy attempting to discover a film’s **sociopolitical context** and how it was embraced or shunned by its intended audience, you will begin to see the conversation at play between cinema and its audiences that spans back to its origins. \n \n**Movies are unique in their ability to transport people to another world or perspective and this means that their influence over audiences and the role they play in society can’t be underestimated**. This provides a dimension to cinema that is ripe for analysis and understanding and is a great place to start exploring the intimate connection between a film and its audience.\n","b21054f0-012e-44c5-9ad9-49138db4d65a",[2711],{"id":2712,"data":2713,"type":51,"version":25,"maxContentLevel":21},"edf7753f-835d-4aa5-a872-513678be870d",{"type":51,"reviewType":68,"spacingBehaviour":25,"clozeQuestion":2714,"clozeWords":2716},[2715],"One can understand the conversation between cinema and its audience by examining sociopolitical context and criticism",[2717],"sociopolitical context",{"left":4,"top":4,"width":2719,"height":2719,"rotate":4,"vFlip":6,"hFlip":6,"body":2720},24,"\u003Cpath fill=\"none\" stroke=\"currentColor\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-width=\"2\" d=\"m9 18l6-6l-6-6\"/>",{"left":4,"top":4,"width":2719,"height":2719,"rotate":4,"vFlip":6,"hFlip":6,"body":2722},"\u003Cg fill=\"none\" stroke=\"currentColor\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-width=\"2\">\u003Cpath d=\"M12.586 2.586A2 2 0 0 0 11.172 2H4a2 2 0 0 0-2 2v7.172a2 2 0 0 0 .586 1.414l8.704 8.704a2.426 2.426 0 0 0 3.42 0l6.58-6.58a2.426 2.426 0 0 0 0-3.42z\"/>\u003Ccircle cx=\"7.5\" cy=\"7.5\" r=\".5\" fill=\"currentColor\"/>\u003C/g>",1778228382944]