Archetype
From Jungian psychological analysis and William James' religious analysis, the archetype in film and literature is a constant character or pattern of action that consistently appears in history and is
developed in literature and other forms of artistic expression. The archetype is not contingent upon a particular point in history or categorical period. Examples of such figures include demonic lovers and
virginal heroines with emphases often focusing on particular emotional characteristics such as passions, needs and/or desires. Archetypal events accentuate similar human drives but the
moments center on themes such as birth, rebirth, revival, and the power of love. Balance
This qualitative distinction is relevant to composition, sound and lighting. In the completion of a film
balance includes the finished aesthetic quality of all aspects of the visual image. In lighting balance is achieved through the harmonious disposition between key lights and filler lights. Sound
technicians also strive to find an equilibrium between musical instrumental tracks and the audio track of speaking portions of the film as well as the proper blend of musical instruments in a film sound-track.
Composition
Composition entails the complete arrangement of a scene. The process includes camera angles, lighting, properties, characters, and the movement of the characters. Various forms of composition
are all in the hands of the director. These proceedings not only give the audience the perspective, content and context that they will experience but composition often demonstratively indicates a directorial signature.
Direct Film
An experimental and avante garde method of making films, animated in some cases, by drawing, sketching, etching or coloring directly on to the film medium. Cameras, per se, are not involved in
the process.
Expressionism
In general, expressionism relates to the distortion of reality through the primary medium of symbols
and styles with the intention of conveying the internal aspects or essence of a particular subject. Various mediums include painting, sculpture and theatre as well as film though the latter is primarily
depicted in the genre of avant garde. (Also see "{|semiotics|}" and "{|avant garde|}".)
Futurism
In the genre of film, futurism was an Italian artistic movement that emphasized film as a medium in and of itself with industry and technology advocated in contrast to the traditional. The convention of
reality was deemphasized while special effects and visual stimulation were prominent.
Gothic Film
A film genre that can be characterized by its similarities to a gothic novel. Such common qualities
include old mansions or castles as settings, events clouded in mystery, ghoulish protagonists and/or antagonists, a female lead (heroine) who is in dire straights, and dreary or gloomy
backgrounds. The term gothic film is often used to grant horror pictures greater prestige.
Hard Light
A lighting technique that results in well-defined images, objects, contrasts, and shadows. Sharp
distinctions and lines are the desired effect achieved by the use of hard light. (Also see "soft light".)
Information Theory
The ideas that are expressed concerning the transmission of information. In the context of film theory as a communicative medium, the emphasis of the studies contend with the processes
involved in the accurate transmission and reception of information and how the audience responds to visual and audio data.
Juicer
An electrician. The head of the electrical department on a film set is called the gaffer.
Kuleshov Effect
A system of montage developed by Lev Kuleshov and his students in Moscow during the 1920s that
emphasized a context and meaning derived from the juxtaposition of individual shots themselves and not any consistent relationship between the shots. Derivative contexts were a result of the editing
alone and nothing else.
Legitimate Film
Films that are approved by the Screen Actors Guild.
Minimalism
In the film industry a very simplified form of realism. Minimalist cinema almost takes on the form of
documentaries in that few, if any of the technical innovations of the industry are used. Camera in hand (possible on a stand), few props, little scenery and a lose script bring this aspect of filmmaking
to the bare minimum.
Mise-en-scene
In essence a reply to advocates of montage, the proponents of "Mise-en-scene" understand,
accentuate and celebrate the importance of the individual frame of film and what it contains. A psychological unity exists in a film from one frame to the next. There should not be a disruptive
emphasis on the complete unity of each frame in and of itself without giving credence to the totality. It is similar to the concepts of continuity within the frame and its relation to the next and the
discontinuity involved in complex montages where many images are presented on a single frame. (Also see "montage".)
Montage
In the production and editing of film this term has come to refer to a seemingly unrelated series of frames combined so that one scene quickly dissolves into the next, shifting categories, effects and
settings in such a manner as to convey a quick passage of time or an abstract unity through thematic devices such as meter, rhythm, tonality, and intellectuality (viz Eisenstein). Continuity, if it
exists, is not captured in a frame by frame juxtaposition but rather through an abstraction. (Also see "mise-en-scene".)
Neorealism
Directly related to the expression of naturalism, neorealism was developed in Italy during the Second World War to give voice to the harsh realities of life in war-torn Europe. It responded against
the limitations of the film industry in Italy including censorship, the lack of availability of production equipment, combined with poor quality film. The stark reality of the story-lines contended with
everyday people in everyday settings accentuated by amateur performers and few editing techniques. Roberto Rossellini was the most adept producer who devloped the characteristics now
attributed to neorealism. Vittorio De Sica's "Shoeshine" won the 1946 Academy Award for best foreign film which was anteceded by "The Bicycle Thief" in 1948. Neorealism fell out of vogue during
the 1950s as post-war life appeared to be vastly improved. The social commentary and criticism of neorealism was no longer needed though its influence has been felt.
Obligatory Scene
Given a particular genre, an obligatory scene is one that is expected by the audience relative to the genre. Love scenes in romances, shoot-outs in Westerns, the unraveling of a mystery in a detective
film, and the rescue of a male or female protagonist in an adventure film are all examples of obligatory scenes. (Also see "cliche".)
Poetic Realism
During the 1930s and 1940s the French produced films concerning themes from every day life through an accurate re-presentation of life. However, the narrative was depicted in a lyric manner
incorporating "Mise-en-scene" techniques and moody cinematography (usually captured by means of lighting).
Quickie
A low budget film that is made in great haste with little expense and usually lacking any quality. Some of these films make it into camp genres as well as psychotronic categories. (See "camp" and
"psychotronic".)
Rembrandt Lighting
Similar to chiaroscuro the Rembrandt effect of lighting emphasizes the contrast of shadow and light.
Beyond this singular distinction, however, is the source of the light. Emitted from the side and effectively highlighting various aspects of a scene, prominence is afforded to that which is important
emphasizing edges and depths. The technique was first notably applied in "The Warrens of Virginia" by De Mille in 1915. (See "chiaroscuro".)
Structuralism
Though structuralism as a literary theory has not had a profound influence on the development of film or in the making of films, it sill has had at least a minor impact on film analysis. Structuralism is in
essence an hermeneutic device (interpretive method) that seeks the relationships between the variety of elements in a film rather than looking at each element as part of a disparate whole. The
argument from a structuralist perspective is that the mind seeks these internal and external relationships for its comprehension of reality, rather than understanding reality through its separate elements.
Theatre of the Absurd
Eventuated from abstract theatre, this genre developed in the 1950s accentuating and emphasizing
phenomena outside of the context of logic, reason, sequence and control. Often aspects of the films incorporated satire, fragmented images and narrative, dialogue that made no sense, and particularly
effective devices for shifting tones, characters, order and time. Pointlessness, paradoxically, seemed to be the issue.
Upstage
Walking in front of the star on stage or during a filming shoot, or, to unduly detract the audience's attention away from the star. Upstage is also a direction indicating the rear portion of the stage or set.
Visuals
In contrast to sound tracks the visuals of films include the images which are projected on the theatre screen.
Wagon-wheel Effect (strobing)
An optical effect which occurs when a camera pans quickly across a field of vision, when a subject moves too rapidly in front of a camera, and when a rotating wheel on axis appears to be moving in
reverse. The reason for the effect is arguable but is most certainly related to persistence of vision. In film, as in these other instances, a frame of film does not register on the retina of the eye because
of the frames seemingly rapid displacement as well as the angle of the retina itself. Effectually the image will appear on screen in a jerky motion occurring from one image of an object appearing on
the screen and the next image of the same object appearing on the screen.
Z Picture
Is there any film that has a budget less than a "B" picture? Perhaps the "Z" movie. These films are
made quickly, budgeted low and generally aimed at the youth market. American International Pictures was at the forefront of this type of picture with thematic devices like juvenile delinquency,
surf movie and motorcycle flicks.
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