| A | B |
|---|
| Unit 1 - Logline | A quick synopsis of the film with hero, key trait, conflict, and goal |
| Unit 1 - Hero must possess what two driving forces | Inner need and outer want |
| Unit 1 - number of acts in a film structure | 3 |
| Unit 1 - Story Structure | 1) inciting incident 2) break into II 3) midpoint 4) break into 3 5) climax |
| Unit 1 - Movie dialogue should | 1) reveal character 2) advance plot 3) provide key details |
| Unit 2 - Era from 1895-1926 | Silent |
| Unit 2 - Era from 1927-1968 | Golden Age |
| Unit 2 - Era from 1968-1982 | New Hollywood |
| Unit 2 - Era from 1982-1999 | Contemporary Cinema |
| Unit 2 - Era from 1999-present | Digital |
| Unit 2 - First Talkie | The Jazz Singer |
| Unit 2 - First progressive director, actor, and producer | Charlie Chaplin |
| Unit 2 - First indoor space to show projected films on what type of Camera | Nickelodeon (theatre) used Vitascopes |
| Unit 3 - Types of Framing | Master, Establishing, Wide, Medium, Close-up, Extreme Close-up |
| Unit 3 - Most intimate and invasive frame | Extreme close-up |
| Unit 3 - Most common frame | Medium |
| Unit 3 - Types of angles | birds-eye-view, high angle, shot & reverse, low angle, dutch angle, trick shot, obstructed shot, point of view |
| Unit 3 - Angle used for a conversation | shot and reverse |
| Unit 3 - Types of Movement | pan, tilt, dolly, hand-held, steadicam, zoom, contrazoom, aerial |
| Unit 3 - Moving the camera side to side | Pan |
| Unit 3 - Moving the camera up and down | Tilt |
| Unit 3 - Types Extras in film composition | light, length, focus, speed |
| Unit 3 - Types of Editing | standard, continuity, rhythmic, match, smash, jump, wipe, intercut |
| Unit 4 - Suspense | Gradual build in tension |
| Unit 4 - Surprise | Catching off-guard |
| Unit 4 - Inferior position | Knowing LESS information than characters |
| Unit 4 - Superior position | Knowing MORE information than characters |
| Unit 4 - Master of Suspense | Alfred Hitchcock |
| Unit 4 - first horror film | Psycho |
| Unit 4 - characteristics of horror | gruesome visuals, disturbing imagery, unsettling sounds |
| Unit 4 - characteristics of suspense | questions of trust, twists and turns, psychological drama |
| Unit 5 - Diagetic sounds | sounds from WITHIN the film environment |
| Unit 5 - Non-diagetic sounds | sounds OUTSIDe the film's environment |
| Unit 5 - Foley artist | sound effect technician who develops all the diagetic sounds |
| Unit 5 - Composer | musical who writes the music for the non-diagetic sounds |
| Unit 5 - Examples of Diagetic sounds | alarm, siren, pouring cereal, heel clicks |
| Unit 5 - Examples of Non-diagetic sounds | music, voice-over narration |
| Unit 5 - Special Effects | Real time illusions during productions (makeup, miniatures, matte paintings) |
| Unit 5 - Visual Effects | Digital illusions added post-productions (GGI) |
| Unit 6 - Blockbuster means a film that has made how much money in the box office? | $100 million |
| Unit 6 - characteristics of blockbusters | massive budgets, big name directors/actors, driven by action and SFX, wide appeal |
| Unit 6 - Blockbusters that create merchandise and more movies are considered | tentpole franchises |
| Unit 6 - Blockbusters rely on ____ for a ready-made fan base | intellectual property |
| Unit 6 - First blockbuster film | Jaws |
| Unit 7 - What are the four quadrants? | Males under 25, males over 25, females under 25, females over 25 |
| Unit 7 - What quadrants does Star Wars attempt to appeal to? | all quadrants |
| Unit 8 - What makes violence different in R-rated films | more realistic, extreme, and persistent |
| Unit 8 - What was the guidelines that censored films at first? | Hays Moral Code |
| Unit 8 - When did the rating system begin | 1968 |
| Unit 8 - What rating got added after Gremlins? | PG-13 |
| Unit 8 - What items do the ratings look for? | sex, nudity, language, violence, substances, themes |
| Unit 9 - Meta Comedy | Laughter induced from breaking to the fourth wall to speak directly to the audience. |
| Unit 9 - Screwball Comedy | Laughter induced by flip of gender rolls or battle of the sexes. |
| Unit 9 - Physical Comedy | Laughter induced by watching others clowning with the body. |
| Unit 9 - Situational Comedy | Arising from familiar characters or repeated events throughout a movie. |
| Unit 9 - Romantic Comedy | Laughter induced by characters navigating the obstacles of relationships. |
| Unit 9 - Absurd Comedy | Laughter induced from implausible situations that often defy logic. |
| Unit 9 - Slapstick comedy | Laughter induced through physical comedy that exceeds the bounds of common sense |
| Unit 9 - Farce | Laughter induced from mistaken identities and fast-paced bafoonery |
| Unit 9 - Dark Comedy | Laughter induced from disturbing subjects or inappropriate moments for humor |
| Unit 9 - Blue Comedy | Laughter induced from sexual or crude humor. |
| Unit 9 & 11 - Longest and shortest films | Comedy = shortest, drama = longest |
| Unit 9 & 11 - Used to keep audience attention | vary sub-genres of comedy and drama |
| Unit 11 - Goal of drama | tell an honest story of humans struggling |
| Unit 11 - Biopics | based in truth following the life of a person |
| Unit 11 - courtroom/crime dramas | relying on tensions within the law and illegal activity |
| Unit 11 - Dramedy | Drama that uses humor as a catharsis |
| Unit 11 - Historical dramas | relying on a specific time period or event |
| Unit 11 - Melodramas | Appeals to heightened emotions of audience that can be a bit unrealistic |
| Unit 11 - Mental Illness Dramas | Dealing with psychological problems and addiction |
| Unit 11 - Political drama | Issues with corrupt governments |
| Unit 11 - Romantic/Family Drama | Psychological, physical, and communicative issues with marriage and children |
| Unit 11 - Social Problem Drama | Attempting to express a powerful lesson from current issues |
| Unit 10 - Poetic Documentary | Little to no narrative; focuses on imagery and photography |
| Unit 10 - Observational Documentary | Discover truth of subject by acting as a fly-on-the-wall while filming |
| Unit 10 - Participatory Documentary | Interactions and interviews with the subject |
| Unit 10 - Performative Documentary | Focus on the filmmaker's involvement with the subject |
| Unit 10 - Expository Documentary | Typically uses voice-overs and become the most common and direct style of storytelling |
| Unit 10 - Reflexive Documentary | Focuses on the relationship between filmmaker and audience for behind the scenes |
| Unit 10 - Goal for Documentaries | Document some aspects of reality for instruction or historical record |
