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introduction to film (1895-1950)

 

study guide

final exam term list

  • Pre-code cinema, March 1930-July 1934
  • Hays office
  • Women’s film
  • Mae West
  • King Kong
  • David O. Selznick
  • Alfred Hitchcock
  • Prestige film
  • Production values
  • Previews/test screenings
  • Pre-sold properties
  • Backlot
  • Storyboard
  • Orson Welles
  • William Randolph Hearst
  • Montage
  • Deep-focus photography
  • March of Time
  • Yellow journalism
  • Film noir
  • James M. Cain
  • Billy Wilder
  • Raymond Chandler
  • Hardboiled fiction
  • Femme fatale
  • Laura Mulvey
  • Male gaze
  • Iconography
  • Genre/movement
  • Neo noir
  • Voice of God narration
  • Docunoir
  • Police procedural
  • Revue
  • Operetta
  • Busby Berkeley
  • Proscenium
  • Backyard musical
  • Backstage musical
  • Integrated musical number
  • Nonintegrated musical number
  • Sing-along song
  • Passed-along song
  • Technicolor
  • White telephone films
  • Negative space
  • Post synchronized sound (dubbing)
  • Cinecitta
  • Cesare Zavattini
  • Reflexivity
  • Intertextuality
  • Cinemascope
  • Cinemarama
  • Aspect ratio
  • Kammerspiel

You will also be responsible for the titles of the films we’ve watched, the dates of their release, and the names of their directors and major stars.  Pay close attention to spelling, particularly of non-English names and terms.


General Questions to Ask Yourself as You Watch a Film:

  • What does the film establish about its setting, characters, and plot within the first few minutes?
  • What are the key scenes or sequences in the film, and where do they occur?
  • How does the film open? How does the film end? Was the ending predictable, surprising, ambiguous?
  • What was the pacing of the film like? Slow? Quick? Frenetic? Lyrical?
  • How would you describe the acting performances—were they restrained, flamboyant, self-reflexive? Was the film composed mainly of stars or lesser-known actors, and how did this shape your response to the characters, if at all?
  • How would you describe the cinematography? Was it a highly stylized film, or one aiming for a less intrusive and more “realistic” camera? Did the film make interesting use of color or lighting? If so, where in particular?
  • What was the soundtrack like, as well as the film’s use of sound and sound effects?  What about the dialogue? Was there anything noteworthy about how characters converse in the film?

 

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updated December 5, 2005