The Burma Road Riot Essay

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Chapter 4 Bordwell/Thompson
Mise-en-scene – Setting, lighting, costume, and the behavior of the figures
Lighting- Attached shadows (shading) and cast shadows

Attached shadows occur when light fails to illuminate part of an object because of the object’s shape or surface features
A candle projecting a shadow on the wall behind is a cast shadow, because the body blocks out the light
Frontal lighting- tendency to eliminate shadows
Sidelight- Sculpts a character’s features
Backlighting- Comes from behind the subject filmed
Underlighting- Light comes from below the subject
Top lighting- Shines down from almost directly above
Key light- Primary source, providing the dominant illumination and casting the strongest shadows
Fill light- Less intense illumination softens or eliminates shadows cast by the key light
Three point lighting- Bright backlight, key light, and fill light
High-key lighting- Lighting design that uses fill light and backlight to create low contrast between brighter and darker areas
Low-key illumination- Creates stronger contrasts and sharper, darker shadows
Monochromatic color design- Emphasizing a single color, varying it only in purity or lightness
Depth cues- Edges and masses on the screen as a 3D space
Size diminution- Figures and objects father away from us are seen to get proportionally smaller; the smaller the figure appears, the farther away we believe it to be
Monocular- Illusion of depth requires input from only one eye
Stereopsis- Binocular depth cue
Shallow-space composition- Close and distant planes seem only slightly separated
Deep-space composition- A significant distance seems to separate plans

Chapter 5

Cinematography- Writing in movement
Depth of field- The range of distances before the lens within which objects can be photographed in sharp focus
Deep focus- Yields a greater depth of field
Process (composite) shots- Combining strips of film to create a single shot
Rear projection- Foreground and background shots taken separately but merged together
Front projection- Projects the screen onto a two-way mirror, creating a colossal, phantasmagoric landscapes
Matte- Portion of the setting photographed on a strip of film, usually with a part of the frame empty
Masking- Creating a wide screen image
Anamorphic- A special lens squeezes the image horizontally
Reframing- If a character moves in relation to another character, often the frame will slightly pan or tilt to adjust to the movement

Chapter 6

Graphic Match- Graphics may be edited to achieve smooth continuity or abrupt contrast. The filmmaker may link shots by graphic similarities
Crosscutting- Editing that cues the spectator to infer a single locale
Elliptical editing- Presents an action in such a way that it consumes less time on the screen than it does in the story
Overlapping editing- Action from the end of one shot is partly repeated at the beginning of the next
Continuity editing- Smoothes over the inherent discontinuity of the editing process to establish a logical coherence between two shots
Axis of action- The space of a scene which is constructed along a center line, or the 180 degree line
Establishing shot- Delineates the overall space of a shot
Shot/reverse shot – Shots that move back from one person to another
Eyeline match- Shot A presents someone looking at something offscreen; shot B shows us what is being looked at
Jump cut- When two shots of the same subject are cut together but are not sufficiently different in camera distance and angle, there will be a noticeable jump on the screen

Chapter 7-

Sound perspective- The closer the camera is to a source, the louder the sound
Diegetic- Events taking place in the story world
Diegetic sound- Sound that has a source in the story world. Words spoken by the characters, sounds made by the objects in the story, and music represented as coming from instruments in the story space
Nondiegetic sound- Which is represented as coming
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