Film and EONF

• Ethos


  How the writing proves the credibility and trustworthiness to the reader
• Pathos


  How the writing appeals to the audience's emotions
• Logos


  How the writing makes logical appeals to support their claims
• Rhetorical situation


  Speaker (author), Audience, Context, Purpose
• Speaker (author)


  • Information about speaker's knowledge, attitude(s) and intention with respect to the text
• Audience

  • Who is the text intended for? Relevance to unintended audiences? Assumptions that the author makes about the audience
• Context


  • When, where, how and for whom the text it for. Notable about occasion? How does author/speaker honour kairos (timeliness) of the moment
• Purpose


  • Why was the text written
• Textual features


  • Diction
  • Syntax
  • Figurative language
• Diction


  Specific words and phrases that deliver speaker's purpose, patterns in diction
• Syntax


  Why does the author use: Sentence type, Patterns in use of declarative, exclamatory, interrogative, imperative sentences, Punctuation to deliver rhythm, musicality and meaning of sentences
• Tone


  One tone or many? How does the tone shift?
• Diegetic sound


  Sound whose origin is in the world of the story
• Non diegetic sound


  Sound derived from out side of the story world
• Examples of non diegetic sound


  • Voice of god narration
  • Sound tracks
  • Special effects
• Cinematography


  • Shot size
  • Camera movement
  • Framing of mise en scène
  • Camera work
  • Format of film
• Static camera work


  Lack of movement and symmetrical
• Hand held camera work

  Opposite of static camera work
• Performance


  • Delivery of verbal and nonverbal information by cast
• Character development and dialogue

  • Character's intention and how they overcome obstacles defines them
• Steps to character development

  • Failure
  • Ambition
  • Conflict
  • Success at a cost
  • Redemption
• Editing


  Assembly of film footage to create a coherent sequence
• Match cuts


  A cut from one shot to another in which the composition of the two shots is matched by the action or subject and subject matter
• Jump cuts


  An abrupt transition from one scene to another
• Dissolves


  A type of film transition in which one sequence fades over another
• Split screen


  Used to describe the technique in making films and television programmes in which two different pieces of film are shown at the same time
• Mise en scène


  Refers to everything that appears on stage like set design, lighting and character movement
• Mise en shot


  Camera positon, movement, shot scene, duration of shots, pace of editing and interaction between the filmed events and they way they're filmed
• Long take


  More than 30s shot (no editing or cuts)
• Deep focus


  Keeps several planes of shot in focus at the same time (foreground, middleground and background) allowing several actions to be filmed at once
• Continuity editing


  Creates seamless editing and hides cuts
• Establishing the shot


  Scene and environment
• Eye line matching


  See what each character is seeing by switching scenes (perspectives) → immersion
• Montage


  Specialised form of continuity editing that attempts to create symbolic meanings by juxtaposing together shots with little regard for coherent scenic pace. Creates association (symbolic meaning) that are greater than the sum of parts, often with music in the background. Assembly of film can change symbolic interpretation.
• Structure


  How the writer intends the reader to read their work
• Types of structure


  • Visual structure
  • Aural structure
  • Rhythm
  • Rhyme
  • Developmental structure
• Visual structure


  The way the words look on the page and their effect
• Aural structure


  The way in which the words strike the ear
• Rhythm


  Repeater pattern of stressed and unstressed syllables
• Rhyme


  Acts as a mnemonic, break in rhymes signify importance