The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art, and textile arts also involve aspects of visual arts as well as arts of other types. Also included within the visual arts are the applied arts such as industrial design, graphic design, fashion design, interior design and decorative art.
Docufiction (or docu-fiction), often confused with docudrama, is the cinematographic combination of documentary and fiction, this term often meaning narrative film. More precisely, it is a documentary mixed with fictional elements, in real time, filmed when the events take place, and in which the main character or characters—often portrayed by non-professional or amateur actors—are essentially playing themselves, or slightly fictionalized versions of themselves, in a fictionalized scenario. In this sense, docufiction may overlap to an extent with some aspects of the mockumentary format, but the terms are not synonymous.
The contraction soundtrack came into public consciousness with the advent of so-called "soundtrack albums" in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture." These phrases were soon shortened to just "original motion picture soundtrack." More accurately, such recordings are made from a film's music track, because they usually consist of isolated music from a film, not the composite (sound) track with dialogue and sound effects.
Media manipulation is a series of related techniques in which partisans create an image or argument that favours their particular interests. Such tactics may include the use of logical fallacies, psychological manipulations, outright deception (disinformation), rhetorical and propaganda techniques, and often involve the suppression of information or points of view by crowding them out, by inducing other people or groups of people to stop listening to certain arguments, or by simply diverting attention elsewhere.
Telecine is the process of transferring motion picture film into video and is performed in a color suite. The term is also used to refer to the equipment used in the post-production process. Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR), DVD, Blu-ray Disc or computers. Initially, this allowed television broadcasters to produce programmes using film, usually 16mm stock, but transmit them in the same format, and quality, as other forms of television production.
Axial cut
A type of jump cut, where the camera suddenly moves closer to or further away from its subject along an invisible line drawn straight between the camera and the subject. While a plain jump cut typically involves a temporal discontinuity (an apparent jump in time), an axial cut is a way of maintaining the illusion of continuity. Axial cuts are used rarely in contemporary cinema but were fairly common in the cinema of the 1910s and 1920s.
Crime films, in the broadest sense, is a film genre inspired by and analogous to the crime fiction literary genre. Films of this genre generally involve various aspects of crime and its detection. Stylistically, the genre may overlap and combine with many other genres, such as drama or gangster film, but also include comedy, and, in turn, is divided into many sub-genres, such as mystery, suspense or noir. Screenwriter and scholar Eric R. Williams identifies Crime Film as one of eleven super-genres in his screenwriters’ taxonomy, claiming that all feature length narrative films can be classified by these super-genres. The other ten super-genres are Action, Fantasy, Horror, Romance, Science Fiction, Slice of Life, Sports, Thriller, War and Western. Williams identifies drama in a broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre).
In English, "cinephile" is sometimes used interchangeably with the word cineaste , though in the original French the term cinéaste refers to a cinephile who is also a filmmaker.
In filmmaking, video production, animation, and related fields, a frame is one of the many still images which compose the complete moving picture. The term is derived from the fact that, from the beginning of modern filmmaking toward the end of the 20th century, and in many places still up to the present, the single images have been recorded on a strip of photographic film that quickly increased in length, historically; each image on such a strip looks rather like a framed picture when examined individually. The term may also be used more generally as a noun or verb to refer to the edges of the image as seen in a camera viewfinder or projected on a screen. Thus, the camera operator can be said to keep a car in frame by panning with it as it speeds past.
Camera obscura (plural camerae obscurae or camera obscuras, from Latin camera obscūra, “dark chamber”), also referred to as pinhole image, is the natural optical phenomenon that occurs when an image of a scene at the other side of a screen (or, for instance, a wall) is projected through a small hole in that screen as a reversed and inverted image (left to right and upside down) on a surface opposite to the opening. The surroundings of the projected image have to be relatively dark for the image to be clear, so many historical camera obscura experiments were performed in dark rooms.
A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the audience response.
When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting. The "mise-en-scène", along with the cinematography and editing of a film, influence the verisimilitude or believability of a film in the eyes of its viewers. The various elements of design help express a film's vision by generating a sense of time and space, as well as setting a mood, and sometimes suggesting a character's state of mind
Nowadays, any video work could be called videography, whereas commercial motion picture production would be called cinematography. A videographer is a person who works in the field of videography and/or video production. News broadcasting relies heavily on live television where videographers engage in electronic news gathering (ENG) of local news stories.
In filmmaking and video production, a shot is a series of frames that runs for an uninterrupted period of time. Film shots are an essential aspect of a movie where angles, transitions and cuts are used to further express emotion, ideas and movement. The term "shot" can refer to two different parts of the filmmaking process: In production, a shot is the moment that the camera starts rolling until the moment it stops. In film editing, a shot is the continuous footage or sequence between two edits or cuts.
An important element of "putting in the scene" is set design—the setting of a scene and the objects (props) visible in a scene. Set design can be used to amplify character emotion or the dominant mood, which has physical, social, psychological, emotional, economic and cultural significance in film. One of the most important decisions made by the production designer and director is deciding whether to shoot on location or on set. The main distinction between the two is that décor and props must be taken into consideration when shooting on set. However, shooting on set is more commonly done than shooting on location as a result of it proving to be more cost effective.
A documentary film is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education, or maintaining a historical record" - compare documentary theatre. Bill Nichols has characterised the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries". Documentary films, originally called "actuality films", lasted one minute, or less. Over time, documentaries have evolved to become longer in length, and to include more categories; some examples being: educational, observational, and docufiction. Documentaries are meant to be informative works, and are often used within schools, as a resource to teach various principles.
Hard and soft light are different types of lighting that are commonly used in photography and filmmaking. Soft light is light that tends to "wrap" around objects, casting diffuse shadows with soft edges. Soft light comes from a light source that is large relative to the subject; hard light from one that is small relative to the subject. The hardness or softness of light depends mostly on the following two factors: Distance. The closer the light source, the softer it becomes. Size of light source. The larger the source, the softer it becomes. The softness of a light source can also be determined by the angle between the illuminated object and the 'length' of the light source (the longest dimension that is perpendicular to the object being lit). The larger this angle is, the softer the light source.
Extreme long shots are usually done in a high angle so the viewer can look down upon a setting or scene. Extreme longs shots are used mainly to open the scene or narrative and show the viewer the setting. The rest of the shots are most typically done in an eye level or point of view shot although it is possible to do any shot with any angle. There is the long shot which shows the subject even though the setting still dominates the picture frame. Then, there is the medium long shot which makes the subject and the setting have equal importance and has the two about 50/50 in the frame. Then is the medium shot which emphasizes the character and is about a knees to waist up type shot. Then the medium close up is a shot that has the waist to the chest and up. The next closest shot is the close up which has the shoulders and up or maybe a little tighter on the head. Finally, there is the extreme close up shot which has one body part usually. This can be an eye, a hand or anything else. These shots can be used with any of the aforementioned camera angles.
A feature film, or feature-length film, is a film (also called a motion picture or movie) with a running time long enough to be considered the principal or sole film to fill a program. The term feature film originally referred to the main, full-length film in a cinema program that also included a short film and often a newsreel. The notion of how long a feature film should be has varied according to time and place.
A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the audience response.
Holysloot? 'Sloot' is the Dutch word for 'ditch'. Why would a ditch be blessed?
'Holy' is just old Dutch for 'hollow' and denotes that the ditches in this part of Holland were particularly low-lying, and prone to flooding. Over the years a typical Dutch combination of dams and canals created a low-lying landscape of green meadows interrupted by streaks of water.
In 1921, after the last great flood left the villages here devastated, they made a pact with the devil: the big city, Amsterdam, could annex them, sniffing out centuries of independence. But in return, the landscape would remain protected guaranteeing a rural existence within city limits.
In 1958, the Stedelijk Museum was one of the first museums of modern art in the world to take photography seriously as a fully-fledged art medium and now has a collection of photographs of international importance. Documentary photography plays an important role in this.
Documentary photography by its very nature raises questions and discussions. It already starts with the word "documentary", a complex and loaded term, which is linked to greats from the history of photography, but is also used in a negative sense when photos are insufficiently visual or personal. Moreover, nowadays the question is increasingly being asked: What is the position of the (documentary) photographer in relation to his subject, with what right and with what intention is 'the other' captured? What is the balance of power - who has the right to portray whom?
VIDEO is HOT and many companies and organizations and self-employed people want videos on their WEBSITE, Intranet, Facebook, Twitter and Instagram.
Since the advent of smartphones with a good camera, you don't have to hire a camera crew to make a video. Organizations, companies and institutions can do this very well themselves. This is not only cheaper, it also often works better because organizations often know exactly what they want. The videos are therefore more authentic because the company or institution knows exactly what it wants to offer its target group.
Making videos with your smartphone is quick and easy to learn. The big advantage is that you (almost) always have the mobile with you and can therefore create content at any time.
Stage combat, fight craft or fight choreography is a specialised technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. With the advent of cinema and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the earlier live performances on stage. It is closely related to the practice of stunts and is a common field of study for actors. Actors famous for their stage fighting skills frequently have backgrounds in dance, gymnastics or martial arts training.
Three different digital soundtrack systems for 35 mm cinema release prints were introduced during the 1990s. They are: Dolby Digital, which is stored between the perforations on the sound side; SDDS, stored in two redundant strips along the outside edges (beyond the perforations); and DTS, in which sound data is stored on separate compact discs synchronized by a timecode track on the film just to the right of the analog soundtrack and left of the frame[2] (Sound-on-disc). Because these soundtrack systems appear on different parts of the print, one movie can contain all of them, allowing broad distribution without regard for the sound system installed at individual theatres.
A graphic match (as opposed to a graphic contrast or collision) occurs when the shapes, colors and/or overall movement of two shots match in composition, either within a scene or, especially, across a transition between two scenes. Indeed, rather than the seamless cuts of continuity editing within a scene, the term "graphic match" usually denotes a more conspicuous transition between (or comparison of) two shots via pictorial elements. A match cut often involves a graphic match, a smooth transition between scenes and an element of metaphorical (or at least meaningful) comparison between elements in both shots.
A match cut contrasts with the conspicuous and abrupt discontinuity of a jump cut.
