Vaughan, Flee, and Bazin
Wollen
Bazin
Bazin and Kracauer
100
Dai Vaughan uses this term to describe the necessary rather than contingent relationship between a photograph and the object it represents.
The photographic idiom
100
Explain what Peter Wollen means by the icon and describe an example from Blow-Up.
An icon is a sign that resembles the referent. An example would be the blown-up photograph of the man with a gun in the bushes because it resembles or has a visual likeness to a man and gun.
100
According to André Bazin, what is an example of a feature of the Italian neorealist movement that adds to the sense of realism in those films?
Non-professional actors; location-based shooting
100
According to Siegfried Kracauer, what are film's two basic properties? What does he mean by them?
Like photography, film has the unique ability to record and reveal physical reality. By recording, he means physical reproductions of the places and things before the camera. By reveal, he means film's ability to show us things we cannot or might not see through human vision.
200
Name an example of live-action (non-animated) footage in Flee.
News footage (of the McDonald's opening, of the cargo ship, of the Estonian building where Amin, his brother, and his mother are held)
Film footage of Amin and Kasper's backyard
200
Explain what Peter Wollen means by the index and describe an example from Blow-Up.
The index is a sign that has an existential bond with a referent; it implies the referent's existence. An example would be the blown-up photograph of the dead body. That photograph implies that the dead body was really there in the park at the time the photograph was taken.
200
According to André Bazin, what realist cinematographic technique did directors like Orson Welles and William Wyler use? How does it add to a sense of realism in a film?
Deep focus. It creates wholeness and continuity of space and time by showing us multiple planes of action and capturing scenes in one take.
200
Briefly describe what Siegfried Kracauer means by film's formative tendency.
The formative tendency is the tendency toward areas and forms of composition that do not pertain to photography and its basic properties. "Areas" include subject matters/genres like fantasy. "Forms of composition" include films with theatrical stories and experimental films.
300
Dai Vaughan suggests that new technologies of imaging and image manipulation will affect our _________ in the necessary relationship between a photograph and the object it represents.
subjective conviction
300
Explain what Peter Wollen means by the symbol and describe an example from Blow-Up.
The symbol is a sign that has an arbitrary relationship with the referent, meaning it is contingent upon social convention. An example would be the shot of the neon sign when the protagonist visits the park at night. 
300
According to André Bazin, the major evolution in the language of cinema between the 1920s and 1940s was from ________ to _________.
from expressionism to realism
300
Briefly describe what Siegfried Kracauer means by film's realist tendency.
Like photography, film inclines toward the capture of physical reality.
400
André Bazin suggests that a relationship of _______ exists between the photograph and the object it represents.
identity
400
Peter Wollen argues that the language of cinema: A. is iconic, B. is indexical, C. is symbolic, or D. uses a mixture of all three signs.
D. uses a mixture of all three signs
400
According to Bazin, how does montage detract from a film's sense of realism?
By presenting prefabricated meanings through the juxtapositions between shots, preventing a sense of ambiguity in the film.
400
André Bazin describes multiple examples of expressionist techniques from the 1920s and 1930s. Name one.
1920s - plastics and montage; 1930s - continuity editing and shot/reverse-shot