recursal/Fanatic-Fandom huggingface dataset:
Yuppies in Peril

**Yuppies in Peril** (also known as Yuppie Nightmare) is a sub-genre of thriller movies that became popular in the 1980s and 1990s. These movies feature affluent protagonists (yuppies) who are faced with improbable crises such as murder and stalking.

It is a a Reagan-era combination of screwball comedy with film noir. It always involves a white yuppie being pulled into a world unknown to them, usually a white male by a mysterious white female

## History

"*The film critic Dominic Corry has described a genre of ’80s and ’90s films as “yuppies in peril” movies, and, since their affluent protagonists lack any real-world problems, their improbable crises revolve around murder and a preponderance of stalking.*"
— Ted Wayne
A "yuppie" is short for "young urban professional" or "young upwardly-mobile professional". It is a term coined in the early 1980s for a young professional person working in a city.

The sub-genre became popular in the late 1980s, as the boom years brought the “yuppie” into the public consciousness, and continued as a force through the 1990s. Quite often, there’s a conservative moralism to these movies, but they also play to some extent to our desire to see the wealthy and happy punished for their success, usually, in these examples, by having their pets and/or best friends horribly murdered.

## References

1. ↑ https://www.thegoodinmovies.com/feature/the-a-to-z-of-yuppies-in-peril/
2. ↑ https://theplaylist.net/15-great-movies-featuring-yuppies-peril-20170419/
Double Exposure

**Double exposure** is a technique that combines two different exposures or images that are layered on top of each other. The image overlaid is less than full opacity so a bit of both images can be seen producing an almost ghost-like image. Multiple or double exposure can be created in-camera or with editing programs like Photoshop. With actual film, the photographer would have to expose the same part of the film twice, where the second image is being superimposed on the first one.

## History

Double exposure is a powerful storytelling tool. It captures hidden elements in a scene that can scare, inspire, or delight your audience. It can also provide context for what’s about to come. Alfred Hitchcock famously used double exposure in several films such as *The Wrong Man (1956)*

In the early days, it was used to achieve special effects, however these days, double exposure photography is more of an aesthetic choice. Furthermore, the iconic scene at the end of *Psycho (1960)* features double exposure when the face of a skeleton emerges briefly over Norman Bates' face.

## See also

* Exposure
* Special Effects
* German Expressionism
* Hitchcockian

## References

1. ↑ https://www.studiobinder.com/blog/what-is-double-exposure-photography/
Antagonist

An **antagonist** is a character in a story who is presented as the chief foe of the protagonist. They are often the villain of the story but basically has to be an obstacle to the main character's goal. Characters may be antagonists without being evil – they may simply be injudicious and unlikeable for the audience. In some stories, such as *The Catcher in the Rye*, almost every character other than the protagonist may be an antagonist.

## See also

* Protagonist
* Antihero
Rule of Thirds

The **Rule of Thirds** is a well-known guideline in composition when it comes to cinematography and photography. The rule of thirds is a compositional guideline that breaks an image down into thirds (both horizontally and vertically) so you have nine pieces and four gridlines. According to the rule, by positioning key elements along the gridlines, you’ll end up with better compositions.

## Explanation

When you position the most important elements of your image at these intersection points, you produce a much more natural image. It is also suggested that any horizon is placed on either the top horizontal line or bottom horizontal line.

Off-center composition is pleasing to the eye because it’s typically where the eyes go first. When there is a subject or object off center, it also gives viewers the ability to interact with that space between them. This allows for interpretation and conversation between the subject and the background, as opposed to a fully centered subject.

The rule of thirds is beneficial for:

* Using composition techniques that are in line with what’s naturally pleasing to the eye
* Creatively using negative space
* Creating conversation between the subject and background

## See also

* Composition
* Rule of Odds
* 180 Degree Rule
* Negative Space
* Headroom

## References

1. ↑ https://www.studiobinder.com/blog/what-is-the-rule-of-thirds/
The Film Foundation

**The Film Foundation** is a US-based non-profit organization dedicated to film preservation and the exhibition of restored and classic cinema. It was founded by director Martin Scorsese and several other leading filmmakers in 1990. The foundation raises funds and awareness for film preservation projects and creates educational programs about film. The foundation and its partners have restored more than 900 films.

## Members

### The Original Board

* Martin Scorsese (founder)
* Woody Allen
* Robert Altman
* Francis Ford Coppola
* Clint Eastwood
* Stanley Kubrick
* George Lucas
* Sydney Pollack
* Robert Redford
* Steven Spielberg

### Additional Members

* Paul Thomas Anderson
* Wes Anderson
* Curtis Hanson
* Peter Jackson
* Ang Lee
* Alexander Payne
* Christopher Nolan
Intertitle

An **intertitle**, also known as a **title card**, is a piece of text edited into the middle of a film in order to portray dialogue, descriptions, narrative material (like letters and signs) or context. They were mostly used in the silent era of films where these things couldn't easily be shown on screen.

## History

They were a mainstay of silent films once the films became of sufficient length and detail to necessitate dialogue or narration to make sense of the enacted or documented events. *The British Film Catalogue* credits the 1898 film *Our New General Servant (1898)* as the first British film to use intertitles. The first Academy Awards presentation in 1929 included an award for "Best Writing – Title Cards". The award was never given again, as intertitles went out of common use due to the growing popularity of the "talkies".
Burtonesque

**Burtonesque** refers to a piece of media being reminiscent to the style of director Tim Burton, an american director known for his dark and whimsical art and films.

## Features

Burton is very well known for his unique production design which takes great inspiration from German Expressionism and often features contrasting design, setting dark stories against a backdrop of American suburbia like in *Edward Scissorhands (1990)*. His sets are often nightmarish and confusing, especially in films like *Beetlejuice (1988).*

Common features of Tim Burton's films also include:

* Stop Motion - either the entire film is animated in this style (*Corpse Bride (2005)* )or some visual effects are done in this style (*Beetlejuice (1988)).*
* Scary Clowns.
* Black and White stripes, especially on a character's costume.
* Outcasts and Loners as main characters.
* Pale characters with dark eyes and often messy or unique hair.
* Surreal Humor.

## Examples

Some films that Tim Burton did not direct that are seen as Burtonesque are *The Addams Family (1991)*, *Lemony Snicket's A Series of Unfortunate Events (2004)* and *Coraline (2009)* .
Icebox Scene

An **Icebox Scene,** also known as **Fridge Logic**, is a term coined by Alfred Hitchcock to describe an illogical scene or plot point that audience members will only notice after watching the film, as at the time they were too caught up with the plot. In the words of the director, it’s the kind of scene that “hits you after you’ve gone home and start pulling cold chicken out of the icebox”.
Legal Drama

A **Legal Drama** or **Courtroom Drama** is a genre of film and TV that focuses around legal practice, courts and lawyers. The focal point of legal dramas, more often, are events occurring within a courtroom, but may include any phases of legal procedure, such as jury deliberations or work done at law firms. As a genre, the term "legal drama" is typically applied to television shows and films, whereas legal thrillers typically refer to novels and plays.

## See also

* Court Show
* Legal Thriller
* Police Crime Drama
Letterboxd

**Letterboxd** is a New Zealand online social networking service founded in 2011. It was launched as a social app focused on sharing opinions about, and love of film. The site acts as a film diary, method of film discovery, discussion board and hub for reviews and information about any film. All film-related metadata used on the website is supplied by The Movie Database (TMDB), an open source database

## Features

* The diary, allowing users to log films that they watched on specific days.
* A 5 star rating system for films.
* Written reviews
* Every film should have a information about it: cast, crew, director, languages, countries, production companies and a description.
* The ability to make lists of films, ranging from any topic. These lists can be discovered and liked by other users.
* In March 2022, the site partnered with Nanocrowd to show "nanogenres" and recommendations for similar films to users.

### Premium

* Premium members can view a page of stats (overall and for every year). These stats include their highest rated films watched, featured lists, most liked reviews, country diversity map, highest rated decades and most watched actors and directors.
* The ability to filter films based on streaming services that the user owns. This feature is thanks to a partnership with JustWatch.

### Patreon

* Patreon members can change the posters for films to ones that they prefer, providing that they are uploaded to TMDB.
* A banner featured on their profile page.
* Access to new, early access website features.

## See also

* IMDB
* TMDB
* Cinephile
* Film Bro
* JustWatch
Capeshit

**Capeshit** is a derogatory slang term used to refer to superhero movies, particularly those based on comic book characters. The word is a combination of "cape," referring to the capes often worn by superheroes, and "shit," a derogatory term used to express disdain or criticism.

## History

The term "Capeshit" emerged as a derogatory slang word within certain online communities. While the exact origin and earliest usage are difficult to pinpoint, it gained traction in the late 2000s and early 2010s, coinciding with the rise in popularity of superhero movies and the proliferation of online forums and social media platforms.

Within online communities, particularly those focused on film criticism and discussion, "Capeshit" became a term used to mock or dismiss the genre as a whole. Critics who expressed their dislike for superhero movies would employ the term to belittle the films, often criticizing them for perceived lack of originality, reliance on special effects, or formulaic storytelling.

## See also

* Marvelization
* Film Bro
Alan Smithee

**Alan Smithee** is a commonly used pseudonym used by directors who are not happy with their final product and do not want their real name associated with it. Due to the fact that Alan Smithee has become more well known as a pseudonym, this method has fallen out of practice somewhat. Films with Alan Smithee credited as a director include *Hellraiser: Bloodline (1996)*, *Ghost Fever (1987)* and *Shrimp on the Barbie (1990).*

## History

### First Usage

Before 1968, DGA rules did not permit directors to be credited under a pseudonym. This was intended to prevent producers from forcing them upon directors, which would inhibit the development of their résumés. The guild also required that the director be credited, in support of the auteur theory, which posits that the director is the primary creative force behind a film.

The Smithee pseudonym was created for use on the film *Death of a Gunfighter (1969). D*uring its filming, lead actor Richard Widmark was unhappy with director Robert Totten and arranged to have him replaced by Don Siegel. Siegel later estimated that he had spent 9 to 10 days filming, while Totten had spent 25 days. Each had roughly an equal amount of footage in Siegel's final edit, but Siegel made clear that Widmark had effectively been in charge the entire time. When the film was finished, Siegel did not want to take the credit for it and Totten refused to take credit in his place. The DGA panel hearing the dispute agreed that the film did not represent either director's creative vision.

The original proposal was to credit the fictional "Al Smith", but the name was deemed too common and was already in use within the film industry. The last name was first changed to "Smithe", then "Smithee", which was thought to be distinctive enough to avoid confusion with similar names but without drawing attention to itself. Critics praised the film and its "new" director, with *The New York Times* commenting that the film was "sharply directed by Allen Smithee who has an adroit facility for scanning faces and extracting sharp background detail," and Roger Ebert commenting, "Director Allen Smithee, a name I'm not familiar with, allows his story to unfold naturally."

### Other Uses

A television version of David Lynch's *Dune (1984)* was aired in 1988 in two parts totaling 186 minutes. Lynch disavowed this version and had his name removed from the credits.  **Alan Smithee** was credited
Steadicam

**Steadicam** is a brand of camera stabilizer mounts for motion picture cameras invented by Garrett Brown and first made available by Cinema Products Corporation in 1975. Even when the operator moves over a crooked surface, a smooth shot is still possible because it mechanically isolates the camera from the operator's movement.
Plausible Impossible

**The Plausible Impossible** is a term coined by Walt Disney. It describes when an animation or fantasy's magic, quality and enjoyment are heightened when certain elements are grounded in real-world rules and physics.

## History

### Origin

The term originated as the topic of an episode of *Disneyland*. The episode shows Walt Disney explaining how drawings and animation have things that are impossible but seem plausible, as evidenced in ancient history (i.e., Egyptian gods, Chinese dragons, and various creatures from Greek mythology) and various cartoons with Mickey Mouse and Donald Duck.

### Examples

In Disney's *Pinocchio (1940)*, despite the copious amount of magic and fantasy that occurs throughout the film, the fact that Pinocchio (a wooden boy) must tie himself to a rock in order to slowly move through the bottom of the ocean adds a level of believability. Furthermore, the fact that the character Jamie Lannister in Game of Thrones is given a real-world recognized disorder (dyslexia) in a show about dragons, zombies and magic adds a certain level or relatability and makes it seem more grounded.

In the Marvel Cinematic Universe, characters like Iron Man and the Hulk have fantastical abilities, but the fact that the movies often address the real-world consequences of these abilities (e.g., collateral damage from superhero battles), adding to the plausibility and realism.

## References

1. ↑ https://en.wikipedia.org/wiki/The\_Plausible\_Impossible
2. ↑ https://www.youtube.com/watch?v=gyKlzBWXT28&ab\_channel=ThereWillBeFudd
Kubrick Stare

"*Kubrick indulges his favorite closeup, a shot of a man glowering up at the camera from beneath lowered brows. This was the trademark visual in A Clockwork Orange, and Jack Nicholson practiced it in The Shining. What does it mean? That Kubrick thinks it's an interesting angle from which to shoot the face, I think.*"
— Roger Ebert

A **Kubrick Stare** is a technique to show a character’s dwindling sanity named after Stanley Kubrick due to his frequent usage. It involves the character’s face tilting down and them looking up beneath the eyebrows. It is notably used in *A Clockwork Orange (1971),* *The Shining (1980)* and *Full Metal Jacket (1987).*

## Usage

The Kubrick Stare generally signifies that the character in question is angry and/or deranged. Other times — usually when combined with a smile — it means they're feeling accomplished and/or clever. Due to the technique’s recognisable status, when it is used in non-Kubrick-directed films, audiences can still interpret its meaning the same.

## History

The origin of Kubrick's famous stare seemingly comes from *A Clockwork Orange (1971).* Throughout the movie, the protagonist, Alex DeLarge, glances at the camera with a terrifying stare as if acknowledging the audience’s presence. Speaking to Entertainment Weekly, McDowell shared that he was

"*doing various things, like—don’t forget I’m also supposed to be a little high. And so kind of this look came, and he suddenly started to laugh. And he was laughing because the eyes were kind of up and glazed over, and the mouth kind of took on a weird look. And when he started to laugh, we knew we had it. We knew that that’s what it was going to be. Because we were making a comedy, let’s face it.*"
— Malcolm McDowell[[src]]

Notable modern uses of the Kubrick stare can be found in David Fincher’s *Gone Girl (2004)*, Christopher Nolan’s *The Dark Knight (2008)* courtesy of and Jonathan Demme’s *The Silence of the Lambs (1991)*.

## References

1. ↑ https://faroutmagazine.co.uk/cinematic-gaze-meaning-behind-the-trademark-kubrick-stare/
2. ↑ https://ew.com/article/2014/11/29/malcolm-mcdowell-stanley-kubrick-clockwork-orange/
MacGuffin

**A MacGuffin** is an object in a film or TV Show that drives the plot, but serves no further purpose. Usually a MacGuffin is revealed within the first act and serves to commence a character's journey. A simple example of a MacGuffin would be a treasure that characters are looking for which sets them on a quest to find it, however the actual story may focus more on the relationship between the characters rather than the retrieval of the treasure.

A MacGuffin can be a secret instigator for the characters, but the audience does not necessarily need to care about it. In *North by Northwest (1959)*, spies chase an ad executive who they believe is harboring secret government documents. It is never revealed to the protagonist or to the audience what the secret documents are.
Colourist

**Colourists** contribute to the mood and look of a film by defining its colours. They work with the director and director of photography to decide the palette; whether it’s restrained or hyper-coloured, whether it uses milky colours or primary ones. Colourists are able to contribute to these looks by changing the luminance levels (brightness) and chroma (colour).

## Responsibilities

Film and TV dramas are usually shot on digital cameras in a raw format, which means the information about the colour is captured in the data but can’t be seen until the colour is applied. If shooting on film, the rushes are taken to the lab where they are processed and then scanned into a digital workflow. It’s the job of the colourist to perfect the way in which the colour is put into the picture. This is known as grading.

When colourists receive the files in the edit, they stylise the colour in line with the vision of the director and director of photography. They match the shots, balancing colour saturation and luminance so no one shot stands out in the sequence. They also offer creative solutions to picture-related problems. They might know what to do with under or over exposed images, or provide day for night corrections, for example.

Colourists are also responsible for ensuring the film complies with the law around luminance levels and chroma.
Studio Audience

An audience of people behind the camera who are present for the filming of a show. Their primary function is to provide reactions, usually laughs, to what is happening. They are most common on the set of chat shows, game shows, sitcoms, panel shows

## Audience Interaction

Although most of the time the audience is completely ignored other than for cheering and laughs, sometimes audience interaction is encouraged. The BBC Show *Question Time,* a British topical debate program, encourages the audience to ask a panelist of politicians questions. Occasionally, members of the audience are picked out to participate in the show or to be rewarded, such as *The Oprah Winfrey Show's* famous "You Get a Car" moment where everyone in the audience was awarded a free car.

## Gags

Sometimes on late night talk shows, gags can involve plants in the studio audience having a back-and-fourth with a host. *The Late Late Show with James Corden* for example featured a segment where the host (James Corden) was barraged with foolish and confusing questions from actors pretending to be audience members.

## References

1. ↑ https://en.wikipedia.org/wiki/Question\_Time\_(TV\_programme)
2. ↑ https://www.youtube.com/watch?v=pviYWzu0dzk&ab\_channel=BlakeUhlenbrock
3. ↑ https://www.youtube.com/watch?v=oVwSV21aE3k&ab\_channel=TheLateLateShowwithJamesCorden
Back to One

**Back to One** is film set lingo instructing the cast and camera operators to reset their positions to the start of the scene, essentially starting again. After a take, a director or assistant director will instruct everyone to go "back to one" when they want to attempt the scene again either after a mistake, for insurance or to try something different.
Kuleshov Effect

**The Kuleshov Effect** is the idea that two shots in a sequence are more impactful than a single shot by itself. This effect is a cognitive event that allows viewers to derive meaning from the interaction of two shots in sequence. Lev Kuleshov believed that the interaction of shots in filmmaking was what differentiated cinema from photography, as photographs are single shots in isolation that don’t allow viewers to derive the same meaning.

The effect has continued to influence the cinema industry far beyond Kuleshov’s initial proposal and even his lifespan. From what Kuleshov proved in his demonstrations, new editing techniques and camera angles were born.
Red Western

**A Red Western** (sometimes known as an **Ostern**) is a genre of Western style movies created in The Soviet Union. They were most often filmed in Yugoslavia, Mongolia and the Southern USSR to mimic the environment of the American West. Notable Red Westerns include *Lemonade Joe (1964)*, The *Seventh Bullet (1972)* and The Wild East (1993).

The term now includes two related genres:

* Proper **Red Westerns**, set in America's "Wild West"
* **Easterns** (**Osterns**), set usually on the steppes or Asian parts of the USSR, especially during the Russian Revolution or the following Civil War.

## See Also

* Spaghetti Western
* Gibanica Western
* Goulash Western
* Cinema of the Soviet Union

## References

1. ↑ https://en.wikipedia.org/wiki/Ostern
Casting Director

**Casting directors** are in charge of hiring actors for a film or tv show. They are hired by the production company to match actors to roles.

Casting directors read scripts and meet with producers and directors to get a sense of the type of person they are looking for. They have to find someone who looks right for the role as well as acting it well. They need to understand the art of acting. Sometimes producers will have a lot of demands. Other times they won’t give much guidance at all. Casting directors consider the actor’s availability, fees and how much box office buzz they’re going to create.

They need to know the talent that’s out there, so they attend theatre productions and graduation shows to spot potential actors. They organise auditions and look at headshots, demos and reels. Then they present a selection of candidates to the producer and director, and together they make the final decision.

The casting director’s job also involves negotiating actors’ deal points or conditions which they put into a casting advice note, or deal memo. Then the production team can draw up the actual contract with the actor’s agent.
Residuals

**Residuals** are union-negotiated payments that writers, actors, directors, and other crew members, receive from a studio, producer, or distributor in the case of reruns, physical releases or streaming service releases. Residuals are calculated and administered by industry trade unions like SAG-AFTRA, the Directors Guild of America, and the Writers Guild of America.

## Types

### Variable Residual

This type of residual takes into account the gross income of a title that is sold by a company, studio, or distributor and then applies each particular Guild’s percentage rate to the gross income. That number then gets divided amongst the qualified talent on the project. Typically, the DGA and the WGA have equal percentage rates, while SAG has about a 3x increased percentage rate because they include a larger pool of talent with actors.

### Fixed Residual

This is a flat payment based on different criteria and a formula that has no relation to the income of a project. In some instances, a particular talent could have more fixed residuals than the money that was brought in by a project. When the studio, distributor, or producer submits the revenue for the project, then each Guild’s percentage rate gets applied to it and distributed to that particular talent, based on how much time they worked and how much money they were paid. These factors give them a greater share in the residual.

Every time a title reruns in a particular market, the fixed rate is applied with stipulations. Network Television has the highest percentage rate; Basic Cable and Syndication have declining scales, meaning the first rerun pays out the highest fixed percentage rate, and then declines in scale to a minimum fixed rate that goes into perpetuity.

## See also

* Reruns
* Entertainment industry unions

## References

1. ↑ https://www.tiktok.com/@michaeljaminwriter/video/7152584115030674730?is\_copy\_url=1&is\_from\_webapp=v1
2. ↑ https://www.ep.com/blog/the-beginners-guide-to-film-and-television-residuals/
Carl Zeiss Planar 50mm f/0.7

The **Carl Zeiss Planar 50mm f/0.7 is** one of the largest relative aperture enses in the history of photography. In order to photograph the Moon's dark side in 1966, the lens was created especially for NASA's Apollo lunar program, however it was also used for filmmaking. With the use of these lenses, director Stanley Kubrick was able to light his scenes only with candlelight whilst shooting his period drama *Barry Lyndon (1975)*

Only 10 lenses in all were produced. Six were sold to NASA, three were sold to Kubrick, and one was held by Carl Zeiss.
Blocking and Business

**Blocking and Business** is a rule of cinema that ensures that a scene remains visually interesting.

Blocking is determining where you physically move during the scene. It is the choreography of acting. *Business* is what you do in the confines of the blocking. For example, an actor walks to the desk, picks up the telephone book, and rifles through it. After a pause she puts down the phone book and takes up a picture frame.  Having a character perform often menial actions and walk around the set whilst speaking ensures that the audience remains engaged and the scene is varied and dynamic.

## References

1. ↑ https://www.oreilly.com/library/view/film-and-television/9781136081736/010\_9781136081736\_chapter3.html
Director

A **film director** is in charge of all creative aspects of a Film, TV Show or advert. They essentially direct the making of a film by visualising the script, guiding the actors and the rest of the crew to capture the vision for the screen. They control the film’s dramatic and artistic aspects.

## Responsibilities

A director's responsibilities can vary from film to film and can include an endless amount of different unexpected things. These are some of the more common duties of a director:

* Interpret scripts
* Set the tone of film
* Work with department heads
* Work with casting directors to find talent
* Direct actors and the camera
* Work with editors to assemble the film
* Work with sound and music departments

Typically, a director is involved in all stages of production barring the development stage which is taken care of by the writers and producers. Directors are usually hired during pre-production although isn't always true (especially when the director also happens to have written the script). The director usually makes comments, tweaks, or changes to the script during development.
French New Wave

## Major Figures

* Jean-Luc Godard
* Francois Truffaut
* Eric Rohmer
* Claude Chabrol
* Jacques Rivette

* Breathless (1960)
* The 400 Blows (1959)
* My Night at Maud's (1969)
* Les Bonnes Femmes (1960)
* Celine and Julie Go Boating (1974)

**The French New Wave** was a movement in film that emerged in the late 1950s and early 1960s. It was characterized by its rejection of traditional narrative and stylistic conventions in favor of experimentation and a focus on the individual perspective of the filmmaker. The movement was led by a group of young directors who were inspired by the Italian neorealist movement and the theories of the French film critic André Bazin. Some of the key figures in the movement included François Truffaut, Jean-Luc Godard, Éric Rohmer, and Claude Chabrol.

## History

The origins of the French New Wave can be traced back to the late 1940s and early 1950s, when a group of film critics who wrote for the magazine Cahiers du Cinéma began to develop a set of aesthetic and theoretical principles that would come to define the movement. These critics, including Bazin, Truffaut, and Rohmer, were deeply influenced by Italian neorealism and its emphasis on realism and social critique. They also rejected the commercial and industrial aspects of the French film industry, which they saw as stifling artistic expression.

The first films of the **French New Wave** were released in the late 1950s. These films, including Truffaut's The 400 Blows and Godard's Breathless, were characterized by their use of non-linear storytelling, their focus on the inner lives of their characters, and their incorporation of elements from other art forms, such as literature and music.

The French New Wave quickly gained international recognition and had a major impact on the development of cinema around the world. Many of the filmmakers associated with the movement, including Truffaut, Godard, and Rohmer, went on to have successful careers in the film industry. The movement also inspired other filmmakers to experiment with new styles and techniques, leading to the emergence of various sub-genres and movements within the broader New Wave.

However, the French New Wave was not without its critics. Some critics argued that the movement's emphasis on individual expression and experimentation came at the expense of more traditional values, such as plot and character development. Others pointed out that the movement was largely male-dominated, with only a few women directors, such as Agnès Varda
Documentary

A documentary is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a historical record". It is a genre of movie making that uses video & film scenes, photographs and/or sound of real people and real events which when edited together creates a particular story, viewpoint, message or experience. Documentaries are often used to reveal an unusual, interesting or unknown angle. A common subgenre of documentary is a Nature Documentary, focusing on animals, wildlife and plantlife.

## History

Early 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 are educational, observational and docufiction. Documentaries are meant to be informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic.
Crew

A **crew** in the context of television and film production refers to a group of individuals who work collaboratively to bring a project to fruition. The crew is responsible for executing the creative vision of the director, producer, and other key personnel involved in the project.

The crew is typically organized into various departments, each with its specific responsibilities. These departments may include the camera department, art department, lighting department, sound department, and special effects department, among others. In addition to these departments, the crew also includes production assistants, grips, and other support staff who help with tasks such as setting up equipment, transporting gear, and ensuring the safety of the cast and **crew**.

## See Also

* Cast
* Director
* Cast & Crew
Tarantinoesque

**Tarantinoesque** refers to a piece of media being reminiscent to the style of director Quentin Tarantino, an american director known for his violent yet humorous films with nonlinear plots.

## Features

* Homages To Older Films With A Blending Of Styles And Genres
* Tarantinoisms - characters have a conversation that, on the surface level, has absolutely nothing to do with the plot of the film.
* Criminals as protagonists
* Blood, violence, swords and guns
* Trunk Shot
The Jimmy Stewart Museum

**The Jimmy Stewart Museum** is a museum dedicated to American actor James Stewart (1908–1997) that is located in Stewart's hometown of Indiana, Pennsylvania.

## History

The museum is located in the actor's hometown of Indiana, Pennsylvania on the third floor of the Indiana Public Library. The museum highlights the movie career of Stewart, including his role in the 1946 Christmas classic *It's a Wonderful Life (1946)*, as well as his service as a World War II bomber pilot. It contains numerous artifacts from Stewart's childhood, military career, and home life, as well as movie posters and memorabilia. Visitors can also view some of Stewart's movies in a replica 1930s theater.

Stewart himself was originally against the establishment of the museum, citing his own modesty, but was convinced by the potential financial gain of his community. The museum opened on May 20, 1995, with the actor's daughters Kelly Stewart Harcourt and Judy Stewart in attendance. Within walking distance of the museum are several other Stewart-related sites, including his birthplace, childhood home, his family's former hardware store, and the Stewart statue on the courthouse lawn.
Six Degrees of Kevin Bacon

**Six Degrees of Kevin Bacon** or **Bacon's Law** is a parlor game where players challenge each other to arbitrarily choose an actor and then connect them to another actor via a film that both actors have appeared in together, repeating this process to try to find the shortest path that ultimately leads to prolific American actor Kevin Bacon (or any chosen actor).

## Bacon Number

As defined by the game, the Bacon number of degrees of separation of an actor is the number of degrees of separation he or she has from Bacon. This is an application of the Erdős number concept to the Hollywood movie industry. The higher the Bacon number, the greater the separation from Kevin Bacon the actor is.

The computation of a Bacon number for actor X is a "shortest path" algorithm, applied to the co-stardom network:

* Kevin Bacon himself has a Bacon number of 0.
* Those actors who have worked directly with Kevin Bacon have a Bacon number of 1.
* If the lowest Bacon number of any actor with whom X has appeared in any movie is N, X's Bacon number is N+1.
Slasher

A **Slasher** is a subgenre of Horror that focuses on blood and killing. It is often confused with splatter films which deliberately have a major focus on the gorey aspects and although there is a lot of crossover between the two, there are major distinctions. Slashers most often involve a psychopathic killer (sometimes wearing a mask) who stalks and graphically murders a series of adolescent victims in a typically random, unprovoked fashion, killing many within a single day.

## History

Critics cite the Italian *giallo* films and psychological horror films such as *Peeping Tom* (1960) and *Psycho* (1960) as early influences. The genre hit its peak between 1978 and 1984 in an era referred to as the "Golden Age" of slasher films. Notable slasher films include *The Texas Chain Saw Massacre* (1974), *Halloween* (1978), *Friday the 13th* (1980), *A Nightmare on Elm Street* (1984) and *Child's Play* (1988). Most of the time the actual slasher antagonist becomes infinitely more popular and famous than the film's protagonist, as is true for Micheal Myers, Freddy Krueger, Chucky and Jason.

1. ↑ https://horror.fandom.com/wiki/Slasher\_film
Headroom

**Head room** is a concept of composition that addresses the relative vertical position of the subject within the frame of the image. Headroom refers specifically to the distance between the top of the subject's head and the top of the frame, but the term is sometimes used instead of lead room, nose room or 'looking room' to include the sense of space on both sides of the image.

## Implementation

Piggybacking on the rule of thirds, leaving a subject headroom gives balance to the shot composition, while too much headroom will stunt the subjects, losing them in the shot. For optimum headroom, the subject's eyes should be in the top third of the frame.

Headroom, like most all rooms of cinematic composition, can be tweaked and played around with in order to evoke different feelings.

## See also

* Rule of Thirds
* Lead Room
Suspense

**Suspense** is a state of uncertainty or excitement regarding a specific outcome. Suspense is typically coupled with feelings of anxiousness and anticipation. In storytelling, it is used to keep an audience deeply engaged in what is occurring. It can be found in various genres, including comedies, but it is most commonly used in thrillers. Mystery and shock are often confused with suspense, but have different key characteristics that differentiate the terms.

## Alfred Hitchcock

"*There is no terror in the bang, only in the anticipation of it*"
— Alfred Hitchcock

The use of suspense is often associated with Alfred Hitchcock who was known to masterfully utilise it within his films - he was even nicknamed "the Master of Suspense". Hitchcock explains how his films “convey visually certain elements in storytelling that transfers itself to the mind of the audience, whereas other films make visual statements, so that the audience becomes a spectator.” Turning audiences into spectators, he says, accounts for the excesses of blood and gore onscreen in horror films: “there’s no subtlety.” The critique goes beyond squeamishness. In Hitchcock, spectacles are secondary, at best, to information.

The difference between suspense and surprise is best describe by Hitchcock's Bomb Under the Table principle.

## See also

* Hitchcockian
* Bomb Under the Table
* Jumpscare
* Thriller
Dynamation

**Dynamation** was an animation technique pioneered by Ray Harryhausen. In an era where stop motion animation was often used to convey realism in special effects, dynamation was developed to give the impression that live-action actors are interacting with stop motion creatures on screen.

## Technical Information

An example of a film that uses dynamation is *The 7th Voyage of Sinbad (1958)*. In this film, Kerwin Matthews (playing Sinbad) would have had to memorise his fighting movements and perform them on camera against nothing. A skeleton was then painstakingly animated frame by frame  and then sandwiched between of rear-projected footage of the actor, varying horizon lines, and matte glass layers.  This groundbreaking mix of live-action footage and stop motion made audiences believe that a man was duelling a skeleton.

## References

1. ↑ https://www.youtube.com/watch?v=HAS8qW9df9s
2. ↑ https://filmschoolrejects.com/harryhausen-dynamation-explained/
Epic

An epic is a genre characterized by its grand scale, sweeping scope, and dramatic visual effects. Epics typically focus on historical events or legendary figures, often depicting them in a highly stylized or mythic manner. These films frequently feature large, panoramic vistas, lavish costumes and sets, and stirring musical scores. Epic films often span years, decades, or even centuries and feature complex storylines with multiple subplots and a large cast of characters. Examples of epic films include *Ben-Hur (1959), Lawrence of Arabia (1962), Gone with the Wind (1939),* and *Gladiator (2000)*.
Weapons Master

"*The key factor about a weapon is what the character is going to do with it. If it’s something for show that’s gonna hang on a wall, we can go overboard. But if they have to wield it, fight with it and ride off into the sunset with it on a horse, then it has to be practical.*"
— Tommy Dunne, weapons master on Game of Thrones[[src]]

A **Weapons Master** on a film or TV show can be credited as many different names (**armorer**, **weapons specialist**, **weapons handler**, **weapons wrangler**, or **weapons coordinator** to name a few). They are a member of the film crew who specializes in prop weapons including blades, firearms and bows. They are a requirement on set at all times when weapons are being used and are in charge of safety when it comes to them.

## Responsibilites

### Firearms

The weapons master provides a gun-safety course, which the actors have to take. They teach gun safety, how to handle a gun, and what could happen if you're not paying attention to the safety of everyone on a set.

They are the last person to hand an actor a gun, and the person who gives the actor a gun is responsible for it. The proper procedures should be taken to show the actor whether the gun is loaded and, if it's not, whether it's plugged, when a piece of plastic or wood clogs the magazine and how to deal with countless scenarios where things could go wrong.

### Design and Accuracy

Sometimes, the weapons master is also involved in the ideation and design of a fictional weapon and must consider practicality as well as character appropriateness during the process. Tommy Dunne, the weapons master for Game of Thrones said “The Lannisters were rich, so their world is flamboyant, but you’re also then dealing with the likes of the Starks, who are homey and down to earth, grounded and traditional—less opulent,”

Furthermore, the weapons master for *Terminator Genisys (2015)* went against the script for the sake of historical accuracy. "In the script, the 1984-era police were using Beretta M9 handguns," Lu said. "Having owned a gun shop in LA during the '80s, I've sent a lot of cadets to the police academy, so I know all the equipment from that era. In the case of the Beretta, I knew the academy didn't get that until 1988 or '89, so we used revolvers instead for those scenes."

## History

For decades, prop masters were responsible for the dummy weapons used on movie sets. But around the 1980s prop departments began to hire people who not only would focus on the fake weapons (which either fire blanks or don't fire at all) and the safety of the cast/crew, but also have encyclopedic knowledge of the weapons used for the film.

Harry Lu was one of the first people given the title of weapons master. Director James Cameron pegged him with the title during the making of 1991's *Terminator 2: Judgment Day (1991)*.

## References

1. ↑ https://www.businessinsider.com/prop-master-handles-weapons-prop-guns-rust-alec-baldwin-2021-10?r=US&IR=T
2. ↑ https://www.backstage.com/magazine/article/weapons-master-70399/
3. ↑ https://www.businessinsider.com/terminator-genisys-guns-weapons-master-harry-lu-2015-7?r=US&IR=T
Telefoni Bianchi

***Telefoni Bianchi*** (**white telephones**) **films**, also called **deco films**, were made by Italian film industry in the 1930s and the 1940s in imitation of American comedies of the time in a sharp contrast to the other important style of the era, calligrafismo, which was highly artistic. The cinema of ***Telefoni Bianchi*** was born from the success of the Italian film comedy of the early 1930s; it was a lighter version, cleansed of any intellectualism or veiled social criticism.

## History

In the 1930s and 1940s, Italian cinema was dominated by light comedies known as Telefoni Bianchi. These movies emphasized conservative values and respect for authority, and typically avoided government censorship. Telefoni Bianchi served as a launching pad for many future screenwriters and set designers, such as Cesare Zavattini, Sergio Amidei, Guido Fiorini, Gino Carlo Sensani, and Antonio Valente.

Mario Camerini, one of the most notable directors of the genre, moved from diverse trends in the 1930s to sentimental comedy with films such as *What Scoundrels Men Are! (1932), Il signor Max (1937), and Department Store (1939).* Camerini also experimented with Hollywood-style comedy and surrealism. He was interested in the figure of the typical and popular Italian, anticipating some elements of future Italian comedy.

Other notable directors of the Telefoni Bianchi genre include Mario Mattoli, Jean de Limur, Max Neufeld, and Mario Bonnard.

As the subjects became repetitive and predictable, the genre's production decreased until it vanished entirely with the fall of the Fascist regime in 1943.

## See also

* Italian Cinema
* Italian Neorealism
* Calligrafismo
* Propaganda Film
Deus ex Machina

A “Deus Ex Machina” refers to a situation in which a character gets into a seemingly unsolvable predicament, only to be rescued in a sudden, unexpected, and sometimes illogical way. In many cases, it creates more confusing questions about the plot. For instance, in *The Lord of the Rings: The Two Towers (2002)*, Gandalf the Grey falls to his death. Later, without any real explanation, he reappears as Gandalf the White.

## History

Deus ex machina translation is Latin for “god from the machine.” It refers to the crane or pulley system that brought actors playing gods over the stage in Greek and Roman plays. They were dropped in often towards the end to determine the ending and bring resolution.