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Fr 1 3.1 #1
Quiz by Susan Dickerson
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Y8 Fr 3.1 Alors, quoi de neuf?Culture 1-3 (Fr 5H)3.1 V Musique et jeux Fr to Eng DO LAST3.1 V Musique et jeux Fr to Eng DO FIRSTFr 3 Sem 1 Final Review VocabularyEff..rs of ott.-PoFllat i What woLrld hoppen ro our colnrry i, it is ovetsp.pulored? When our counrry is ov€.-populdted, re @ €xp€ri.nce rh€ foll.wirg: Food is our bdsic h@d. Wh€n th€.Cs an ih.re.se ir populdtion it neans thar hore ,@d is iealed. It rheds ho .naJgh food, rrtrple irll srruggle wirh eddr oth€r in ordeLro €!'r- As o l!fllr, lhde rill be o f@d -- , ond ou, now]nert of on ihdiyiduol fron d c..tair - the move$eni o, on individudl our of o cerrain pla.e which help r€duce ihe populotion of th6t fr Arcih€. b.sic ned is w.ra. Wde. shorroge ocu.s when there is on ircreare of hu,nber of p@ple ro be $pptied. rn owr-popur.t d ore.s, woler is rdior€d, Ir rEB rhoi supplies like ti,tWSS ond ,IWSI can'i $pply enoish worer. Do you hdve enough supply of sai.. in your oreo? Aside f.om food alld worer, shelier is olso ohe o, our inportant heeds. As the populoiion ihcre.!e!, building n.w hoLr!€s or rhelt€r is limit.i. To find solulion to this prcbl€n, some goverihent og.ncies dnd orhs non{ov€Ihrehl offi.iofs (N6O) .onvefied sot@ ti.elields, du,np site. dnd nountcirlr inlo flbdivisions dnd relidentiols. Sut whot uould be ths effect o{ coMrtiig .i@fields to .6id€nri6l uits in our food supply? z , 2 Z Z :'", becouse there ore no enough space for prcpex garbage dkposol. ^s o r€sulr, sore peoPle lend to ihrow'their gorbdge onywh.f€. oorbdge baones brc{niry ond rursing ground of iEecrs and onidols ihot @se horm ro pe.ple. Dec.yiry garboge olso produces r,hpleaiant odor ard ehen burn if pmduces pois.nour qds @lled nelhohe As ihe populdtion incr€a3*, the 9d6.9e dso incraes. nris is T't ,,8 T H Wha you de living in on oa-populdi.d pla@, you moy oqaiae halrh prcblerns. Ir is be@@. the woi.r srpply is limit.d ihct will l..d you to poor hygi.ni. hobirs. In plo.4 like rhis, the surrouhdiigs naybe uniidy. o focrorthoi @uld oko cfFe.t your h4l'th. The common oilments rhot yd @uld oc$rire in ovesfDpllar€d ploces ore bEnchil is, o5l hnq. diqrrha and rube.culosis. 7,\ ,\\ \1" 6. Lnck of Herlrh sarvice llosi Pelple in 6n oM-populci€d 6ra 90 ro rubli. heilrh @trtas ond governhent hospirols be6u.e ii prcvides fr@ @Eulrorion oid los @sr rEdicdrions. A3 a ..suli, lh€s€ gow.nnenr dg€rciB b.@ne itud.4$re in mcetiig ihe n eds b..ou!€ df ihsrffici€nr funds. Lock of medicol personnel ,o odmaiisi€I is also s problen in mosr hosptols ev€n rhere or. od.audtc supply of hedicire!. 7_ Do you how wlry rhe crim€ roi€ hexs ih becdur€ fiDre pe.ple o.e fnJrrct€d d@ ro sLffici€.i naE io supp.rr their forniliG. ouf country inclY{ses? If is uh.mploym€ni dnd hdve no arinet .re u$dv gr€{rer ia dn dq-popltdled ra whq. tl, , a, v, tlr I E. Air ard Wat€r Pollutioh How dir be.o'nes pollut€d? I11€ dir b@'n€s p.llurn be.4ne of rhe hormfolgoees thot ser. produ.4 by the fdciori€s and vehicles. Itete {octories ond whi.l6 @ fuel ro run nochiB ond .JBin6. In ,h€ prc.ess, they give our Cdrboh Dioxide ond other ho.6ful gars.r such 6 Nittugei Oxide, Corbon l oioxide dnd Le.d iiio the oir. Do you know whot .ontdbute io ihe incr€asing number of whides qnd foctories? It is ihe inc.6e o, populdtion. As whdt I hove dis.!sse!, wirh a lihired sra.e 9@bd9e disposalie one of the problens thot .o!ld ise i, dh o!er-pop!,.t€d ploce. exn,jple ot thie orc rhos€ pelpl€ livi,rg oh the raverside teid 'ro ,hrou, lheir gEr&ge Hde you seen 'th. P6si9 river or the Tulyahan river? Did you {ind it Whdr do you think i! ihe eff€.t of ihis ih the.re4iures sho lives ih Ahothd f6do.s thal could.on rlbule to wdtd pollutioh dre oil s?ills, gorbqg€ fro,n boa, or ships ahd som€ ihdust.iol wosre. 9. Ite l@96f p4.enroge group. Individuols who orc this grclp. of olr popllarioh is compos.n of the working @pobla of s'rpporting ,heir fomilies nok !-up Though rhas group hol& the lojgeei percenroge of d. populaiion, rhis olso becomer one o{ oveFpopulored probl€]ns b€4use there ore rc jobs awildble fo. oll of iha10. Erergy Shortdge ltere will be on energy shortdge iJ ihe populdtion incre63"l be.dise rhe d.,nand i. €le.iriciry is high. Why is thai wh.n th. PoPqldion inclE.g, rhe d4ord in el4tricity is high? Ir B be.ouse there $,ould be 8to.e hdsat dnd blildirys to lighr ond nore el?riric oPPliohces ro run. rt.6rcznho!3.Ef+ed Whor is rhe grernho@ eff€.r? In whoi say il c.uld offect c2 6re.hhG. effed is rhe wdrniltg of rhe drltlosphee. lvhen the 5un worft rhe.nrrh s1jrf.@, sone of rhe h@r go€J bo.k ro rhe ornos?herc. Air an the dtnDsphere which is C@boi Dioxid. ,rops ihe heot 6hd it mok6 the a.th very worm. As ihe populdtion coniinuou!|,l gtol4 , the gt@rl$use etfe.t b@res no.e visible. Ir is becaosu ,hera ore mo.e focrories snd whicl.s iha, produce wdst€s ond fuma5 which cduses more C{.bo. Diodde ir the ormosphere. As a rcsutt, ,herc eiould be nore h4, ,rop in the ornosphere uhich osk6 th. @ih nuch wornerIf this will hoppen continuously, ,h€ fish ih th€ ocah *ill di€, ricerields/f@mlands will dry too due to lh€ wcm clitnole 12. Destruction of rhe Ozone Loyer A5 whot you hove l@med lrheh you de in v5-6, rhot the qzore ldver is 'the proiecrive loy€. of the olnosPhd€. ft protects us {rom the homful effects of ultrdviolei rays of the su. Do you khow ,hot our Ozore lol€t q4. dQ4tt\!ci.d? Il olreadY hod holes lhai dllow the ulrroviolet rdys to .4dt ihe @rrh. How do6 this hdpPei? Does th. in rc$e of poPuldioh h@€ sonething 'to do tr,lh ir? Yes, rhe I6i grov/irts PoPuldiion .odribuied o lot be@use 6 th' populotion incre3es, rhe u5e of refrigerd'tors, d€rosol lProvs 6nd pl4srics 6bo ihcre&s6. The sid producls coiiojn chemicol called Chlorofluorocdrbons (CFCS) which is mix wafh ihe dir in ihe ormosPher€. As o resulr. ihe hcrmfirl chernicol r€oches the Prolectiw ldver dnd lhrowh. hole in {hid ult@iolzi cahders aid cai4.ct3 ,F.*Y.iis hi!586$q€9.7,- Ho$ doas dcid rdin form? Is cid roii hdmful ro rEn? In the prcvious dis.ussions, yodt€ t.on€d rhd more vel .1e3 dnd fdctori€s or€ necded fo het the iii:.e.siry number o{ P@Pla. Lefs now fihd af hd f@tot.i€s dnd vehicle! .ontribure in the forrEtion of ocid When foctories 6nd whi.ler give off woste gd..3 ,hot will ,nix on lhe noisture i. rhe oir, it will ihen Produ.e sulPhu.i. ocld dnd Nitri. o.id. 'Ihe clol,Jd folb will ,h€h obsorb rhese ccids ond ehei ihe clold f.lls os .oin, ih. ccid is ahady Pdrr of itU/ha d.id ftin falls oh lok"!, ,46 or ocan ih€ fish sill die d.d if h fdlls oh fopnlonds,lhe pldni. together oith the soil B desrroyed. When you inhole dir with Niiric acid, your blood will los. irs @pobilily io fonspori Oxyg€h to your diff€.ai bodY Po.i3. ScieniisB include other rorns oJ dcidic pr€cipiigrion. Thes€ drc nisi, Do you krcw ihot Nuclerr power slotionr Use .adiodctive ,ndie.ials in producirE fuels, yet, rhey do and those .odioactiw rndlqlotE gi\e otf radio'ting en.rgy thoi is harmrul 'to livirq thilEs. wlren rodiotion enlert ihe body ot living things it {ill srq rhere for o lorg ,eriod of ri'ne. Exonple fhe rodiqtion vG srilled to the c.m. Then rhe @rn will be aie by rhe chicken, the .odiotion o the c.rn 'rill also 'tronsf€r to the chi.k€n. Wha on individuol als ihe nat of the chickeh sith mdiarion, helshe rill .ko oblorb ihe rodi@.tirc mtaid that will destrcy hB/her .€lls ond ruket hnn/hd si.r. Over-populoiion .on leld to food shoridg€, wdter shorroqe, housiB probl€ms, qdrbog€ probl€rs, lock of halrh sdi.e. tisa ol clit@ rote, oir ond woi€r pollution, uhanpl6ynat, eiergy 5horr69e, grenhoq3€ efreci, desrruction o( th. ozo@ lat/e?, rci.l roi. olld e.l€d. wattaFilmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film – “the contents of the frame and the way those contents are organized” include: lighting, costume, décor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the “stage” in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an ‘establishing shot’ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Camera’s angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in ‘power’ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a ‘submissive’ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ‘normal’ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ‘realistic feel’ Push In: camera moves up to a character’s face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to ‘soft’ and ‘hard’ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the ‘feeling’ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to ‘soften’ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the “duhn duhn duuuuh” which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewer’s eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.F&R leestekst 1.3