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31 Cards in this Set
- Front
- Back
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fade-out
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Gradually darkens the end of a shot to black
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fade-in
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lightens a shot from black
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dissolve
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superimposes the end of shot A and the beginning of shot B
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wipe
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shot B replaces shot A by means of a boundary line moving across the screen
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cut
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splicing two shots together
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graphic match
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filmmaker may link shots by graphic similarities
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rhythmic relations
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filmmaker adjusts the length of shots in relation to one another
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spatial relations
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constructing film space
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temporal relations
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editing to control the time of the action denoted in the film
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flashforward
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editing moves from the present to a future event, then returns to the present
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flashbacks
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present one or more shots out of the ir presumed story order
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crosscuttin
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common way films construct a variety of spaces
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temporal ellipsis
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eliminating time to do an action
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elliptical editing
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presents an action in such a way that it consumes less time on the screen than it does in the story
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overlapping editing
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cuts that repeat part or all of an action
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continuity editing
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the dominant editing style
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axis of action
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180 degree line
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match on action
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show action beginning in shot A then continue it in shot B
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SOUND
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ENGAGES A DISTINCT SENSE MODE
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loudness
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sound we hear results from vibrations in the air - amplitude, or breadth, of the vibrations produces our sense of loudness, or volume
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pitch
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frequency of sound vibrations affects pitch, or the perceived highness or lowness of the sound
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timbre
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harmonic components of sound give it a certain color, or tone quality - musicians call it timbre
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diegetic sound
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sound that has a source in the story world
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nondiegetic sound
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represented as coming from a source outside the story world - ex music
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internal and external diegetic sound
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use of sound to enter a character's mind is so common that we need to distinguish between these two
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sound over
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nondiegetic and internal diegetic sounds called this because they do not come from the real space of the scene
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sound perspective
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sense of spatial distance and location analogous to the cues for visual deptha nd volume that we get with visual perspective
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synchronous sound
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matching of sound with image in projection creates this
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asynchronous
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filmmakers obtained imaginative effects by putting these out-of-sync
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simultaneous sound
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sound takes place at the same time as the image in terms of the story events
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nonsimultaneous
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the sound we hear to occur earlier or later in the story than the events that we see in teh image
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