Chapters 4, 5, 6, 7

Front 1

Narration

Back 1

The act of telling a story

Front 2

Narrator

Back 2

Who are what is telling the story

Front 3

First-Person Narrator

Back 3

Character in the narrative who typically imparts information in the form of voice-over narration.

Front 4

Voice-Over Narration

Back 4

When we hear a character's voice over the picture without actually seeing the character speak the words. Allows audiences to hear one narrative while seeing another.

Front 5

Direct-Address Narration

Back 5

Narration directly to the audience. Breaking the "fourth wall" that traditionally separates viewer from on-screen action.

Front 6

Third-person Narrator

Back 6

Standing at a remove from the action. Provides information not accessible to a narrator who participates in the story.

Front 7

Omniscient Narration

Back 7

Knows all and can tell us whatever it wants us to know.

Front 8

Restricted Narration

Back 8

Limits the information it provides the audience to things known only to a single character. Encourages audience to identify with the character's singular perspective on events.

Front 9

Character

Back 9

Pursues a goal

Front 10

Round Character

Back 10

Complex - Complicated. Possessing numerous subtle, repressed, or even contradictory traits, which can change significantly.

Front 11

Flat Character

Back 11

Uncomplicated. Exhibit few distinct traits. Do not change significantly as the story progresses.

Front 12

Antihero

Back 12

Unsympathetic protagonists chasing less than noble goals

Front 13

Antagonist

Back 13

Person, people, creature, or force responsible for obstructing our protagonist.

Front 14

Rising Action

Back 14

Tension provoking enhancement of our engagement with the narrative.

Front 15

Climax

Back 15

Comes when the protagonist faces THE major obstacle. Most exciting part of the movie.

Front 16

Resolution

Back 16

Once goal is gained or lost - Third act of falling action in which narrative wraps up loose ends and moves toward to a conclusion.

Front 17

Diegetic Elements

Back 17

Total world of the story - elements of the events, characters, objects, settings, and sounds that form the world in which the story occurs.

Front 18

Nondiegetic Elements

Back 18

Those things that we see and hear on the screen that come from the outside world of the story - score music, title and credits, and voice-over comments from a third-person voice-over narrator.

Front 19

Plot

Back 19

Specific actions and events that the filmmakers select and the order in which they arrange those events so as to effectively convey the narrative to the viewer.

Front 20

Story Duration

Back 20

Amount of time that the implied story takes to occur.

Front 21

Plot Duration

Back 21

Elapsed time of those events within the story that the film explicitly presents (the elapsed time of the plot).

Front 22

Screen Duration

Back 22

Movie's running time on screen.

Front 23

Cinematic Time

Back 23

Cuts and editing devices punctuate the flow of the narrative and graphically indicate that the images occur in human-made time.

Front 24

Repetition

Back 24

Number of times with which a story element reoccurs in a plot - an important aspect of narrative form.

Front 25

Design

Back 25

Process by which the look of the settings, props, lighting, and actors is determined.

Front 26

Composition

Back 26

Organization, distribution, balance, and general relationship of actors and objects within the space of each shot.

Front 27

Mise-en-scene

Back 27

Staging or putting on an action or scene

Front 28

Decor

Back 28

Interior shooting - color and textures of the interior decoration, furniture, draperies, and curtains.

Front 29

Soundstage

Back 29

Windowless, soundproofed, professional shooting environment that is usually several stories high and can cover an acre or more of floor space.

Front 30

Chiaroscuro

Back 30

The use of deep gradations and subtle variations of lights and darks within an image.

Front 31

Cameo

Back 31

Small but significant role often played by a famous actor.

Front 32

Costume

Back 32

Clothing worn by an actor in the movie (Wardrobe)

Front 33

Frame

Back 33

What we see on the screen . Everything the director wants us to see.

Front 34

Freframing

Back 34

The frame around a motion-picture image can movie and thus change its point of view. Result from moving frame.

Front 35

Moving Frame

Back 35

What causes reframing.

Front 36

Viewfinder

Back 36

Little window you look through when taking a picture that indicates the boundaries of the camera's point of view.

Front 37

Off-screen Space

Back 37

Outside the frame

Front 38

On-Screen Space

Back 38

Inside the frame

Front 39

Open Frame

Back 39

Designed to depict a world where characters move freely within an open, recognizable environment.

Front 40

Closed Frame

Back 40

Designed to imply that other forces have robbed characters of their ability to move and act freely.

Front 41

Kinesis

Back 41

What moves on screen

Front 42

Blocking

Back 42

Familiarizing cast and crew with plans of positions and movements of actors and the cameras for each scene. Rehearsals. Tape is put down for camera angles and views.

Front 43

Cinematography

Back 43

Process of capturing moving images on film or a digital storage device.

Front 44

Take

Back 44

Number of times a particular shot is taken.

Front 45

Gaffer

Back 45

Chief electrician - concerned with electricity and lighting.

Front 46

Best Boy

Back 46

First-assistant electrician

Front 47

Film Stock

Back 47

Traditional method of cinematography. Celluloid used to record movies. Two types: Black and white and color.

Front 48

Widescreen Aspect Ratio

Back 48

Any aspect ratio wider than 1.33:1, the standard ratio until the early 1950's.

Front 49

Three-Point System

Back 49

Cast glamorous light on studios' most valuable assets (the stars).

Front 50

Key Light

Back 50

Main light or source light. Primary source of illumination and therefore is customarily set first.

Front 51

Fill Light

Back 51

Positioned at the opposite side of the camera from the key light, adjusts the depth of the shadows created by the brighter key light.

Front 52

Lighting ratio

Back 52

Balance between key and full lights.

Front 53

Back light

Back 53

Third source of three-point lighting. Usually positioned behind and above the subject and the camera and used to create highlights along the edges of the subjects as a means of separating it from the background and increasing its appearance of 3D.

Front 54

Production Values

Back 54

Amount and quality of human and physical resources devoted to the image.

Front 55

Zoom lens

Back 55

Variable-focal-length lens - permits the cinematographer to shrink or increase the focal length in a continuous motion and thus simulates the effect of movement of the camera.

Front 56

Aspect Ratio

Back 56

Relationship between the frames two-dimensions. Ratio of the width of the image to its height.

Front 57

Long Shot

Back 57

Generally contains the full body of one or more characters. (Type of shot)

Front 58

Medium Shot

Back 58

Somewhere between a long shot and a close-up - usually shows the characters from the waist up.

Front 59

Close-up

Back 59

Camera pays very close attention to the subject.

Front 60

Extreme Close-up

Back 60

Powerful variation of the close-up. Camera records very small detail of the subject.

Front 61

Blimp

Back 61

Soundproofed enclosure somewhat larger than a camera, in which the camera may be mounted to prevent its sounds from reaching the microphone.

Front 62

Deep-Space Composition

Back 62

Total visual composition that places significant information or subjects on all three planes of he frame and thus creates an illusion of depth.

Front 63

Rule of Thirds

Back 63

Principle of composition that enables filmmakers to maximize the potential of the image, balance its elements, and create the illusion of depth. Takes a form of a grid pattern.

Front 64

Shooting angle

Back 64

Level and height of the camera in relation to the subject being photographed.

Front 65

Pan shot

Back 65

Horizontal movement of a camera mounted on the gyroscopic head of a stationary tripod. Ensure smooth panning and tilting and keeps frame level.

Front 66

Dolly Shot

Back 66

AKA Tracking shot or traveling shot. A shot taken by a camera fixed to a wheeled support.

Front 67

Tracking shot

Back 67

Type of dolly shot that moves smoothly with the action when the camera is mounted on a wheeled vehicle that runs on a set of tracks.

Front 68

Zoom-in

Back 68

Magnifies the image

Front 69

Crane Shot

Back 69

Camera mounted on an elevating arm that is mounted on a vehicle capable of moving under its own power.

Front 70

Option Contract

Back 70

If the actor had made progress in being assigned roles and demonstrating box-office appeal, the studio picks up the option to employ the actor for the next six months and gives them a raise.

Front 71

Stanislavsky system

Back 71

Developed method acting / Psychological and social realism.

Front 72

Method acting

Back 72

Popularized naturalistic style that encourages actors to speak, move, and gesture not in a traditional stage manner but just as they would in their own lives. Ideal technique for representing convincing human behavior on the screen

Front 73

Typecast

Back 73

Cast in particular kinds of roles because of their looks or "type" rather than for acting talent or experience.

Front 74

Casting

Back 74

Process of choosing and hiring actors for a movie.

Front 75

Screen Test

Back 75

Trial filming for actor's auditioning.

Front 76

Major Roles

Back 76

Main, featured, or lead roles. Becoming a principle agent in helping to move the plot forward.