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67 Cards in this Set
- Front
- Back
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dissolve
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Gradual transition from one image to another
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parallel editing/cross-cutting
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An editing technique that cuts back and forth between actions in separate spaces, often implying simultaneity, also called parallel editing
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Classical hollywood editing / continuity editing
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sometimes called invisible editing, the basic principle is that each shot or scene has a continuous relationship to the next
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Production code
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The production code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States
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Diegesis
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- Comes from the greek word meaning "narration"
- Refers to the world of the film's story (characters, places and events) including not only what is shown but also what is implied to have taken place. |
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Non-diegetic sound
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i. sound only the audience hears.
ii. Comes from a source outside a film's world iii. usually has no relevants spatial or temporal dimensions iv. Offscreen and recorded during postproduction v. Assumed to be inaudible to the characters onscreen |
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Blocking
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The arrangement and movement of actors in relation to each other within the Mise-en-scene
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continuity sound
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i. Invisibility
ii. Inaudibility iii. Volume does not interfere with dialogue iv. Mood rhythm of the music do not contradict that of the action V. Compositions are matched to narrative flow VI. Signifier of emotion VII. Narrative cueing |
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Montage Sound
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I. Sound may "come first" (vs. visual)
II. Border b/w nondiegetic and diegetic unclear III. The idea that the mise-en-scene will make a naturalistic noise is frustrated IV. Voices - do not always preserve the illusion of a closed world V. Music might appear and disappear. VI. Effects can be tied (synchronized) to arbitrary sources |
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POV
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The position from which a person, event or object is seen or filmed, in narrative form, the perspective through which events are narrates.
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Mickey-mousing
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Over illustrating the action through the musical score, drawn from the conventions of composing for cartoons. An example is accompanying a character walking on tiptoe with music played by plucked strings
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Idealogy
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A systematic set of beliefs, not necessarily conscious or acknowledged
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180 Degree rule
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The camera cannot go past the imaginary line (axis of action) drawn between the figured of a scene and characters. If the camera crosses the 180-degree field, onscreen figure positions would be reversed
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axis of action
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An imaginary line bisecting a scene corresponding to the 180-degree rule in continuity editing
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Classical hollywood three-point lighting
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Academy ratio 1:33:1
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Two shot
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A shot depicting two characters
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High key lighting
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Very little contrast between darks and lights
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Low key lighting
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Ratio between lights and darks is harsh
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Depth of field
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the range or distance before and behind the main focus of a shot within which objects remain relatively sharp and clear
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Deep-space composition
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a total visual composition that can place significant information or subjects on all three planes of the frame and thus creates an illusion of depth
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shot/reverse shot
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An editing pattern that begins with a shot of one character taken from an angle at one end of the axis of action, follows with a shot of the second character from the "reverse" angle at the other end of the line and continues back and forth through the sequence often used in conversations
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Production values
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The technical elements of a production, as the lighting, decor, or sound in a film often specific, such elements that are enhanced to increase audience appeal
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Iris Out
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When the corners of the frame are masked in black, gradually reducing the image to a small circle
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Iris In
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When the image gradually opens to full screen from a small circle with black edges
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Aspect Ratio
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The width to height ratio of the film frame as it appears on a movie screen or television monitor
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Academy Ratio
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An aspect of screen width to height of 1:37:1. The standard was adopted by the motion picture academy of arts and sciences in 1931 and used by most films until the introduction of widescreen rations in the 1950's
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Widescreen Ratio
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The wider rectangular ratio typically 1:85:1 or 2:35:1
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Long shot
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Places considerable distance between the camera and the scene or person so that the object or person is recognizable but defined by the large space and background.
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Medium shot
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See the body of a person from approximately waist up.
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Medium long shot
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A framing that increases the distance between the camera and the subject compared with a medium shot, it shows most of the individuals body.
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Close Up
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shows details, normally a characters face
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Eye level
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puts the viewes at equal level with the characters view. An eye level shot IMPLIES NEUTRALITY
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High Angle
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Shot directed at a downward angle or individuals of a scene
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Low angle
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A shot from a position lower than its object (looking up at a characters)
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Dutch/Canted Angle
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frame appears out of balance
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Aerial View/Crane view shot
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An aerial view of the picture-implies the observer's omniscience. Made from a camera mounted on an elevating arm that is mounted on a vehicle. Has a horizontal and vertical movement. Can lift the camera high off the ground. Movement appears omniscient or voyeuristic
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Pan Shot
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-The horizontal movement of a mounted camera
- Offers a larger, more panoramic view - Guides our attention to characters or actions that are important |
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Tilt shot
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upward or downward rotation of camera that produces vertical movement onscreen.
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Tracking shot
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Shot taken by a camera fixed to a wheeled support (dolly)
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Dolly-in
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Subject grows larger in the frame, gaining significance
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dolly-out
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moving away from subject, often used for slow disclosure
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Eyeline match
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A principle of continuity editing that calls for a following shot of a character looking off screen with a shot of a subject whose screen position matched the gaze of the character in the first shot.
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Deep focus cinematography
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Using a short -focal length lens, keeps all three planes in sharp focus
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Match on action
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A cut between two shots featuring a similar action: a train moving left to right cuts to a runner going the same direction
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Genre
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A catergory or classification of a group of movies in which the individual films share similar subjects matter and similar ways of organizing the subject through narrative and stylistic patterns
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archetype
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an original model or type, such as Satan as an archetype of evil
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Noir
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-French name
- hard-boiled fiction - German expressionism |
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Film Noir
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- Usually describes films from 1941- 1958
- More about style than anything else - more a tone or mood than a genre - Portrays a world of dark, slick city streets, crime and corruption -Literally means "dark film" |
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Hard-boiled fiction
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-Tough, cynical way of acting and talking
- Romanticism with a protective shell - Roots in the pulp fiction or journalism - Their protagonists live out a narcissistic and defeatist code - Dashiell Hammett, Raymond Chandler, James M. Cain |
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German Expressionism
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Concentrates on heavy use of light and dark contrasts, exaggeration, tilted angles, a dreamlike atmosphere, distortion of the external world to reveal a (often twisted) psychological state
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German Expressionism (book definition)
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Film movement drawing on painting and theatrical developments that emerge in Germany between 1918 and 1929, expressionism depicted the dark fringes of human experience through the use of dramatic lighting and set and costume design to represent irrational forces
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Film Noir (visual elements)
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- Skewed camera angles
- expressionistic lighting - Shadowy - Dark - Low key lighting |
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Synchronous sounds
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Are those sounds which are synchronized or matched with what is viewed. For example: if the film portrays a character playing the piano, the sounds of the piano are projected.
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Asynchronous sound
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Sound that does not match what is on the screen
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Foley sounds
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- Sounds such as footsteps, the rustle of clothing, or a key turning in a lock
- Names after the inventor Jack Foley |
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Montage
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-- A filmmaking technique which uses rapid editing, special effects and music to present compressed narrative information
-- Sergei Eisenstein (Soviet Filmmaker) |
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German expressionism
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Concentrates on heavy use of light and dark, contrasts, exaggeration, tilted angles, a dreamlike atmosphere, distortion of the external world to reveal a (often twisted) psychological state
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Method acting
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A phrase that loosely refers to a family of technique by which actors try to create in themselves the thoughts and emotions of their characters in an effort to develop lifelike performances.
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Chiaroscuro lighting
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Used in cinematography to indicate extreme low-key lighting to create distinct areas of light and darkness in films, especially in black and white films.
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Kuleshov effect
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-- The Kuleshov Effect is a film editing (montage) effect demonstrated by Russian Filmmaker Lev Kuleshov in the 1910s and 1920s
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Kuleshov Effect
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Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings
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establishing shot
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An initial shot that established the location and setting and that orients the viewer in space to a clear view of the action
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Graphic match
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- An edit in which a dominant shape or line in one shot provides a visual transition to a similar shape of line in the next shot
-- One of the most famous examples is from Stanley Kubrick's 2001: A Space Odyssey |
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4 Elements that came together to create classical film noir
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-- War & Post war disillusionment
-- Post-war realism -- German influence -- Tradition of hard boiled detective fiction |
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Shot
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basic building block of film editing
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Cut
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Editing's most fundamental tool
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A "shot's" two explicit values:
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-- What is within the shot
-- How the shot is situated |
