Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
159 Cards in this Set
- Front
- Back
|
Abstract Form
|
A type of filmic organization in which the parts relate to another through repetition and variation of such visual qualities as shape, color, rhythm, and direction of movement.
|
|
|
Academy Ratio
|
1:33:1 later normalized to 1:85:1
|
|
|
Aerial Perspective
|
A cue for suggesting depth in the image by presenting objects in the distance less distinctively than those in the foreground
|
|
|
Anamorphic lens
|
A lens for making widescreen films using regular Academy ratio frame size. The camera lens takes in a wide field of view and compresses it onto the frame, and a similar protector lens decompresses it onto a wide theater screen
|
|
|
Angle of framing
|
The position of the frame in relation to the subject it shows
|
|
|
High Angle
|
Looking down
|
|
|
Low angle
|
Looking up
|
|
|
Animation
|
Any process in which artificial movement is created by photographing a series of drawings, objects, or computer images one by one. Small changes in position create the illusion of movement
|
|
|
Associational Form
|
A type of organization in which the film's parts are juxtaposed to suggest similarities, contrasts, concepts, emotions, and expressive qualities.
|
|
|
Asynchronous
|
Sound that is not matched temporally with the movements occurring in the image. OUT OF SYNCH
|
|
|
Auteur
|
The presumed or actual author of a film, usually identified as the *director*. Or "good" filmmakers.
|
|
|
axis of action
|
the imaginary line that passes from side to side distinguishing elements on the scene from left to right. The camera is not supposed to cross during a cut.
|
|
|
Backlighting
|
Illumination that cast onto figures in the scene from the opposite side of the camera, creating a thin outline of highlighting on those figures
|
|
|
Boom
|
a pole on which a microphone can be suspended on during filming
|
|
|
Canted framing
|
a view in which the frame is not level
|
|
|
Categorical form
|
A type of filmic organization in which the parts treat distinct subsets of a topic. For example, a film about the US might be divided into 50 parts, one for each state.
|
|
|
Cel animation
|
Animation that uses a series of drawings on celluloid, called cells. Slight changes between the drawings combine to create an illusion of movement.
|
|
|
Cheat Cut
|
a cut that presents continuous time from shot to show but mismatches the positions of figures or objects.
|
|
|
Cinematography
|
A general term for all manipulations of the film strip by the camera in the shooting phase and in the lab during the developing phase
|
|
|
close-up
|
From the neck up
|
|
|
Closure
|
the degree to which the ending of a narrative film reveals the effects of all the causal events and resolves all lines of action
|
|
|
Continuity Editing
|
maintains continuous and clear narrative action. Relies on matching screen direction, position, and temporal relations.
Axis of action, cross cutting, cut in, establishing shot, eyeline match, match on action, shot/reverse shot, and more. |
|
|
Contrast
|
the difference between the brightest and darkest areas within the frame.
|
|
|
Crosscutting
|
Editing that alternates shots of two or more lines of action occurring in different places, usually at the same time.
|
|
|
Cut
|
In filmmaking: joining two strips of film together with a splice
in finished film: An instantaneous change from one framing to another. |
|
|
cut-in
|
instantaneous cut from one distant framing to a closer view of some proportion of space.
|
|
|
Deep Focus
|
A use of the camera lens and lighting that keeps objects in both close and distant places in sharp focus
|
|
|
Deep Space
|
an arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the the one farthest away. Both can be in focus
|
|
|
Depth of Field
|
The measurements of the closest and farthest planes in front of the camera lens between which everything will be in focus.
|
|
|
Diegesis
|
In the world of the film's story. The Diegesis includes events that are presumed to have occurred and actions and spaces not shown onscreen
|
|
|
Diegetic Sound
|
Any voice, sound effect, presented as originating from a source within the film's world.
|
|
|
Digital Intermediate
|
A strip of film is developed and scanned, frame by frame, to create a digital copy of sequence or a whole movie. The digital copy is manipulated by computers. When finished, it is scanned frame by frame onto a strip of negative film, which will be used to make prints to send to theaters.
|
|
|
Direct Sound
|
Music, noise, and speech recorded from the event at the moment of filming. Opposite of post-synchronization
|
|
|
Discontinuity Editing
|
Any alternative of joining shots together using techniques not acceptable within continuity editing principals. Elliptical editing, jump cut, nondiegetic, etc
|
|
|
Dissolve
|
transition where the first image gradually disappears as second gradually appears. The moment they both blend is superimposition.
|
|
|
Distance of framing
|
The apparent distance of the frame from the mise-en-scene elements.
|
|
|
Distribution
|
One of the three branches of the film industry: the process of marketing the film and supplying the copies to exhibition venues. Exhibition and Production are the other three branches
|
|
|
Dolly
|
A camera support with wheels used in tracking shots
|
|
|
Duration
|
The aspect of temporal manipulation that involves the time span presented in the plot and assumed to operate in the story.
|
|
|
Editing
|
The task of selecting and joining camera tasks, as well as the set of techniques that governs the relations among shots
|
|
|
Ellipsis
|
The shortening of of plot duration achieved by omitting some story duration.
|
|
|
Elliptical Editing
|
Shot transitions that omit parts of an event, causing an ellipsis in plot duration
|
|
|
Establishing shot
|
A shot usually using distant framing that shows the spatial relations among the important figures, objects, and setting in a scene.
|
|
|
Exhibition
|
One of three branches of the film industry: The process of showing the finished film to audiences. Distribution and Production are the other two.
|
|
|
Exposure
|
The adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperture.*
|
|
|
External Diegetic Sound
|
Sound represented as coming from a physical source within the story space that we assume characters in the scene also hear.
|
|
|
Extreme close-up
|
Scale of object is very large.
|
|
|
Extreme long shot
|
the scale of the object shown is very small. A building, landscape etc.
|
|
|
Eyeline match
|
A cue obeying axis of action, in which first shot shows a person looking off in one direction, and the second shows a nearby space containing what he or she sees.
|
|
|
Fade
|
A dark screen that gradually brightens as a shot appears.
|
|
|
Fill light
|
Illumination from a source less bright than the key light, used to soften deep shadows in the scene.
|
|
|
Film Noir
|
usually consists of detective or thriller genres with low key lighting and a somber mood.
|
|
|
Film Stock
|
The strip of material upon which a series of still photographs is registered; it consists of a clear base coated on one side with a light-sensitive emulsion.
|
|
|
filter
|
A piece of glass or gelatin placed in front of the camera or printer lens to alter the quality or quantity of light striking the film in the aperture.
|
|
|
Focal Length
|
The distance from the center of the lens to the point at which the light rays meet in sharp focus. The focal length determines the perspective relation of the space represented on the flat screen
|
|
|
focus
|
The degree to which light rays coming from the same part of an object through different parts of the lens reconverge at the same point on the film frame, creating sharp outlines and distinct textures
|
|
|
Form
|
The overall system of relationships among parts of a film
|
|
|
Frame
|
A single image on the strip of film.
|
|
|
Framing
|
The use of the edges of the film frame to select and to compose what will be visible onscreen
|
|
|
Frequency
|
Temporal manipulation that involves the number of times any any story event is shown in the plot
|
|
|
front Projection
|
A composite process whereby footage meant to appear as the background of a shot is projected from the front onto a screen; figures in the foreground are filmed in front of the screen as well.
|
|
|
Frontality
|
Positioning of figures so that they face the camera
|
|
|
Function
|
The role or effect of any element within the film's form.
|
|
|
Gauge
|
The width of of the film strip, measured in millimeters
|
|
|
Graphic Match
|
Two successive shots joined so as to create a strong similarity of compositional elements
|
|
|
Hard lighting
|
Illumination that creates sharp-edged shadows
|
|
|
High-Key Lighting
|
Illumination that creates comparatively little contrast between light and dark areas within the shot, Shadows are transparent.
|
|
|
Height of framing
|
The distance of the camera above the ground regardless of angle
|
|
|
Ideology
|
A relatively coherent systems of values, beliefs, or ideas shared by some social group
|
|
|
Intellectual Montage
|
The juxtaposition of a series of images to create an abstract idea not present in any one image
|
|
|
internal diegetic sound
|
Sound represented as coming from the mind of a character within the story space. Although we and the character can hear, we assume others cannot.
|
|
|
Interpretation
|
The viewers activity of analyzing the implicit and symptomatic meanings suggest in a film
|
|
|
Iris
|
A round, moving mask that can close down to end a scene, or emphasize a detail, or that can open to begin a scene to reveal more space.
|
|
|
Jump Cut
|
An elliptical cut that appears to be an interruption of a single shot.
|
|
|
Key Light
|
In the three point lighting system, the brightest illumination coming into the scene
|
|
|
lens
|
a shaped piece of transparent material with either or both sides curved to gather and focus light rays in a metal tube to form a compound lens.
|
|
|
linearity
|
the clear motivation of a series of causes nd annual effects that progress without significant digressions
|
|
|
long shot
|
human figure appears to be nearly the size of the screen
|
|
|
low-key lighting
|
illumination that creates strong contrast between light and dark areas in the shot, with deep shadows and little fill light.
|
|
|
mask
|
An opaque screen placed in the camera or printer that blocks part of the frame off and changes the shape of the photographed image.
|
|
|
MASKING
|
in exhibition, stretches of black fabric that frame the theater scene. Masking can be adjusted according to the aspect ratio of the film
|
|
|
matte shot
|
a process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in lab work
|
|
|
Meaning
|
Referential Meaning: allusion to particular items of knowledge outside the film that the viewer is expected to recognize
Explicit Meaning: significance presented overtly, usually in language often near the film's beginning or ending Implicit Meaning: significance left tacit, for the viewer to discover upon reflection Symptomatic meaning: significance that the film divulges, often against its will, by virtue of its social or historical context |
|
|
Medium close-up
|
human figure from chest up
|
|
|
Medium long-shot
|
"plain American", from about the knees up (it would show the cowboys gun in westerns"
|
|
|
Medium Shot
|
Waist up
|
|
|
Mise-en-scene
|
All of the elements placed in front of the camera to be photographed.
|
|
|
Mixing
|
Combining two or more sound tracks by recording them onto a single one
|
|
|
mobile frame
|
The effect on the screen of the moving camera, a zoom lens, or certain special effects changing the framing of what's on screen; crane shot, pan, tilt, tracking
|
|
|
Monochromatic Color Design
|
Color design that emphasizes a narrow set of shades of a single color.
|
|
|
Montage
|
A synonym for editing. An approach developed by the Soviet Filmmakers of the 1920s. It emphasizes discontinuous dynamic, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself.
|
|
|
Montage Sequence
|
A segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images. Frequently dissolves, fades, superimpositions, and wipes are used
|
|
|
Motif
|
an element in a film that is repeated in a significant way
|
|
|
Motion Control
|
A computerized method of planning and repeating camera movements on miniatures, models, and process work.
|
|
|
Motivation
|
The justification given in the film for the presence of an element. This may be an appeal to the viewer's knowledge of the real world, genre conventions, to narrative causality, or to a stylistic pattern in the film.
|
|
|
Narration
|
The process through which the film plot conveys or withholds story information. More or less restricted.
|
|
|
Narrative Form
|
A type of filmic organization in which the parts relate to one another through a series of causally related events taking place in time and space
|
|
|
Nondiegetic Insert
|
A shot or series of shots cut into a sequence, showing objects that are represented as being outside the world of the narrative.
|
|
|
Nondiegetic sound
|
Sound, such as mood music or a narrator's commentary represented as coming from source outside the world within the film
|
|
|
Non simultaneous sound
|
Diegetic sound that comes from a source in time either earlier or after than the image it accompanies
|
|
|
Normal Lens
|
A lens that shows objects without severely exaggerating or reducing the depth of the scene's planes. In 35mm filming, a normal lens is 35mm-50mm.
|
|
|
Offscreen sound
|
Simultaneous sound from a source assumed to be in the space of the scene but not visible onscreen
|
|
|
180 degree System
|
The camera stays on one side of the axis of action
|
|
|
Order
|
The aspect of temporal manipulation that involves the sequence in which the chronological events of the story are arranged in the plot
|
|
|
Overlap
|
A cue for suggesting represented depth in the film image by placing objects in front of more distant ones
|
|
|
Overlapping editing
|
Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration.
|
|
|
Pan
|
A camera movement with the camera body turning to the right or left. On the screen it produces mobile framing that scans the space horizontally.
|
|
|
Pixilation
|
A form of single-frame animation in which three-dimensional objects, often people, are made to move in staccato bursts through the use of stop-action cinematography
|
|
|
plan american
|
a framing in which the scale of the object shown is moderately small; the human figure seen from the shins to the head. Medium long shot.
|
|
|
plan-sequence
|
A french term for a scene handled in a single shot, usually a long take
|
|
|
PLot
|
all events that are directly presented to us. Causal relations, chronological order, duration, frequency, etc
|
|
|
POV
|
A shot taken with the camera placed approximately where the character's eyes would be, showing what they see.
|
|
|
Post-synchronization
|
The process of adding sound to images after they have been shot and assembled. Dubbing, diegietic music or sound effects. Opposite of direct soung
|
|
|
Production
|
One of the three branches of the film industry. process of creating the film. Distribution and exhibition are the other two.
|
|
|
Racking focus
|
Shifting the area of sharp focus from one plane to another during a shot.
|
|
|
Rate
|
the number of frames exposed per second. In projection, the number of frames thrown on the screen per second. If the two are the same then the speed of action will appear to be normal, whereas a disparity will create slow or fast motion
|
|
|
Rear Projection
|
A technique for combining a foreground action with a background action filmed earlier. The foreground is filmed in a studio, against a screen; the background imagery is projected from behind the screen.
|
|
|
Reestablishing shot
|
A return to a view of an entire space after a series of closer shots following the establishing shot
|
|
|
Reframing
|
Short panning or tilting movements to adjust for the figure's movements, keeping them onscreen or centered.
|
|
|
Rhetorical Form
|
A type of filmic organization in which the parts create and support an argument.
|
|
|
Rhythm
|
The perceived rate and regularity of sounds, series of shots, and movements within the shots. Includes beat(pulse), accent (stress), and tempo (pace)
|
|
|
Rotoscope
|
A machine that projects live action motion picture frames one by one onto a drawing pad so that an animator can trace the figures in each frame. The aim is to achieve more realistic movement in an animated film.
|
|
|
Scene
|
A segment in a narrative film that takes place in one time and space that uses crosscutting to show two or more simultaneous actions
|
|
|
Screen Direction
|
The right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the characters' eyelines.
|
|
|
Segmentation
|
The process of dividing a film into parts for analysis
|
|
|
Sequence
|
Moderately large segment of film, involving one complete stretch of action. A scene.
|
|
|
Shallow focus
|
A restricted depth of field, keeps only one plane in focus
|
|
|
Shallow space
|
Staging the action in relatively few planes of depth (opposite of deep space)
|
|
|
Shot
|
one interrupted run of the camera to expose a series of frames (a take). In the finished film, one uninterrupted image whether or not there is mobile framing
|
|
|
Shot/reverse shot
|
Two or more shots edited together to make alternate characters, usually in a conversation situation. One looks left, the other right. Over the shoulder usually as well.
|
|
|
Side lighting
|
Lighting coming from one side of a person, creating a sense of volume, to bring out surface tensions or to fill in areas left shadowed by light from another source
|
|
|
Simultaneous sound
|
Diegetic sound that is represented as occurring at the same time in the story as the image it accompanies
|
|
|
Size diminution
|
A cue for suggesting depth represented depth in the image by by showing objects that are farther away as smaller than foreground objects
|
|
|
Soft lighting
|
Illuminations that avoids harsh bright and dark areas, creating a gradual transition from highlights to shadows
|
|
|
Sound bridge
|
The sound from the previous scene carries into the next, or the sound from the next scene is heard leading into that scene
|
|
|
Sound over
|
Any sound that is not represented as coming from the space and time of the images on screen. Includes both non diegetic sounds and nonsimultaneous sound.
|
|
|
Sound perspective
|
The sense of a sounds position in space, yielded by volume, timbre, pitch, and binaural information
|
|
|
Space
|
The flat composition of the image as well as the onscreen and off screen space. Plot space = what is shown. Story place also includes what is inferred.
|
|
|
special effects
|
photographic manipulations that create fictitious spatial relations in the shot, such as superimposition, matte shots, and rear projections
|
|
|
Story
|
All events that we see and hear plus all of those that we infer or assumed to have occurred.
|
|
|
Storyboard
|
comic-strip like drawings of individual shots or phases of shots with descriptions below, used in planning film production
|
|
|
Stle
|
The repeated and salient uses of film techniques characteristic of a single film or a group of films
|
|
|
Superimposition
|
the exposure of more than one image on the same film strip or in the same shot
|
|
|
Synchronous
|
Sound that is match temporally with the movements occurring in the images
|
|
|
Take
|
The shot produced by one uninterrupted run of the camera.
|
|
|
Technique
|
Any aspect of the film medium that can be chosen and manipulated in making a film.
|
|
|
Telephoto lens
|
A lens of long focal length that affects a scene's perspective by enlarging distant planes and making them close to the foreground planes. In 35mm filming, a lens of 75mm or more.
|
|
|
Three-Point lighting
|
A common arrangement using three directions of light on a scene. from behind (back lighting) from one bright source (key lighting) and from a less bright source balancing the key light (fill light)
|
|
|
Tilt
|
a camera movement with the camera body swiveling upward or downward on a stationary support. It produces mobile framing that scans the space vertically
|
|
|
Top lighting
|
lighting in order to outline upper areas of the figure or to separate it more clearly from the background
|
|
|
Tracking Shot
|
Mobile framing that travels through space forward backwards, or larerally.
|
|
|
Typage
|
A performance technique of Soviet Montage cinema. The actor's appearance and behavior are presented as typical of a social class or other group
|
|
|
Unity
|
The degree to which a film's part relate systematically to each other and provide motivations for all of the elemtents included.
|
|
|
Variation
|
the return of an element with notable changes
|
|
|
Viewing time
|
The length it takes to watch a film at the appropriate speed.
|
|
|
Whip Pan
|
an extremely fast movement of the camera from side to side, which causes the image to to blur in a set of indistinct horizontal streaks
|
|
|
Wide Angle lens
|
A lens of short focal length that affects a scene's perspective by distorting straight lines near the edges of the frame and by exaggerating the distance between foreground and back ground planes. Wide angle lens is 35ml or less.
|
|
|
Wipe
|
A transition between shots in which a line passes across the screen, eliminating one shot as it goes and replacing it with the next one
|
|
|
Zoom Lens
|
A lens with a focal length that can be changed during a shot.
|
