Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key


Play button


Play button




Click to flip

106 Cards in this Set

  • Front
  • Back
Aspect ratio
The relationship of the frames height and width
extreme long shot
a framing in which the scale of the object shown is very small, a buidlign, landscape, or crowd of people fills the screen
long shot
a framing in which the scale of the object shown is small; a standing human figure appears nearly the height of the screen
a framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically
medium long shot
medium shot
a framing in which the scale of the object shown is of moderat size
medium close up shot
a framing in which the scale of the object shown is of moderately large size
a framing in which the scale of the object shown is large; most commonly a head seen fromt the neck up
close up shot
a framing in which the scale of the object shown is very large
extreme close up
a framing in which two (or three) human figures, usually seen from the waist up, fill most of the screen
two/three shot
camera tilted downard at the object being filmed (high angle shot)
high/low angle shot
a view in which the frame is not level, either the right or left side is lower than the other, causing objects in the scene to appaer slanted out of an upright positon
canted framing
A use of the camera lens and lighting that keep both the close and distant planes being photographed in sharp foucs; a restricted depth of field that keeps only one plane in sharp focus
deep/selective focus shot
shifting the area of sharp foucus from one plane to another during a shot
racking focus shot
a change in the focal length of the lens during a shot. a change toward the telephot range enlarges the image and flattens its planes together, giving an impression of magnifying the scene's space, while a shift toward the wide-angle range does the opposite
zoom in, zoom out
the modern standard frame rate is 24 frames per second, shottoing more frames per second produces a slow-motion effect; shooting fewer frames per second produceds a fast-motion effect
slow/fast motion shot
composite process whereby fottage meant to appear as the background of a shot is projected from the front or rear onto a screen; figures in the foreground are filmed in front of the screen. in rear projection, foreground and background tend to look quite distinct
front/rear projection
Illumination directed into the scene from a postion newar the camera. can minimize shadows nd produce a relatively flat-looking image
front lighting
illumination coming from one side of the figures in the scene, usually in order to create a sense of volume, to bring out surface tensiions, or to fill a areas left shadowed by light from another source. also called crosslighting
illumination cast onto the figures in the scene from the side opposite the camera. this lighting can be positoned at many angles: high above the figures, at vaous angles off the side, pointing starigth at the camera, or below
Illumination from a point below the figures in the scene. this lighting tends to distort features, it is often used to creat dramatic effects
illumination coming from above the figures in the scene, usually in order to outline the upper areas of the figures or to separate them more clearly from the background
top lighting
In classical hollywood cinema, the brightest illumination (and casting the strongest shadows) in the scene is called _________. the lgith often coreesponds to the motivating light source in the setting.
key/fill light
a common arragement within classical hollywood cinema that uses three directions of illumination on the scene: from behind the subject, from one bright source, and from a less bright source balancing the keylight.
three-point lighting
illumination that creates comparatively little contrast between the light and dark areas of the shot, with fairly transparent shadows brightened by fill light
high/low key lighting
when a camera is pointed directly at a bright source of light the lens may "flare" or scatter the light, typically producing startbursts or circles of light across the image
lens flare
A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing which scans the space horizontally.
Pan Shot
An extremely fast movement of the camera from side to side, which briefly causes the image to blur into a set of indistinct horizontal streaks. Often a nearly imperceptible cut will join two whip pans to create a trick transition between scenes.
Whip Pan Shot
A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically.
Tilt Shot
A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction.
Crane Shot
A mobile framing that travels through space forward, backward, or laterally. In the example below, the shot begins as Rick and Stanley arrive at the studio and meet Cynthia, then follows Rick through the halls, then transfers to an assistant, then picks up Cynthia and Stanley, then transfers to Mary. This single, continuous shot takes a little over two minutes onscreen.
Tracking / Dolly Shot
A shot in which the camera dollies in while zooming out or the camera dollies out while zooming in. As a result the background of the shot appears to grow closer while the foreground remains the same size (or vice-versa).
Dolly zoom shot
A mobile framing that uses the camera operator’s body as a camera support, either holding it by hand or using a harness. In the clip below, the tight handheld shot on Benjamin's face evokes his anxiety and claustrophobia while he circulates through the party.
Handheld Shot
A dark screen that gradually brightens as a shot appears (fade in); a shot gradually disappears as the screen darkens (fade out). Occasionally, fade outs brighten to pure white or to a color.
Fade in / out
A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition.
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.
A transition from one shot to another. Typically, straight cuts are perceived as instantaneous in terms of story time.
A round, moving mask that can close down to end a scene (iris out) or emphasize a detail, or that can open to begin a scene (iris in) or to reveal more space around a detail.
Iris in / out
A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene (establishing shot); a return to a view of an entire space after a series of closer shots (re-establishing shot).
Establishing / Re-establishing shot
Two or more shots edited together that alternate characters, typically in a conversation situation.
Shot / Reverse-shot
A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.
Match on action
A cut obeying the axis of action principle, in which the first shot shows a person looking in one direction and the second shows a nearby space containing what he or she sees. In neither shot are both looker and object present.
Eyeline match
In the continuity editing system, the imaginary line that passes from side to side through the main actors, defining the spatial relations of all the elements of the scene as being to the right or to the left.
Axis of action
In the continuity editing system, a cut that presents continuous time from shot to shot but that (intentionally) mismatches the positions of figures or objects.
Cheat cut
Two successive shots joined so as to create a strong similarity of compositional elements (e.g. color, shape).
Graphic Match
Shot transition between two shots of the same subject that are so similar in camera distance and/or angle that the image appears to 'jump' on the screen.
Jump Cut
An instantaneous shift from a distant framing to a closer view of some portion of the same space
A rapid transition from one shot to another. Typically, quick cuts are intended to increase tension and/or to be mildly disruptive to the narrative
Quick cut
Alternating shots of two or more lines of action occurring in different places, usually simultaneously.
Plot shows past events and then returns to present (flashback); plot shows future events and then returns to present (flashforward
Flashback / forward
Shot transitions that omit parts of an event, causing an action to consume less time on the screen than it does in the story.
Elliptical Editing
Cuts that repeat part or all of an action in order to expand its viewing time and plot duration. Unlike repetitive editing, overlapping editing intends to expand the duration of action in an unobtrusive manner.
Overlapping Editing
Two shots that repeat, in part or in whole, a single story event.
Frequency / Repetitive Editing
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 to link the images in a montage sequence.
Montage Sequence
Any sound presented as originating from a source within the world of the story (diegetic sound); any sound presented as originating from outside the space of the world of the story (nondiegetic sound).
Diegetic / nondiegetic sound
Sound that comes from the mind of a character within the story that we assume other characters in the scene cannot hear (internal diegetic sound);
Internal / external diegetic sound
Sound that is matched temporally with the movements occuring in the images (synchronous sound); sound that is not matched temporally with movements occuring in the images (asynchronous sound).
Synchronous / asynchronous sound
Diegetic sound that occurs at the same time in the story as the image it accompanies; diegetic sound that comes from a source in time earlier or later than the image it accompanies
Simultaneous / nonsimultaneous sound
At the beginning of one scene, sound from the previous scene carries over briefly before sound from the new scene begins; at the end of one scene, sound from the next scene is heard, leading into that scene.
Sound bridge
Why does General Sternwood like to watch other people drink?
He can’t drink himself anymore
Who kills Geiger?
Owen Taylor (the chauffeur)
Who kills Joe Brody?
Carol Lundgren
After the scene in the gambling hall, how much money does Marlowe think Vivian has in her purse?
Who is being described? “I think he’s a blackmailer, a hot car broker, a killer by remote control.”
Eddie Mars
What is Marlowe’s response when Vivian says, “We could’ve had a lot of fun if you weren’t a detective”?
We still can.”
Why was Marlowe fired from the DA’s office?
Who kills Owen Taylor (the chauffeur)?
Joe Brody
What does Eddie Mars have on Vivian?
Carmen committed murder
Who kills Sean Regan?
Carmen Sternwood
According to Lisa, at what moment does she fall in love with Stefan?
When he thanks her for opening the door
What lie does Lisa tell Leopold?
She’s engaged
What does Lisa bring to Stefan’s apartment when she visits him the night after the opera?
Complete the quote [Johann to Lisa]: “There are such things as _________.... You talk as though it’s out of your hands. It’s not, Lisa.”
honor and decency
Within one year, how old is Lisa in each of the three sections of her narration?
14, 18, 27
The quotation below is an example of which of Bordwell/Thompson’s four types of meaning?

“A girl dreams of leaving home to escape her troubles. Only after she leaves does she realize she loves her family and friends.”
The quotation below is an example of which of Bordwell/Thompson’s four types of meaning?

“In the Depression, a tornado takes a girl from her family’s Kansas farm to the mythical land of Oz.”
Which of the following is NOT a motif in Letter from an Unknown Woman?
Which of the following is NOT one of Bordwell/Thompson’s five general principles of film form?
Why does Donnie want braces?
to get Brad’s attention
Complete the quote: “The book says, ‘We may be through with the past, but ____________.’”
the past ain’t through with us
According to Earl, what is the biggest regret of his life?
I let my love go”
Why does Linda want to change the will?
she cheated on Earl
Which of the following is the BEST example of an element of disunity in Magnolia?
the Worm
Who speaks the following line?

“Facing the past is an important way of not making progress.”
Frank Mackey
Which of the following characters in Magnolia does NOT have a parent who appears onscreen?
Phil Parma
According to Bordwell and Thompson, which of the following is MOST characteristic of

classical Hollywood cinema
individual characters as causal agents
According to Bordwell and Thompson, which of the following would NOT be part of Magnolia’s plot?
Earl cheats on Lily
According to Bordwell and Thompson, which of the following would NOT be part of Magnolia’s story?
The voiceover narration
Who is Speaker B?
Speaker A: "There isn't much money in this business if you're honest."
Speaker B: "Are you honest?"
Vivian Rutledge
the film refers to things or places already invested with significance
things you already know
literal meaning of the film
implied, interpretation meaning
looking at the meaning of a film in regrard to the large tihngs like society
assume that everything we see serves a purpose
similarity/repetitons (motif)
repeat of somehting
progression from beginning to middle to end
every fit together-unity
Wise Up, diegetic, non diegetic?
Three aspects of narrative:
causality, time and space
everything visibly andn audibly present in the film
the set of all the events in a narrative, both the ones explicitly presented an dthose the viewer infers
who kils harry jones
who kills caninoq
marlow kills canino
who kills eddie mars
his own boys
recounted story
across a whole film, narration is never completely __________