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143 Cards in this Set
- Front
- Back
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Preproduction |
The phase of filmmaking that prepares for production on the basis of a screenplay, design, and financing.
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Production
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One of the three branches of the film industry; the process of creating the film.
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Postproduction
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The phase of the production that assembles the images and sounds into the finished film.
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Function
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The role or effect of any element within the film's form.
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Motif
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An element in a film that is repeated in a significant way.
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Variation
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Film forum, the return of element with notable changes.
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Unity
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The degree to which a film's parts relate systematically to one another and provide motivations for all the elements included.
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Narration
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The process through which the plot conveys or withholds story information. The narration can be more or less restricted to character knowledge and more or less deep in presenting characters' perceptions and thoughts.
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Narrative form
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A type of filmic organization in which the parts relate to one another through a series of casually related events taking place in time and space.
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Story
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In a narrative film, all the events that we see and here, plus all those that we infer or assume to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations; opposed to plot which is the film's actual presentation of events in the story.
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Plot
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In a narrative film, all the events that are directly presented to us, including the causal relations, chronological order, duration, frequency, and spatial locations; opposed to story, which is the viewer's imaginary construction of all the events in the narrative.
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Diegesis
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In a narrative film, the world of the film story. The diegesis includes events that are presumed to have occurred and actions and spaces not showing on screen.
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Frequency
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In a narrative film, the aspect of temporal manipulation that involves the number of times any story event is shown in the plot.
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Duration
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In a narrative film, the aspect of temporal manipulation that involves the time span presented in the plot and assumed to operate in the story.
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Closure
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The degree to which the ending of a narrative film reveals the effects of all the causal events and resolves ("closes off") all lines of action.
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Soft lighting
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Illumination that avoids harsh bright and dark areas, creating a gradual transition from highlights to shadows.
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Hard lighting
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Illumination the creates hard edged shadows.
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Frontal lighting
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Illumination directed into the scene from a position near the camera.
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Backlighting
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Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures.
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Side lighting
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Lighting coming from one side of a person or object, usually to create a sense of volume, to bring out surface tensions, or to fill areas left shadowed by light from other sources.
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Toplighting
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Lighting coming from above the person or object, usually in order to outline the upper area of the figure or to separate it more clearly from the background.
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Under lighting
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Illumination from a point below the figures in the scene.
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Fill light
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Illumination from a source less bright than the key light, used to soften deep shadows in the scene.
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Key light
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In the three point lighting system, the brightest illumination coming into the scene.
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Three point lighting
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A common arrangement using three directions of light on a scene: from behind the subjects (backlighting), from one bright source (key light), and from a less bright source balancing the key light (fill light).
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High key lighting
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Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by the fill light.
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Low-key lighting
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Illumination the creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light.
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Deep space
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And arrangement of mise en scène element so that there is a considerable distance between the plane closest to the camera and the one farthest away. Any or all of these planes may be in focus.
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Shallow space
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Staging the action in relatively few plains of depth; the opposite of deep space.
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Frontality
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In staging, the positioning of figures so that they face the viewer.
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Shot
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1. In shooting, one uninterrupted run of the camera to expose a series of frames; also called a take.
2. In the finished film, one uninterrupted image, whether or not there is mobile framing. |
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Scene
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A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions.
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Wide angle lens
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A lens of short focal length that affects a scene's perspective by distorting straight lines near the edge of the frame by exaggerating the distance between foreground and background planes.
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Normal lens
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A lens that shows objects without severely exaggerated or reducing the depth of the scene's planes.
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Telephoto lens
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A lens of long focal length that affects the scene's perspective by enlarging distant planes and making them seem close to the foreground planes.
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Zoom lens
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A lens with a focal length that can be changed during a shot. A shift toward the telephoto lens range enlarges the image and flattens its planes together, giving an impression of magnifying the scene's space; a shift toward the wide angle range does the opposite.
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Depth of field
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The measurement of the closest and farthest planes in front of the camera lens between which everything will be in sharp focus.
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Deep focus
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A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus.
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Selective focus
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A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deep focus.
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Rack focus
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Shifting the area of sharp focus from one plane to another during a shot.
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Superimposition
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The exposure of more than one image on the same film strip or in the same shot.
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Mask
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An opaque screen placed in the camera or printer that blocks part of the frame off and changes the shape of the photographed image, leaving part of the frame as solid color.
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Canted framing
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A view in which the frame is not level; either the right or the left side is lower than the other, causing objects in the scene to appear slanted out of an upright position.
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Extreme close-up
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A framing in which the scale of the objects shown is very large; most commonly, a small object or part of the body.
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Extreme long shot
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The framing in which the scale of the object shown is very small; a building, landscape, or crowd of people refill the screen.
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Canted framing
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A view in which the frame is not level; either the right or the left side is lower than the other, causing objects in the scene to appear slanted out of an upright position.
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Tracking shot
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A mobile framing that travels through space forward, backward, or laterally.
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Crane shot
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A shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction.
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Handheld camera
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The use of the camera operator's body as a camera support, either holding it by hand or using a harness.
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Reframing
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Short panning or tilting movements to adjust for the figures' movements, keeping them on the screen or centered.
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Long take
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A shot that continues for an unusually lengthy time before the transition to the next shot.
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Cut
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1. In filmmaking, the joining of two strips of film together with the splice.
2. In the finished film, an instantaneous change from one frame to another. |
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Fade in
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A dark screen that gradually brightens as a shot appears.
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Fade out
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I shot that gradually disappears at the screen darkens.
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Dissolve
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A transition between two shots during which the first image gradually disappears as the second image gradually appears; for a moment, the two images blend in a superimposition.
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Wipe
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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.
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Extreme close-up
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A framing in which the scale of the objects shown is very large; most commonly, a small object or part of the body.
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Iris
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A round, moving mask that can close down to end a scene (iris out) or emphasize a detail, or they can open to begin a scene (iris in) or to reveal more space around a detail.
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Graphic match
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Two successive shots joined so as to create a strong similarity a compositional elements.
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Flashback
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An alteration of story order in which the plot moves back to show events that have already taken place earlier than ones already shown.
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FlashForward
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An alteration of story order in which the plot presentation moves forward to future events and then returns to the present.
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Elliptical editing
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Shot transitions that omit parts of an event, causing an ellipsis in plot duration.
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Overlapping editing
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Cuts the repeat part or all of an action, thus expanding its viewing time and plot duration.
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Continuity editing
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A system of cutting to maintain continuous and clear narrative action. Continuity editing relies on matching screen direction, position, and temporal relations from shot to shot.
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180° rule
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The continuity approach to editing dictates that the camera should stay on one side of the action to ensure consistent left to right spatial relations between elements from shot to shot. 180° line is the same as the axis of action.
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Establishing shot
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A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene.
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Reestablishing shot
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A returned to a view of an entire space after a series of closer shots following the establishing shot.
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Extreme long shot
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The framing in which the scale of the object shown is very small; a building, landscape, or crowd of people refill the screen.
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Shot/reverse shot
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Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually looking left; and the other framing, right. Over the shoulder framings are common in shot/reverse shot editing.
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Eyeline match
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A cut obeying the axis of action principal, if the first shot shows the person looking off in one direction then the second shot shows a nearby space containing what he or she sees.
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Match on action
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Continuity cut that splices two different views of the same action together at the same moment in the same movement, making it seem to continue uninterrupted.
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Crosscutting
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Editing that alternate shots of two or more lines of action occurring in different places, usually simultaneously
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Jump cut
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And elliptical cut that appears to be an interruption of a single shot. Either the figure seems to change instantly against the constant background, or the background changes instantly well the figures remain constant.
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Rhythm
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The perceived rate and regularity of sounds, series of shots, and movements within the shots. Rhythmic factors include beat, accent, and tempo.
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Diegetic sound
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Any voice, musical passage, or sound effect presented as originating from a source within the film's world.
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Nondiegetic sound
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Sound, such as mood music or narrator's commentary, represented as coming from a source outside the space of the narrative.
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Extertal sound
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Sounds represented as coming from a physical source within the story space that we assume characters in the seat also here.
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Internal sound
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Sounds represented as coming from the mind of the character within the story space. Although we and the character can hear it, we assume that the other characters cannot.
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Close-up
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A framing in which the scale of the objects shown is relatively large; most commonly, a person's head seen from the neck up, or an object of a comparable size that fits most of the screen.
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Offscreen sound
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Simultaneous sound from a source assumed to be in the space on the screen but outside what is visible on screen.
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Non-simultaneous sound
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Dietetic sound that comes from a source in a time either earlier or later than the images it accompanies.
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Simultaneous sound
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Dietetic sound that is represented as occurring at the same time in the story as the image the companies.
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Synchronous sound
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Sounds that is matched temporally with the movements occurring in the images, as when dialogue corresponds to let movement.
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Asynchronous sound
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Sounds that is not matched temporally with the movements occurring in the image, as when dialogue is out of synchronization with with lip movement.
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Sound bridge
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1. At the beginning of one scene, the sound from the previous scene carries over briefly before the sound of the new scene begins.
2. At the end of one scene, the sound from this next scene is heard, leading into that scene. |
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Medium close-up
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A framing in which the scale of the object shown is fairly large; a human figure seen from the chest up would fill most of the screen.
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Medium long shot
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A framing at a distance that makes an object about 4 or 5 feet high appear to fill most of the screen vertically.
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Medium shot
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A framing in which the scale of the objects shown is of moderate size; a human figure seen from the waist up would fill most of the screen.
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Long shot
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A framing in which the scale of the objects shown is small; a standing human figure would appear nearly the height of the screen
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Pan
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A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing that scans the space horizontally.
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Tilt
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A camera movement with the camera body swiveling upward or download on a stationary support. It produces a mobile framing the scans the space vertically.
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Dialogue overlap
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In editing a scene, arranging the cut so that a bit of dialogue coming from shot A is heard under a shot that shows another character or another element in the scene.
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Abstract form
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A type of filmic organization in which the parts relate to one another through repetition and variation of such a visual qualities as shape, color, rhythm, and direction of movement.
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Associational form
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A type of organization in which the film's parts are juxtaposed to suggest similarities, contrast, concepts, emotions, and expressive qualities.
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Categorical form
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A type of filmic organization in which the parts treat distinct subjects of a topic. For example, a film about the United States might be organized into 50 parts, each devoted to the state.
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Rhetorical form
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A type of filmic organization in which the parts create and support an argument.
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Pixellation
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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 motion cinematography.
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Development |
The part of a movement or composition in which a theme or themes are developed. |
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Disunity |
A lack of unity or accord. |
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Three-act structure |
Divides a fictional narrative into three parts, often called the Setup, the Confrontation and the Resolution.
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Temporal order |
Occuring in time chronologically. |
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IN MEDIAS RES |
In the middle of things. |
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Exposition |
A large-scale public exhibition or show. |
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On location shooting |
Filming in a location that exists in the real world. Usually gives films a more realistic feel. |
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On set shooting |
Filming on a set. Gives the director more control but tends to look artificial. |
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Stylization in acting |
How stylized an actor's performance is. |
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Individualization in acting |
How individualistic an actor's performance is. |
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Symmetrical composition |
Filmed in a way so that the images on the screen are symmetrical (Moonrise Kingdom). |
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Balanced composition |
Shot is composed to have visual balance. |
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Unbalanced composition |
Shot is composed to have little visual balance. |
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Saturated colours |
Bright vibrant colouring. |
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Desaturated colouring |
Dull colouring. |
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Underexposed |
To expose either to insufficient light or to sufficient light for too short a period. |
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Overexposed |
To expose (a film or the like) to too much light. |
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Fast-motion |
Action that appears to move faster than normal on the screen, accomplished by filming the action at less than normal speed in the camera and then projecting it at normal speed. |
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Slow-motion |
The process or technique of filming or taping a motion-picture or television sequence at an accelerated rate of speed and then projecting or replaying it at normal speed so that the action appears to be slowed down. |
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Renaissance perspective |
The use of a vanishing point to create the illusion of three dimensions. |
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Low angle shot |
Framing an image from a perspective bellow the subject. |
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High angle shot |
Filming an image from a perspective above the subject. |
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Split screen imagery |
The process of dividing the screen into sections and displaying actions taking place simultaneously in different planes of the image. Popular in the 80s and 90s for telephone conversations. |
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Loudness |
The volume at which sound is projected. |
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Pitch |
A sound property that allows the ordering of sound on a frequency-based scale. |
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Timbre |
The characteristic quality of sound produced by a particular instrument or voice; tone color. |
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Fidelity |
The degree to which a film meets the viewer's expectations. |
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Onscreen |
The actions occurring in the view of the camera lens. |
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Voice-over |
The voice of an offscreen narrator, announcer, or the like. |
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Unrestricted narration |
The body of knowledge given to the viewer is not limited to just one character. This causes suspense. |
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Restricted narration |
The viewer's body of knowledge is limited to one character's knowledge. Creates surprise. |
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Subjective narration |
Viewing the world of the story through a character. We see the world how they see it. |
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Objective narration |
Viewing the world of the story from an external viewpoint, as if we are a character in the story. Ideas are not then shaped for us. |
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Communicative narration |
Forthcoming of information. |
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Uncommunicative narration |
Withholding of information. |
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Self-conscious narration |
Information is giving in a very controlled way, in which the director becomes a storyteller. Most narration is NOT self-conscious. |
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Expository documentary |
Narrator is objective. (Nanook of the North). |
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Observational documentary |
Fly on the wall feeling. (Primary). |
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Participatory documentary |
Filmmaker is involved. Interview style. (Roger and Me). |
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Reflexive documentary |
Calls attention to assumptions. Uses reenactments. (Forbidden Lie$). |
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Evidentiary editing |
Editing that serves to further a documentary's central arguments rather than preserving a narration. |
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Drawn animation |
The oldest form of animation. The process of drawing a subject in different positions on overlaying cels and photographing them to create the illusion of movement. |
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Cut out animation |
The process of laying cut out images over top of one another and moving them slightly, similar to drawn animation.
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Claymation |
Usually subjects are created with Plasticine and placed in a miniature environment to be photographed. the clay figures are then altered slightly and photographed again to create the illusion of movement. |
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Model/puppet animation |
Similar to Claymation. Puppets or models are created with wire joints and rearranged for each frame. |
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Computer animation |
Animation created using computer software. Can imitate any form of animation. |
