Film

Front 1

180 Degree Line

Back 1

Used to ensure that cuts maintain a continuous sense of space, which is an imaginary line drawn between the camera and action

Front 2

Shot-Reverse Shot

Back 2

Back and forth movement between characters generally used during dialogues

Front 3

Cross-Cutting

Back 3

Alternating of shots from two sequences, in different locals which suggest they are taking place at the same time

Front 4

Master Shot

Back 4

Recording of an entire dramatized scene, from start to finish

Front 5

Omniscient Point of View

Back 5

When the story is told from an all seeing god-like omnipotent viewpoint

Front 6

Mise-en-Scene

Back 6

Arrangement of visual weights and movements within a given space. This encompasses both the staging of action. Everything that goes into a frame (physical setting, staging of action, composition of image and variable framing)

Front 7

Depth of Field/Deep Focus

Back 7

A technique that permits all distance lans to remain in focus (Everything is in focus, with depth and distance) (Bazin's Theory, respects wholeness and richness of space and reality)

Front 8

Long Take

Back 8

A single shot of lengthy duration, often used by realists(Bazin's Theory, respects wholeness and richness of space and reality)

Front 9

Documentary

Back 9

A nonfiction film that represents actuality, depicting people and situations that exist or once existed

Front 10

Open Form

Back 10

Mise en scene and design elements of the frame conspire to make the audience aware of the continuous space beyond the frame, suggesting reality exists outside of the frame

Front 11

Montage

Back 11

A technique that stresses the dynamic relationship between shots, which often is an alternative to continuity ending

Front 12

Montage Sequence

Back 12

Rapidly editing images which is used to suggest a passing of time and events

Front 13

Thematic Montage

Back 13

A type of editing in which separate shots are linked together not by their literal continuity in reality by symbolic association. Juxtaposing shots of different objects to create metaphors

Front 14

Dialectics

Back 14

An analytical methodology, that juxtaposes pair of opposites-a thesis and antithesis- to arrive at a synthesis of ideas

Front 15

Jump Cut

Back 15

Abrupt transition between shots in which the second shot is taken from an angle slightly different from the first that makes the character or object seem to jump

Front 16

Low Angle

Back 16

A shot in which the subject in photographed from below

Front 17

High Angle

Back 17

A shot in which the subject is photographed from above

Front 18

Intrinsic Interest

Back 18

An unobtrusive area of the film image that nonetheless compels our most immediate attention because of its dramatic or contextual importance

Front 19

Long Shot

Back 19

A shot taken from a distance that includes the full view of the subject and some surroundings

Front 20

Medium Shot

Back 20

A close shot, revealing the human figure from knees to waist up

Front 21

Close Up

Back 21

A detailed view of a person or object (If actor, usually the head)

Front 22

High Key Lighting

Back 22

A style of lighting emphasizes bright, even illumination with few conspicuous shadows. Used in comedies, musicals and light entertainment film

Front 23

Low Key Lighting

Back 23

A style of lighting that emphasizes diffused shadows and atmospheric pools of light, used in mysteries and thrillers

Front 24

Diegetic Sound

Back 24

Sound that has an establishing part in the film (natural sounds taking place in a film)

Front 25

Non-diegetic Sound

Back 25

Sound or image that has no source in the film, background music and narration