Film Ap Final

Front 1

Three Point Lighting

Back 1

An arrangement using 3 directions of light on a scene (backlighting, key lighting, and fill lighting.)

Front 2

Mise en scene

Back 2

The process of setting a stage, with regard to placement of actors, scenery, properties, etc.

Front 3

Tracking Shot

Back 3

A mobile framing that travels through space forward, backward or laterally.

Front 4

Extreme Close Up

Back 4

A framing in which the scale of the object shown is very large.

Front 5

Long Shot

Back 5

A framing in which the scale of the object shown is small. A standing human would appear nearly the height of the screen.

Front 6

Wipe

Back 6

A transition between shots in which a line passes across the screen.

Front 7

Cheat Cut

Back 7

In continuity editing system, a cut that presents continuous time from shot to shot but that mismatches the positions of figures of objects.

Front 8

Under Lighting

Back 8

Illumination from a point below the figures in the scene.

Front 9

Top lighting

Back 9

Lighting coming from above a person or object, usually in order to outline the upper areas of the figure or to separate it ore clearly from the background.

Front 10

Deep Focus

Back 10

A use of the camera lens and lighting that keeps both the close and distant planes being photographed in sharp focus.

Front 11

Canted Framing

Back 11

A view in which the frame is not level and appears slanted.

Front 12

Distance of Framing

Back 12

The apparent distance of the frame from the mise-en-scene elements. AKA camera distance or shot scale.

Front 13

Fade Out

Back 13

A shot gradually disappears as the screen darkens.

Front 14

Rhythmic Editing

Back 14

A steady, metrical, beat can be established by making all of the shots approximately the same length.

Front 15

Overlapping Editing

Back 15

Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration.

Front 16

Axis of Action

Back 16

In the continuity editing system, the imaginary line that passes from side to side through the main actors, defining spatial relations of all the elements of the scene as being to the right or left. AKA 180 degree line.

Front 17

Match on Action

Back 17

A continuity cut that splices two different views of the same action together at the same moment in movement, making it seem to continue uninterrupted.

Front 18

Dialogue Overlap

Back 18

In editing a scene, arranging the cut so that a bit of dialogue coming from shot A is heard under a shot that shows an other character on another element in the scene.

Front 19

Nondiegetic Sound

Back 19

Sound coming from a source outside the space of the narrative.

Front 20

Asynchronous Sound

Back 20

Sound that is not matched temporally with the movements occurring in the image, as when dialogue is out of synchronization with lip movements.

Front 21

High Key Lighting

Back 21

Illumination that creates comparatively little contrasts between light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light.

Front 22

Tilt

Back 22

A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing the scans the space vertically.

Front 23

Medium Shot

Back 23

A framing in which the scale of the object shown is of moderate size; a human figure seen from the waist up would fill most of the screen.

Front 24

Close Up

Back 24

A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up.

Front 25

Extreme Long Shot

Back 25

A framing in which the scale of the object is shown is very small; a building, landscape, or a crowd of people would fill the screen.

Front 26

Graphic Match

Back 26

Two successive shots joined so as to create a strong similarity of compositional elements.

Front 27

Frontal Lighting

Back 27

Illumination directed into the scene from a position near the camera.

Front 28

Key Lighting

Back 28

Brightest illumination in a 3-point lighting system.

Front 29

Deep Space

Back 29

An arraignment of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one farthest away.

Front 30

Masking

Back 30

In exhibition stretches of black fabric that frame the theater scene.

Front 31

Level of Framing

Back 31

What degree the frame is.

Front 32

Mobile Framing

Back 32

The effect on the screen of the moving camera, a zoom lens, or special effects.

Front 33

Fade In

Back 33

A dark screen that gradually brightens as a shot appears.

Front 34

Flashbacks

Back 34

An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown.

Front 35

Elliptical Editing

Back 35

Shot transitions that omit parts of an event, causing an ellipsis in plot and story duration.

Front 36

Establishing Shot

Back 36

A shot, usually involving a distant framing, that shows the spatial relations among the important figure, objects, and setting in a scene.

Front 37

Pitch

Back 37

The frequency of sound vibrations affects pitch, or the perceived highness or lowness of the sound.

Front 38

Fidelity

Back 38

The degree of accuracy with which sound or images are recorded or reproduced.

Front 39

Synchronous Sound

Back 39

Sound that is matched temporally with the movements occurring in the image, as when dialogue is out of synchronization with lip movements.

Front 40

Choker Close Up

Back 40

From head or chin.

Front 41

Low Key Lighting

Back 41

Illumination that creates strong contrast between light and dark areas the shot, with deep shadows and little fill light.

Front 42

Pan

Back 42

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. AKA Panorama.

Front 43

Medium Long Shot

Back 43

A framing at a distance that makes an object about 4 or 5 feet higher appear to fill most of the screen vertically.

Front 44

Medium Close Up

Back 44

A framing in which the scale of the object shown is fairly large; a human figure seen from the chest up would fill the scene.

Front 45

Dissolve

Back 45

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.

Front 46

Cross Cutting

Back 46

Editing that alternates shots of the two or more lines of action occurring in different place, usually simultaneously.

Front 47

Backlighting

Back 47

Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures.

Front 48

Fill Lighting

Back 48

Illumination from a source less bright than the key light used to soften deep shadows in the scene.

Front 49

Shallow Space

Back 49

Staging the action in relatively few plans of depth; opposite deep focus.

Front 50

Angle of Framing

Back 50

The position of the frame in relation to the subject it shows.

Front 51

Wide Angle Lens

Back 51

A lens 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 background planes.

Front 52

Crane Shot

Back 52

A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction.

Front 53

Shot/Reverse Shot

Back 53

Two or more shots edited together that alternate characters, typically in a conversation situation.

Front 54

Flash-forward

Back 54

An alternate of story order in which the plot presentation moves forward to a future events and then returns to the present.

Front 55

Continuity Editing

Back 55

A system of cutting to maintain continuous and clear narrative action.

Front 56

Eyeline Match

Back 56

A cut obeying the axis of action principle, in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what he sees.

Front 57

Timbre

Back 57

The harmonic components of sound give it a certain color, or tone quality.

Front 58

Diegeitc Sound

Back 58

Sound coming from a source inside the space of the narrative.

Front 59

Night-For-Night Lighting

Back 59

Extreme contrast.

Front 60

Genre Specific

Back 60

Types of films that have established a series of conventions and institutionalized history (western, horror, the musical, film noir, gangster film, etc.)

Front 61

Film Noir

Back 61

Emerged post WWII, revealing a very disenchanted and pessimistic world view. Createdpredominately by European émigrés: Fritz Lang, Billy Wilder, Edgar Ulmer, and Robert Siodmak). Implying the failure to institute the ideals of the war: democracy, equality,
justice,etc.

Front 62

Femme Fatale

Back 62

Women often seen as false refuge
from it, but this is misleading

Front 63

Film noir problematizes. Influenced by two major changes in post-WWII:

Back 63

Destabilization of traditional family by having women in the work
place

Front 64

Traditional filmic representations of the 1940s and 1950s family:

Back 64

1) legitimates women's secondary status of the male breadwinner
2) the only legitimate location of the fulfillment of sexual needs:
even though it is de-eroticized once married (sexuality pursued
outside of family, childless marriages)
3) embodiment of romantic love (anger and desire to kill one another,
no connection between husband and wife)