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24 Cards in this Set
- Front
- Back
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cut
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provides an instantaneous change from one shot to another
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fade-out
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gradually darkens the end of a shot to black
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fade-in
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enlightens a shot from black
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wipe
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shot B replaces shot A by means of a boundary line moving across the screen
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Graphing Matching
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linked shots by close graphic similarities
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Flash Frames
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mark transition between segments or signal flashbacks or subjective sequences
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intra-frame editing
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generate shots that look like normally photographed ones
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Kuleshov effect
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cutting together portions of a space in a way that prompts the viewer to assume a locations that isn't entirely shown
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flashbacks
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one or more shots out of their presumed story order
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flashforward
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editing moves from the present to a future event, then returns to the present
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elliptical editing
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an action in such a way that it consumes less time on the screen than it does in the story
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overlapping editin
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stretching the action pasts its story duration
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axis of action
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the center line or the 180 degree line. any action can be thought of as occurring along a line or vector.
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180 degree system
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the director would arrange the mise-en-scene and camera placement so the axis of action is created and it cannot be crossed ensures: Relative positions in the frame remain consistent consistent eyelines consistent screen direction |
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screen direction
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keeping the axis of action constitant
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establishing shot
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a shot showing special relation among the important figures, objects, and setting in a scene
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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. Over-the-shoulder is often used
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eyeline match
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the first shot shows a person looking off in one direction and the second shows what he or she sees
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reestablishing shot
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a return of view of an entire space after a series of closer shots
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match on action
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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 uninterruped
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point-of-view cutting
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does Laurie really see the killer?
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crosscutting
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alternating shots of events in one location with shots of events in other places
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jump cut
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cut together two shots of the same subject, if the shots differ only slightly in angle or composition, there will be a noticeable jump on the screen
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nondiegetic insert
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cuts from the scene to a metaphorical or symbolic shot that doesn't belong to the space and time of the narrative
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