Test2

Front 1

Everything that is placed before the camera, in other words everythingthat the camera sees. Includes aspects such as lighting, decor/location, costume,make-up, acting style, composition, the use of space, and the use of color.

Back 1

mise en scene

Front 2

Film production that takes place within the highly controlled and constructed context of a studio or soundstage.

Back 2

studio shooting

Front 3

Film production that takes place in a real, physical place

Back 3

location shooting

Front 4

Lighting which serves to provide the least amount of contrastbetween different areas of the image

Back 4

high key lighting

Front 5

Lighting which accentuates the contrast between lighter and darker parts of the image.

Back 5

low key lighting

Front 6

Composition in which there is a considerable distance between the plane closest to the camera and the one farthest away.

Back 6

deep space

Front 7

Composition in which the action is staged in relatively few planes.

Back 7

shallow space

Front 8

Everything that the camera does, or in other words how the camera sees. Includes aspects such as camera distance, camera angle, camera movements, focus and depth of field.

Back 8

cinematography

Front 9

Is always described in relation to the human body

Back 9

camera distance

Front 10

Shot giving close attention to a body part or detail, such as an eye oran earring.

Back 10

extreme close up

Front 11

Shot from the neck up

Back 11

close up

Front 12

Shot from the waist up

Back 12

medium shot

Front 13

Shot which shows the entire body.

Back 13

long shot

Front 14

Shot in which the body shown is small in relation to background orlandscape

Back 14

extreme long shot

Front 15

Shot in which the body shown is small in relation to background orlandscape

Back 15

high angle shot

Front 16

Shot in which the camera is looking upwards at its object.

Back 16

low angle shot

Front 17

Straight-on shot in which the camera is looking directly at its object

Back 17

eye level shot

Front 18

A camera movement from one side to the other on a stationary tripod

Back 18

pan

Front 19

A camera movement upwards or downwards on a stationary tripod.

Back 19

tilt

Front 20

A camera movement where the entire camera moves forwards or backwards, or from side to side.

Back 20

tracking/Dolly shot

Front 21

A camera movement with the greatest range of side-to-side, up-and-down and even diagonal movement resulting from attaching the camera to a crane.

Back 21

crane shot

Front 22

Shot that places the camera in the position of the character’s eyes to show us what he or she would see.

Back 22

point of view shot

Front 23

Used to shoot the action in a flexible manner; tends to be less steady and jumpier than mounted cameras.

Back 23

handheld camera

Front 24

Shot in which all the close and distant planes of the composition are insharp focus

Back 24

deep focus

Front 25

Shot that highlights one plane (foreground, midground, or background)and blurs others, thereby concentrating our attention on one detail rather thananother

Back 25

selective focus

Front 26

Shot when the camera shifts the area of sharp focus from one plane to another during a shot.

Back 26

racking/pull focus

Front 27

Lens that allows the filmmaker to alter focal length during a shot, either magnifying the object so that we appear to move closer to it or demagnifying it to move farther away from it.

Back 27

zoom

Front 28

Film technique that concerns the transition from one shot to the next

Back 28

editing

Front 29

Instantaneous transition made from one shot to the next.

Back 29

cut

Front 30

Transition in which a dark screen becomes brighter.

Back 30

fade-in

Front 31

Transition in which a shot darkens until the screen is black.

Back 31

fade-out

Front 32

Transition in which one image gradually disappears as another appears.

Back 32

dissolve

Front 33

Transition in which a line goes across the screen, replacing one shot with another.

Back 33

wipe

Front 34

Transition between two shots that share similar compositional elements.

Back 34

graphic match

Front 35

Transition in which the same action is seen from two views

Back 35

match on action

Front 36

System that has evolved to minimize the disruptive power of editing

Back 36

continuity editing

Front 37

An extreme long shot which defines the entire space in which thesequence is to take place.

Back 37

establishing shot

Front 38

The left-to-right organization of elements on the screen maintainedby respecting the 180-degree rule while editing.

Back 38

screen orientation

Front 39

The most common editing sequence which puts the 180-degree ruleto work.

Back 39

shot-reverse shot

Front 40

Sequence featuring an image with a character looking in onedirection cuts to an image of another character looking in the opposite direction,back at that initial character.

Back 40

eyeline matching

Front 41

An elliptical cut which adds to a sense of discontinuity by violating filmconventions, notably the “30-Degree Rule” which says that between two shots ofthe same subject the camera position should vary by at least 30°.

Back 41

jump cut

Front 42

Kind of editing in which parts of an event are omitted.

Back 42

elliptical editing

Front 43

A shot that lasts for a long time without any cuts.

Back 43

long take

Front 44

A series of rapidly edited together images, often with a voice-overor some other kind of sound or music providing continuity, which may signal anextensive passage of time.

Back 44

montage sequence

Front 45

The alternation of shots of two or more lines of action occurring indifferent places, usually simultaneously.

Back 45

crosscutting

Front 46

The combination of multiple video signals or film images on a single screen.

Back 46

split screen

Front 47

Technique in which the sound accompanying one scene continues on intothe next, or in which the sound from the following scene is made audible beforethe image is visible.

Back 47

sound bridge

Front 48

Sound which is connected with the world within the film, such aseverything that the main character hears.

Back 48

diegetic sound

Front 49

Sound that comes from outside of the story-world which thecharacters in the film are unable to hear—such as a musical soundtrack

Back 49

non-diegetic sound

Front 50

Sound that comes from a physical source so that we assume that all thecharacters in the scene can hear it.

Back 50

external sound

Front 51

Sound that we assume comes from the mind of a character in the storyand that no one else in the story can hear it.

Back 51

internal sound

Front 52

Sound for which the source is visible on the screen

Back 52

onscreen sound

Front 53

Sound for which we assume the source to be in the same space of thescreen, but outside the visible area.

Back 53

offscreen sound

Front 54

Narration by a voice whose source is neither visible in the frame nor impliedto be offscreen.

Back 54

voice-over

Front 55

Elements related to the implied world of the story, including settings,characters, sounds, and events.

Back 55

diegetic

Front 56

Elements that exist outside the fictional world of the story—such as theopening or closing credits, or background music.

Back 56

non-diegetic

Front 57

Consists only of the events that are shown on the screen

Back 57

syuzhet

Front 58

Includes all of the information about the characters’ world and experiences thatthe viewer is able to acquire and infer.

Back 58

fabula

Front 59

A narrative structure in which the first act presents and thendisrupts a situation, the longer second act prolongs and complicates thedisruption, and the third act resolves the conflict and restores equilibrium. Thisnarrative structure is typical of most storytelling in film and television.

Back 59

three-act structure

Front 60

Kind of narration in which we might only see events from theperspective of one of the characters or of a few of them.

Back 60

restricted narration

Front 61

Kind of narration in which our knowledge exceeds that of thecharacters.

Back 61

omniscient narration

Front 62

Kind of narration in which we only see characters from an externalviewpoint.

Back 62

objective narration

Front 63

Kind of narration in which various techniques are used to showthe mental state of characters, providing access to their innermost thoughts,dreams, motives and emotions.

Back 63

subjective narration