Film Studies Semester 1

Front 1

Theme

Back 1

the unifying central concern

Front 2

Exposition

Back 2

the first part of the story that introduces the characters

Front 3

In Media Res

Back 3

"in the middle of things"

Front 4

External Conflict

Back 4

personal struggle between central character & another character

Front 5

Internal Conflict

Back 5

psychological struggle for main character

Front 6

Developing Characters

Back 6

affected by plot of film & undergo a change

Front 7

Static Character

Back 7

mostly remain the same in a film

Front 8

Flat Character

Back 8

two dimensional character that lacks complexity

Front 9

Round Character

Back 9

unique individual who has some complexity

Front 10

Allegory

Back 10

every object, event, and person has an abstract meaning

Front 11

Symbol

Back 11

something that stands for something else

Front 12

Extrinsic Metaphor

Back 12

has no place in the scene itself

Front 13

Intrinsic Metaphor

Back 13

emerge directly from the context of the scene itself

Front 14

Low-key Lighting

Back 14

puts most of the set in shadows

Front 15

High-key Lighting

Back 15

more lighted areas than shaded

Front 16

Objective Point of View

Back 16

puts the audience at a distant from the action and not asked to participate

Front 17

Subjective Point of View

Back 17

provides us with a point of view from the character participating in the actions view

Front 18

Indirect-Subjective Point of View

Back 18

does not provide us with a participants point of view, but brings us close to the action so that we feel immediately involved in the action

Front 19

Director's Interpretative Point of View

Back 19

an image that produces the image a certain tome, emotional attitude or style that the film director implies

Front 20

Panning

Back 20

moving the cameras line of sight in a horizontal plane, left to right

Front 21

Tilting

Back 21

moving the cameras line of sight in vertical plane, up & down

Front 22

Rack Focus

Back 22

in one continuous shot focusing the camera lens in turn on objects in different planes of depth

Front 23

Deep-Focus

Back 23

the use of special lenses that allow the camera to focus simultaneously and with equal clarity on object

Front 24

Low-Angle Shot

Back 24

when the camera is placed below eye-level, the size and importance of the object is exaggerated

Front 25

High-Angle Shot

Back 25

opposite of the low angle shot, placing the camera above eye-level that seems to dwarf the subject and diminish its importance

Front 26

Wide-Angle Lens

Back 26

exaggerates the perspective so that the distance between an object in the foreground and one in the background seems much greater than it actually is

Front 27

Establishing Shot

Back 27

provides the audience with a broad picture of the setting so that we get a feel for the environment in which the scene occurs

Front 28

Parallel Cuts

Back 28

quickly alternates back and forth between two actions taking place at separate locations (also known as inter-cutting)

Front 29

Montage

Back 29

a series of images and sounds that without any clear, logical or sequential pattern form a visual poem in miniature

Front 30

Surrealism

Back 30

a dramatic or cinematic technique that uses fantastic imagery in an attempt to portray the working of the subconscious