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27 Cards in this Set
- Front
- Back
Canted Angle |
A view in which the frame is not level; either the right or the left side is lower than the other, causing objects in the scene to appear slanted out of an upright position. |
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Close-up |
A framing in which the scale of the object shown is relatively large; most commonly, a person's head seen from the neck up, or an object of a comparable size that fills most of the screen. |
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Narrative Closure |
The degree to which the ending of a narrative reveals the effects of all the causal events and resolves (or "closes off") all lines of action. |
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Continuity Editing |
A system of cutting to maintain continuous and clear narrative action. Continuity editing relies on matching screen direction, position, and temporal relations from shot to shot. |
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Deep Focus |
A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus. |
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Ellipsis |
In a narrative film, the shortening of plot duration achieved by omitting some story duration. |
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Establishing Shot |
A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. |
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Extreme Close-up |
A framing in which the scale of the object shown is very large; most commonly, a small object, or a part of the body. |
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Eye-line Match |
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 or she sees. If the person looks left, the following shot should imply that the looker is off-screen right. |
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Flashback |
An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown. |
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Graphic Match |
Two successive shots joined so as to create a strong similarity of compositional elements (e.g. color, shape). |
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High-Key Lighting |
Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
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Long shot |
A framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen. |
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Long take |
A shot that continues for an unusually lengthy time before the transition to the next shot. |
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Low-Key Lighting |
Illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light. |
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Match on Action |
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 uninterrupted. |
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Montage |
Dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself. |
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Pan |
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. |
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Shallow Focus |
A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deep focus. |
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Shot/Reverse Shot |
Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left; in the other framing; right. Over-the-shoulder framing's are common in shot/reverse-shot editing. |
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Tilt |
A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically. |
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Tracking Shot |
A mobile framing that travels through space forward, backward, or laterally. |
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High-angle |
High-angle is where the camera looks down on the subject from a high angle. High-angle shots can make the subject seem vulnerable or powerless. |
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Steadicam |
Steadicam is a brand of camera stabilizer mount for motion picture cameras that mechanically isolates it from the operator's movement. It allows for a smooth shot, even when moving quickly over an uneven surface. |
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Voice-over |
A non-diegetic sound; voice over is typically the sound of a narrator speaking. |
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Cause & Effect |
Cause & effect is what the characters are faced with in the film, the basis of plot. |
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Reflexivity |
The formalist aesthetic strategy that returns audience attention tothe actual construction of the artwork, making the artwork itself itsown subject. |