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1Additive Color Systems - In early film-making, techniques used to add color to black-and-white images, including hand-coloring, stenciling, tinting, and toning
2
3Alienation Effect - Also known as distancing effect. A psychological distance between audience and stage for which, according to German playwright Bertolt Brecht, every aspect of a identification with characters and events
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5Amplitude - The degree of motion of air (or other medium) within a sound wave. The greater the amplitude of the sound wave, the harder it strikes the eardrum, and thus the louder the sound
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7Analog - Film is an analog medium in which the camera creates an image by recording through a camera lens the original given off by the subject and stores this image on a roll of negative film stock opposite of digital
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9Animated Film - Also known as cartoon. Drawings or other graphical images placed in a series photography- like sequence to portray movement. Before computer graphics technology, the basic type of animated film was created through drawing
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11Animatronics - Basically, a mechanical puppet programmed or remotely controlled by computers or humans. Existing prior to digital special effects, it is used to create human figures or animals that do not exist, action that is too risky for real actors or animals, or action that is too fantastic to be possible in real life
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13Antagonist - The character, creature, or force tat obstructs or resists the protagonist's pursuit of their goal
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15Anti-Hero - An outwardly unsympathetic protagonist pursuing a morally objectionable or otherwise undesirable goal
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17Antirealism - A treatment that is against or the opposite of realism. However, realism and antirealism (like realism and fantasy) are not strict polarities
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19Aperture - Also known as gate. The camera opening that defines the area of each frame of filming exposed.
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21Apparent Motion - The movie projector's tricking us into perceiving separate images as one continuous image rather than a series of jerky movements. Apparent motion is the result of such factors as the phi phenomenon and critical flicker fusion
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23Art Director - The person responsible for transforming the production designer's vision into a reality on the screen, assessing the staging requirements for a production, and arranging for and supervising the work of the members of the art department
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25Aspect Radio - The relationship between the frame's two dimensions the width of the image related to its height
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27Assistant Cameraperson (AC) - Member of the camera crew who assists the camera operator
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29First Assistant Cameraperson - Oversees everything having to do with the camera lenses, supporting equipment, and the material on which the movie is being shot
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31Second Assistant Cameraperson - Prepares the slate that is used to identify each scene as it is being filmed, files camera reports, and feeds film stock into magazines to be loaded into the camera
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33Associate (or Assistant) Producer - Person charged with carrying out specific responsibilities assigned by the producer, executive producer, or line producer
34
35Asynchronous Sound - Sound that comes from a source apparent in the image but that is not precisely matched temporally with the actions occurring in that image
36
37Auteurism - A film theory based on the idea that the director is the sole "author" of the movie. The application of aeteurism frequently takes two forms: a judgement of the whole body of a film director's work (not individual films) based on style, and a classification of great directors based on a hierarchy of directorial styles
38
39Automatic Dialogue Replacement (ADR) - -Rerecording done via computer- a faster, less expensive, and more technically sophisticated process that rerecording that is done with actors
40-dubbing in the dialogue
41
42Axis of Action - An imaginary line connecting two figures in a scene that defines the 180-degree space within which the camera can record shots of those figures
43
44Backlight - Lighting, usually positioned behind and in line with the subject and the camera, used to create highlights on the subject as a means of separating it from the background and increasing its appearance of three-dimensionality
45
46Backstory - A fictional history behind the cinematic narrative that is presented onscreen. Elements of the backstory can be hinted at in a movie, presented through narration, or not revealed at all
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48Best Boy - First assistant electrician to the gaffer on a movie production set
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50Bit Player - An actor who holds a small speaking part
51
52Black Maria - The first movie studio- a crude, hot, cramped shack in which Thomas Edison and his staff began making movies
53
54Blimp - A soundproofed enclosure somewhat larger than a camera, in which the camera may be mounted to prevent its sounds from reaching the microphone
55
56Blocking - The actual physical relationships among figures and settings. Also, the process during rehearsal of establishing those relationships
57
58Boom - A polelike mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction
59
60Cameo - A small but significant role often played by a famous actor
61
62Camera Crew - Technicians that make up two separate groups- one concerned with the camera, the others concerned with electricity and lighting
63
64Camera Obscura - Literally, "dark chamber". A box (or a room in which a viewer stands); light entering (originally through a tiny hole, later through a lens) on one side of the box (or room) projects an image from the outside onto the opposite side or wall
65
66Camera Operator - The member of the camera crew who does the actual shooting
67
68Casting - The process of choosing and hiring actors for a movie
69
70Catalyst - The event or situation during the exposition stage of the narrative that sets the rest of the narrative in motion. Also known as the inciting incident
71
72Causality - The relationship between cause and effect; compare narrative
73
74Cel - A transparent sheet of celluloid or similar plastic on which drawings or lettering may be made for use in animation or titles
75
76Celluloid Film Roll - Also known as motion picture film or raw film stock. A material for filming that consists of long steps of perforated cellulose acetate on which a rapid succession of frames can be recorded. One side of the strip is layered with an emulsion consisting of light-sensitive crystals and dyes; the other side is covered with a backing that reduces reflections. Each side of the strip is perforated with sprocket holes that facilitate the movement of the stack through the sprocket wheels of the camera, the processor, and the projector
77
78CGI - Computer-generated imagery (to create special effects)
79
80Character - An essential element of film narrative; any of the beings who play functional roles within the plot, either acting or being acted on. Characters can be flat or round; major, minor, or marginal; protagonists or antagonists
81
82Characterization - The process of developing a character in a movie. Characterization is the collaborative result of the creative efforts of the actor, the screenwriter, and the director
83
84Character Role - An actor's part that represents a distinctive character type (sometimes a stereotype); society leader, judge, doctor, diplomat, and so on
85
86Chiaroscuro - The use of deep gradations and subtle variations of lights and darks within an image
87
88Cinematic Conventions - Accepted systems, methods, or conventions by which the movies communicate with the viewer
89
90Cinematic Language - also known as film form; The accepted systems, methods, or conventions by which the movies communicate with the viewer
91
92Cinematography - The process of capturing moving images on film or some other medium
93
94Climax - The highest point of conflict in a conventional narrative; the protagonist's ultimate attempt to attain the goal
95
96Closed Frame - An approach to framing a shot that implies that neither characters nor objects may enter or leave the frame- rendering them hemmed in and constrained
97
98Close-Up (CU) - A shot that often shows a part of the body fitting the frame- traditionally a face, but possibly a hand, eye, or mouth
99
100Colorization - The use of digital technology, in a process similar to hand-tinting, to "paint" colors on movies meant to be seen in black and white
101
102Composition - The organization, distribution, balance, and general relationship of stationary objects and figures, as well as of light, shade line, and color; within the frame
103
104Content - The subject of an artwork
105
106Content Curve - In terms of cinematic duration, the point at which we have absorbed all we need to know in a particular shot and are ready for seeing the next shot
107
108Continuity Editing - A style of editing (new dominant throughout the world) that seeks to achieve logic, smoothness, sequential flow, and the temporal and spatial orientation of viewers the flow from shot to shot, creates a rhythm based on the relationship between cinematic space and cinematic time; creates filmic unity (beginning, middle, and end); and establishes and resolves a problem. In short, continuity editing tells a story as clearly and coherently as possible; cost effective-spend the least money as possible. CONTINUITY EDITING ENSURES THAT: what happens on the screen makes as much narrative sense as possible, screen direction is consistent from shot to shot, graphic spatial and temporal relations are maintained from shot to shot
109
110Costumes - The clothing worn by an actor in a movie (sometimes called wardrobe, a term that also designates the department in a studio in which clothing is made and stored)
111
112Coverage - The use of a variety of shots of a scene- taken from multiple angles, distances, and perspectives- to provide the director and editor a greater choice of editing options during post productions
113
114Crane Shot - A shot that is created by movement of a camera mounted on an elevating arm (crane) that, in turn, is mounted on a vehicle that, if shooting requires it, can move on its own power or be pushed along tracks
115
116Crisis - A critical turning point in a story in which the protagonist must engage seemingly insurmountable obstacle
117
118Critical Flicker Fusion - A phenomenon that occurs when a single light flickers on and off with such speed that the individual pulses of light fuse together to give the illusion of continuous light
119
120apparent motion
121
122Crosscutting - Also called parallel editing. Editing that cuts between two or more lines of action, often implied to be occurring at the same time but in SAME locations
123-difference between parallel editing: parallel editing is in different locations
124
125Cut - A direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins; one result of cutting
126
127Cutting on Action - Also known as match-on-action cut. A continuity editing technique that smooths the transition between shots portraying a single action from different camera angles. The editor ends the first shot in the middle of a continuing action and begins the subsequent shot at approximately the same point in the matching action
128
129Dailies - Also known as rushes. Usually, synchronized picture/sound work prints of a day's shooting that can be studied by the director, editor, and other crew members before the next day's shooting begins
130
131Decor - The color and textures of the interior decoration, furniture, draperies, and curtains of a set
132
133Deep-Focus Cinematography - The process of rendering the figures on all planes (background, middle-ground, and foreground) of a deep-space composition in focus
134
135Deep-Space Composition - An approach to composition within the frame that places figures in all three planes (background, middle-ground, and foreground) of the frame, thus creating an illusion of depth. Deep-space composition is often, though not always, shot with deep-focus cinematography
136
137Depth of Field - The distance in front of a camera and its lens in which objects are in apparent sharp focus
138
139Design - The process by which the look of the settings, props, lighting, and actors is determined. Set design, decor, prop selection, lighting setup, costuming, makeup, and hairstyle design all play a role in shaping the overall design
140
141Dialogue - The lip-synchronous speech of characters who are either visible onscreen or speaking offscreen, say from another part of the room that is not visible or from an adjacent room
142
143Diegesis (adj. Diegetic) - The total world of a story- the events, characters, objects, settings, and sounds that form the world in which the story occurs
144
145Diegetic Element - An element- event, character, object, setting, sound- that helps form the world in which the story occurs
146
147Diegetic Sound - Sound that originates from a source within a film's world
148
149Digital - An electronic process that creates its images through a numbered system of pixels (which we can think of as the binary numbers 0 and 1) that are stored on a flash card or a computer hard drive
150
151Digital Animation - Animation that employs computer software to create the images used in the animation process (as opposed to analog techniques that rely on stop-motion photography, hand-drawn cels, etc.)
152
153Digital Format - A means of storing recorded sound, made possible by computer technology, in which each sound wave is represented by combinations of the numbers 0 and 1
154
155Direct Address - A form of narration in which an on-screen character looks and speaks directly to the audience
156
157Direct Cinema - An approach to documentary filmmaking that employs an unobtrusive style in an attempt to give viewers as truthful and "direct" an experience as possible
158
159Director - The person who (a) determines and realizes on screen an artistic vision of the screenplay; (b) casts the actors and directs their performances; (c) works closely with the production design in creating the look of the film, including the choice of locations; (d) oversees the work of the cinematographer and other key production personnel' and, (e) in most cases, supervises all postproduction activity, especially the editing
160
161Discontinuity Editing - A style of editing- less widely used than continuity edting, often but not exclusively in experimental films- that joins shot A and B in ways that upset the viewers expectations and cause momentary disorientation or confusion. The juxtaposition of shots in films edited for discontinuity can often seem abrupt and unmotivated, but the meanings that arise from such discordant editing often transcend the meanings of the individual shots that have been joined together
162-many experimental film makers use this
163-examples: long take, nondiegetic inserts, and jump cuts
164
165Dolly - A wheeled support for a camera that permits the cinematographer to make noiseless moving shots
166
167Dolly In - Slow movement of the camera toward a subject, making the subject appear larger and more significant. Such gradual intensification is commonly used at moments of a character's realization and/or decision, or as a point-of-view shot to indicate the reason for the character's realization
168
169Dolly Out - Movement of the camera away from the subject that is often used for slow disclosure, which occurs when an edited succession of images leads from A to B to C as they gradually reveal the elements of a scene. Each image expands on the one before, thereby changing its significance with new information
170
171Dolly Shot - Also known as traveling shot. A shot taken by a camera fixed to a wheeled support called a dolly. When the dolly runs on tracks (or when the camera is mounted to a crane or an aerial device such as an airplane, a helicopter, or a balloon) the shot is called a tracking shot
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173Double-System Recording - The standard technique of recording film sound on a medium separate from the picture; this technique allows both for maximum quality control of the medium and for the many aspects of manipulating sound during postproduction editing, mixing, and synchronization
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175Story Duration - The time that the narrative arc- whether explicitly stated or not- is implied to have taken
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177Plot Duration - The time that the events explicitly shown on-screen are implied to have taken
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179Screen Duration - The actual time that has elapsed to present the movie's plot, i.e., the movie's running time
180
181Dutch-Angle Shot - Also known as Dutch-Shot or oblique-angle shot. A shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance
182
183Editing - The process by which the editor combines and coordinated individual shots into a cinematic whole; the basic creative force of cinema
184
185Ellipsis - In film-making, generally an omission of time that separates one shot from another- to create dramatic or comedic impact
186
187Ensemble Acting - An approach to acting that emphasizes the interaction of actors, not the individual actor. In ensemble acting, a group of actors work together continuously in a single shot. Typically experienced in the theater, ensemble acting is used less in the movies because it requires the provision of rehearsal time that is usually denied to screen actors
188
189Establishing Shot - A shot whose purpose is to briefly establish the viewer's sense of the setting of a scene- the relationship of figures in that scene to the environment around them. This shot is often, but not always, an extreme long shot
190
191Executive Producer - Person responsible for supervising one or more producers, who in turn are responsible for individual movies
192
193Explicit Meaning - Everything that a movie presents on its surface
194
195Exposition - The images, action, and dialogue necessary to give the audience the background of the characters and the nature of their situation, laying the foundation for the rest of the narrative
196
197Exposure - Exposing the recording media (film or digital media) in a camera to light to produce a latent image on it, the quality of which is determined primarily by the source and amount of light the cinematographer can further control that image by the choice of lens and film stock, use of fitters, and the aperture that regulates the amount of light passing through the lens. Normally, it is desirable to have images that are close and well defined, but sometimes the story requires images that are over-exposed (very light) or under-exposed (dark or dense)
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199External Sound - A form of diegetic sound that comes from a place within the world of the story, which we and the characters in the scene hear but do not see
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201Extra - An actor who, usually, appears in a non speaking or crowd role and receives no screen credit
202
203Extreme Close Up (ECU, XCU) - A very close shot of a particular detail, such as a person's age, a ring on a finger, or a watch face
204
205Extreme Long Shot (ELS, XLS) - A shot that is typically photographed far enough away from the subject that the subject is too small to be recognized, except through the context we see, which usually includes a wide view of the location as well general background information. When it is used to provide such informative context, the extreme long shot is also referred to as an establishing shot
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207Eye Level Shot - A shot that is made from the observer's eye level and usually implies that the observer's attitude is neutral toward the subject being photographed
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209Eye-Line Match Shot - An editing transition that shows us what a particular character is looking at. The cut joins two shots [1] the character's face, with his/her eyes clearly visible, then [2] whatever the character was looking at when the second shot is of another character looking back at the character in the first shot, the resulting reciprocal eye-line match cut, and the cuts that follow, establish the two character's proximity and interaction, even if only one character is visible on-screen at any one time
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211Factual Film - A documentary film that, usually, presents people, places, or processes in a straightforward way meant to entertain and instruct without unduly influencing audiences
212
213Fade-In/Fade-Out - Transitional devices in which a shot fades in from a black field on black-and-white film or from a color field on color film, or fades out to a black field (or a color field)
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215Familiar Image - Any image that a director periodically repeats in a movie (with or without variation) to help stabilize the narrator
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217Fast Motion - Cinematographic technique that accelerates action on-screen. It is achieved by filming the action at a rate less than the normal 24 frames per second (fps). When the shot is then played back at the standard 24 fps, cinematic time proceeds at a more rapid rate than the real action that tool place in front of the camera
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219Feed Spool - The storage area for unexposed film in the movie camera
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221Fidelity - The faithfulness or unfaithfulness of a sound to its source
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223Figure - Any significant thing that moves on the screen- person, animal, or object
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225Fill Light - Lighting, positioned at the opposite side of the camera from the key light, that can fill in the shadows created by the brighter key light. Fill light may also come from a reflector board
226
227Film Criticism - Evaluating a film's artistic merit and appeal to the public. Film criticism takes two basic forms: reviews written for a general audience and appearing in the popular media, and essays published in academic journals for a scholarly audience
228
229Film Stock - Celluloid used to record movies. There are two types: one for black-and-white films, the other for color. Each type is manufactured in several standard formats
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231Film-Stock Length - The number of feet (or meters) of film stock or the number of reels being used in a particular film
232
233Film-Stock Speed - Also known as film speed or exposure index. The rate at which film must move through the camera to correctly capture an image; very fast film requires little light to capture and fix the image; very slow film requires a lot of light
234
235Film Theory - Evaluating movies from a particular intellectual or ideological perspective
236
237First-Person Narrative - Narration by an actual character in the movie
238
239Flashback - A device for presenting or reawakening the memory of the camera, a character, the audience- or all three- in which the action cuts from the narrative present to a past event, which may or may not have already appeared in the movie either directly or through inference
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241Flash Card - A fast, portable, shock-resistant memory card, housed in a small plastic or medal case, that is used as a storage medium in such battery powered devices as digital cameras, mobile phones, and portable digital assistants
242
243Flash-Forward - A device for presenting the anticipation of the camera, a character, the audience- or all three- in which the action cuts from the narrative present to a future time, one in which, for example, the omniscient camera reveals directly or a character imagines, from his or her point of view, what is going to happen
244
245Flat Character - A relatively uncomplicated character exhibiting few distinct traits. Flat characters do not change significantly as the story progresses
246
247Floodlight - A lamp that produces soft (diffuse) light
248
249Focal Length - The distance from the optical center of a lens to the focal point (the film plane that the camera-person wants to keep in focus) when the lens is focused at infinity
250
251Focusated Spotlight or focusable spotlight or floodlights - A lamp that produces hard(mirrorlike) and soft(diffuse) light, mirrorlike light that can be directed to precise locations
252
253Foley Sound - A sound belonging to a special category of sound effects, invented in the 1930s by Jack Foley, a sound technician at Universal Studios. Technicians known as Foley artists create these sounds in specially equipped studios, where they use a variety of props and other equipment to simulate sounds such as footsteps in the mud, jingling car keys, or cutlery hitting a plate
254
255Form - The means by which a subject is expressed. The form for poetry is words; for drama, it is speech and action; for movies, it is pictures and sound; and so on
256
257Formal Analysis - Film analysis that examines how a scene or sequence uses formal elements- narrative, mise-en-scene, cinematography, editing, sound, and so on- to convey story, mood, and meaning
258
259Format - Also called gauge. The dimensions of a film stock and its perforations, and the size and shape of the image frame as seen on the screen. Formats extend from Super 8mm through 70mm (and beyond into such specialized formats as IMAX), but they are generally limited to three standard gauges. Super 8mm, 16mm, and 35mm.
260
261Frame - A still photograph that, recorded in rapid succession with other still photographs, creates a motion picture
262
263Framing - The process by which the cinematographer determines what will appear within the borders of the moving image (the frame) during a shot
264
265Freeze-Frame - Also known as stop-frame or hold-frame. A still image within a movie, created by repetitive printing in the laboratory of the same frame so that it can be seen without movement for whatever length of time the filmmaker desires
266-can represent an emotional change
267
268Frequency - The speed with which a sound is produced (the number of sound waves produced per second). The speed of sound remains fairly constant when it passes through air, but it varies in different media and in the same medium at different temperatures
269
270Fusil Photographique - A form of chronophotographic gun- a single, portable camera capable of taking twelve continuous image
271
272Gaffer - The chief electrician on a movie production set
273
274Generic Transformation - The process by which a particular genre is adapted to meet the expectations of a changing society
275
276Genre - The categorization of narrative films by form, content, or both. Examples of genres are musical, comedy, biography, Western, and so on
277
278Goal - A narratively significant objective pursued by the protagonist
279
280Graphic Match Cut - A match cut in which the similarity between shots A and B is in the shape and form of the figures pictured in each shot. The shape, color, form and texture or a mixture of them of the two figures matches across the edit, providing continuity. Graphic match cut in Jaws
281
282Grip - All-around handyperson on a movie production set, most often working with the camera crews and electrical crews
283
284Group Point of View - A point of view captured by a shot that shows what a group of characters would see, but at the group's level, not from the much higher omniscient point of view
285
286Harmonic Contents - The wavelengths that make up a sound
287
288High-Angle Shot - Also known as high shot or down shot. A shot that is made with camera above the action and that typically implies the observer's sense of superiority to the subject being photographed
289
290High-Key Lighting - Lighting that produces an image with very little contrast between darks and lights. Its even, flat illumination expresses virtually no opinions about the subject being photographed
291
292Hub - A major event in a plot; a branching point in the plot structure that forces a character to choose between or among alternate paths
293
294Ideological Meaning - Meaning expressed by a film that reflects beliefs on the part of filmmakers, characters, or the time and place of the movie's setting. Ideological meaning is the product of social, political, economic, religious, philosophical, psychological, and sexual forces that shape the filmmakers' perspectives
295
296Implicit Meaning - An association, connection, or inference that a viewer makes on the basis of the given (explicit) meaning conveyed by the story and form of a film lying below the surface of explicit meaning, implicit meaning is closest to our everyday sense of the word meaning
297
298Improvisation - 1.) Actor's extemporization- that is, delivering lines based only loosely on the written script, or without the preparation that comes with studying a script before rehearsing it
2992.) "Playing through" a moment- that is, making up lines to keep scenes going when actors forget their written lines, stumble on lines, or have some other mishap
300
301In-Camera Effect - A special effect that is created in the production camera (the regular camera used for shooting the rest of the film) on the original negative. Examples of in-camera effects include montage and split screen
302
303Inciting Incident - The narrative event that presents the protagonist with a goal that sets the rest of the narrative in motion. Also known as the catalyst
304
305Insert, Insert Shot - A shot, containing visual detail- an object or figure not from the scene- that is inserted between one shot and another to establish a story point, or to provide additional information or dramatic emphasis. For example, shot #1 might be an establishing shot of a room (giving us the place); shot #2 (the insert) might be a close-up of a clock photographed on the wall (giving us the time); and shot #3 would logically return us to the room
306
307Insert Titles, Intertitles - Words- printed or hand-written- inserted into the body of a film (e.g., "The day after" or "Saturday Morning"); in common usage today, but used extensively in silent movies
308
309Instructional Film - A documentary film that seeks to educate viewers about common interests, rather than persuading them with particular ideas
310
311Intercutting - Editing technique that juxtaposes two or more distinct actions to create the effect of a single scene
312
313Interior Monologue - One variation on the mental, subjective point of view of an individual character that allows us to see a character and hear that character's thoughts (in his or her own voice, even though the character's lips don't move)
314
315Internal Sound - A form of a diegetic sound in which we hear the thoughts of a character we see onscreen and assume that other characters cannot hear them. Compare external sound
316
317Iris - 1.) A circular cutout made with a mask that creates a frame within a frame
3182.) An adjustable diaphragm that limits the amount of light passing through the lens of a camera
319
320Iris Shot - Optical wipe effect in which the wipe line is a circle; named after the iris of a camera. The iris-in begins with a small circle, which expands to a partial or full image; the iris-out begins with a large circle, which contracts to a smaller circle or total blackness
321
322Jump Cut - The removal of a portion of a film, resulting in an instantaneous advance in the action- a sudden, perhaps illogical, often disorienting ellipsis between two shots
323
324Key Light - Also known as main light or source light. The brightest light falling on a subject; positioned to the side=creates hard shadows
325
326Kinesis - The aspect of composition that takes into account everything that moves on the screen
327
328Kinetograph - The first motion-picture camera
329
330Kinetoscope - A peephole viewer, an early motion-picture device
331
332Laboratory Effect - A special effect that is created in the laboratory through processing and printing.
333
334Lens - The piece of transparent material in a camera that focuses the image on the film being exposed. The four major types of lenses are the short-focal-length lens, the middle-focal-length lens, the long-focal-length lens, and the zoom lens
335
336Lighting Ratio - The relationship and balance between illumination and shadow- the balance between key light and fill light. If the ratio is high, shadows are deep; the result is called low-key lighting; if the ratio is low, shadows are faint or non-existent and illumination is even, the result is called high-key lighting
337
338Line Producer - The person, usually involved from preproduction through postproduction, who is responsible for the day-to-day management of the production
339
340Long-Focal-Length Lens - Also known as telephoto lens. A lens that flattens the space and depth of an image and thus distorts perspectival relations. Produces deep-angle views, brings distant objects close, flattens space and depth, make subjects look closer together than they actually are, narrow depth of field leaves most of the background and foreground of the in-focus objects dramatically out of focus
341
342Long Shot (LS) - Also known as full-body shot. A shot that shows the full human body, usually filling the frame, and some of its surroundings
343
344Long Take - Also known as sequence shot. A shot that can last anywhere from one to ten minutes (Between 1930 and 1960, the average length of a shot was 8-11 seconds; today it's 6-7 seconds, signifying that directors are telling their stories with a tighter pace)
345
346Loudness - The volume or intensity of a sound, which is defined by its amplitude. Loudness is described as either loud or soft
347
348Low-Angle Shot - Also known as low shot. A shot that is made with the camera below the action and that typically places the observer in a position of inferiority.
349
350Low-Key Lighting - Lighting that creates strong contrasts; sharp, dark windows and an overall gloomy atmosphere. Its contrasts between light and dark often imply ethical judgments
351
352Magic Lantern - An early movie projector
353
354Major Character - One of the main characters in a movie. Major characters make the most things happen or have the most things happen to them
355
356Major Role - Also known as main role, featured role, or leading role. A role that is a principal agent in helping move the plot forward. Whether movie stars or newcomers, actors playing major roles appear in many scenes and-ordinarily, but not always- receive screen credit preceding the title
357
358Marginal Character - A minor character that looks both definition and screen time
359
360Mask - An opaque sheet of metal, paper, or plastic (with, for example, a circular cutout, known as an iris) that is placed in front of the camera and admits light through a circle to a specific area of the frame- to create a frame within a frame
361
362Master Shot - Also known as a cover shot. A shot that covers the action of a scene in one continuous take. Master shots are usually composed as long shots so that all of the characters in the scene are on-screen during the action of the scene. Editors rely on the master shot to provide coverage so that, if other shots of the scene's action (medium shots, close ups, etc.) fail to provide useable footage of certain portions of the scripted scene, the director won't need to reshoot the scene
363
364Match Cut - A cut that preserves continuity between two shots. Several kinds of match cuts exist, including the eye-line match cut, the graphic match cut, and the match-on-action cut
365
366Match-on-Action Cut - Also called cutting on action. A match cut that shows us the continuation of a character's or object's motion through space without actually showing us the entire action. This is a fairly routine editorial technique for economizing a movie's presentation of movement; time and space
367
368Mechanical Effect - A special effect created by an object or event mechanically on the set and in front of the camera
369
370Mediation - An agent, structure, or other format element, whether human or technological, that transfers something, such as information in the case of movies, from one place to another
371
372Medium Close-Up (MCU) - A shot that shows a character from the middle of the chest to the top of the head. A medium close-up provides a view of the face that catches minor changes in expression, as well as some detail about the character's posture.
373
374Medium Long Shot (MLS) - Also known as plan americain or American shot. A shot that shows a character from the knees up and includes most of a person's body
375
376Method Acting
377
378(naturalistic style) - Also known as simply The Method. A naturalistic acting style, loosely adopted from the ideas of Russian director Konstantin Stanislavsky by American directors Elia Kazan and Lee Strasberg, that encourages actors to speak, move, and gesture not in a traditional stage manner, but in the same way they would in their own lives. An ideal technique for representing human behavior; method acting is used more frequently on the stage than on the screen
379
380Middle-Focal-Length Lens - Also known as normal lens. A lens that does not distort perspectival relations. produces images that correspond to our day-to-day experience of depth and perspective, keeps all subjects in a normal sense of focus
381
382Minor Character - A supporting character in a movie. Minor characters have fewer traits than major characters, so we know less about them. They may also be so lacking in definition and screen time that we can consider them marginal characters
383
384Minor Role - Also known as supporting role. A role that helps move the plot forward (and thus may be as important as a major role), but that is played by an actor who does not appear in as many scenes as the featured players do
385
386Montage - 1.) In France, the word for editing, from the verb monter, "to assemble or put together"
3872.) In the former Soviet Union in the 1920s, that expressed ideas developed by theorists and filmmakers such as Sergei Eisenstein
3883.) In Hollywood, beginning in the 1930s, a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events
389
390Motion Capture - An elaborate process in which the movements of objects or actors dressed in special suits are recorded as data that computers subsequently use to render the motion of CGI characters on-screen. Also known as mocap, performance capture, or motion tracking
391
392Motif - A recurring visual, sound, or narrative element that imparts meaning or significance
393
394Movie Star - A phenomenon, generally associated with Hollywood, comprising the actor and the characters played by that actor, an image created by the studio to coincide with the kind of roles associated with the actor, and a reflection of the social and cultural history of the period in which that image was created
395
396Moving Frame - The result of the dynamic functions of the frame around a motion-picture image, which can contain moving action but can also move and thus change its viewpoint
397
398Narration - The act of telling the story of the film. The primary source of a movie's narration is the camera, which narrates the story by showing us the events of the narratives on-screen. When the word "narration" is used to refer more narrowly to spoken narration, the reference is to commentary spoken by either an offscreen or on-screen voice. When that commentary is not spoken by one of the characters in the movie, it is omniscient. Within the movie, the commentary is first-person narrative
399
400Narrative - A cinematic structure in which content is selected and arranged in a cause-and-effect sequence of events occurring over time
401
402Narrative Film - Also known as fiction film. A movie that tells a story- with characters, places, and events- that is conceived in the mind of the film's creator. Stories in narrative films may be wholly imaginary or based on true occurrences, and they may be realistic, unrealistic, or both
403
404Narrator - Who or what tells the story of the film. The primary narrator in cinema is the camera, which narrates the film by showing us events in the movie's narrative. When referring to the more specific action of a movie narration, the narrator may either be a character in the movie (a first-person narrator) or a person who is not a character (an omniscient)
405
406Negative - A negative photographic image on transparent material that makes possible the reproduction of the image
407
408Nondiegetic Element - Something that we see and hear on the screen that comes from outside the world of the story (including background music, titles and credits, and voice-over narration)
409
410Nondiegetic Sound - Sound that originates from a source outside a film's world
411
412Nonsimultaneous Sound - Sound that has previously been established in the movie and replays for some narrative or expressive purpose. Nonsimultaneous sounds often occur when a character has a mental flashback to an earlier voice that recalls a conversation, or to a sound that identifies a place, event, or other significant element of the narrative
413
414Normal World - In a narrative screenplay, the state of the character and setting before the inciting incident
415
416Obstacles - Events, circumstances, and actions that impede a protagonist's pursuit of the goal. Obstacles often originate from an antagonist and are central to a narrative conflict
417
418Offscreen Sound - A form of sound, either diegetic or nondiegetic, that derives from a source we do not see. When diegetic, it consists of sound effects, music, or vocals that emanate from the world of the story. When nondiegetic, it takes the form of a musical score or narration by someone who is not a character in the story.
419
420Omniscient - Providing a third-person view of all aspects of a movie's action or characters
421
422Omniscient Point of View - The most common point of view portrayed in movies. An omniscient POV allows the camera to travel freely within the world of the film, showing us the narrative's events from a god-like, unlimited perspective that no single character in the film could possibly have
423
424On Location - Shooting in an actual interior or exterior location away from the studio
425
426180-Degree System - Also known as the 180-degree rule and the Axis of Action. The fundamental means by which filmmakers maintain consistent screen direction, orienting the viewer and ensuring a sense of the cinematic space in which the action occurs. The system depends on three factors working together in any scene
4271.) The action in a scene must move along a hypothetical line that keeps the action on a single side of the camera
4282.) The camera must shoot consistently on one side of that line; and
4293.) everyone on the production set- particularly the director, cinematographer, editor, and actors- must understand and adhere to this system
4304.)scene is chaotic and disorganized, problematic. 
431-used to maintain consistency within the frame
432-must keep cameras on one side of semicircle and rotate them 180 degrees in a circular motion; two guys talking example
433-keeps one on right and one on left
434-discontinuity
435
436On-Screen Sound - A form of diegetic sound that emanates from a source that we both see and hear. Onscreen sound may be internal or external sound
437
438On-Screen Space - Cinematic space that exists inside the frame
439
440Open Frame - A frame around a motion picture image that, theoretically, characters and objects can enter and leave
441
442Option Contract - During the classical Hollywood era, an actor's standard seven-year contract, reviewed every six months if the actor had made progress in being assigned roles and demonstrating box-office appeal, the studio picked up the option to employ that actor for the next six months and gave the actor a raise; if not, the studio dropped the option and the actor was out of a job
443
444Order - The arrangement of plot events into a logical sequence or hierarchy. Across an entire narrative or in a brief section of it, any film can use one or more methods to arrange its plot: chronological order, cause-and-effect order, logical order, and so on
445
446Outtake - Material that is not used in either the rough cut or the final cut, but is cataloged and saved
447
448Overlapping Sound - Also known as a sound bridge. Sound that carries over from one scene and image (shot) to the next before the sound of the second shot begins
449-used to travel in time from one shot to another
450
451Pan Shot - The horizontal movement of a camera mounted on the gyroscopic head of a stationary tripod; like the tilt shot, the pan shot is a simple movement with dynamic possibilities for creating meaning
452
453Parallel Editing - Also called crosscutting and intercutting, although the three terms have slightly different meanings. The intercutting of two or more lines of action that occur simultaneously, but in DIFFERENT places; a very familiar convention in chase or rescue sequences
454
455Persistence of Vision - The process by which the human brain retains an image for a fraction of a second longer than the eye records it
456
457Persuasive Film - A documentary film concerned with presenting a particular perspective on social issues, or with corporate and governmental injustice
458
459Phi Phenomenon - The illusion of movement created by events that succeed each other rapidly, as when two adjacent lights flash on and off alternately and we seem to see a single light shifting back and forth. This cognitive phenomenon is part of the reason we see movies as a continuous moving images, rather than a successive series of still images
460
461Photography - Literally, "writing with light"; technically, the recording of static images through a chemical interaction caused by light rays striking a sensitized surface
462
463Pitch - The level of a sound, which is defined by its frequency. Pitch is described as either high or low
464
465Pixels - Short for "picture elements," these are the small dots that make up an image on a video screen. The dots (denoted by the binary numbers 0 and 1) are meaningless in themselves, but when they are arranged in order, like the pieces in a jigsaw puzzle, they form a picture
466
467Plane - Any of the three theoretical areas- foreground, middle ground, and background- within the frame
468
469Plot - The specific actions and events that the filmmakers select and the order in which they arrange those events and actions to effectively convey on-screen the movie's narrative to a viewer
470
471Plot Point - Significant events that turn the narrative in a new direction
472
473Point of View (POV) - The position from which a film presents the actions of the story; not only the relation of the narrator(s) to the story but also the camera's act of seeing and hearing. The two fundamental types of cinematic point of view are omniscient and restricted
474
475Point-of-View Editing - The process of editing different shots together in such a way that the resulting sequence makes us aware of the perspective or POV of a particular character or group of characters. Most frequently, it starts with an objective shot of a character looking toward something outside the frame, and then cuts to a shot of the object, person, or action that the character is supposed to be looking at
476
477Postproduction - The third stage of the production process, consisting of editing, preparing the final print, and bringing the film to the public (marketing and distribution). Postproduction is preceded by preproduction and production
478
479Preproduction - The initial, planning-and-preparation stage of the production process. Preproduction is followed by production and postproduction.
480
481Prime Lens - A lens that has a fixed focal length. The short-focal-length, middle-focal-length, and long-focal-length lenses are all prime lenses; the zoom lens is in its own category
482
483Processing - The second stage of creating motion pictures in which a laboratory technician washes exposed film (which contains a negative image) with processing chemicals. Processing is preceding by shooting and followed by projecting.
484
485Process Shot - Live shooting agaisnt a background that is front-or rear-projected on a translucent screen
486
487Producer - The person who guides the entire process of making the movie from its initial planning to its release and is chiefly responsible for the organizational and financial aspects of the production, from arranging the financing to deciding how the money is spent
488
489Production - The second stage of the production process, the actual shooting. Production is preceded by preproduction, and followed by postproduction
490
491Production Designer - A person who works closely with the director, art director and director of photography, in visualizing the movie that will appear on the screen. The production designer is both an artist and an executive, responsible for the overall design concept, the look of the movie- as well as individual sets, locations, furnishings, props, and costumes- and for supervising the heads of the many departments (art, costume design and construction, hairstyling, makeup, wardrobe, location, etc.) that create that look
492
493Production Value - The amount of human and physical resources devoted to the image, including the style of its lighting. Production value helps determine the overall style of a film
494
495Projecting - The third stage of creating motion pictures, in which edited film is run through a projector; which shoots through the film a beam of light intense enough to project a large image on the movie-theater screen. Projecting is preceded by shooting and processing
496
497Propaganda Film - A documentary film that systematically disseminates deceptive, or distorted information
498
499Properties - Also known as props objects used to enhance a movie's mise-en-scene by providing physical tokens of narrative information
500
501Protagonist - The primary character whose pursuit of the goal provides the structural foundation of a movie's story
502
503Pull-Down Claw - Within the movie camera and projector, the mechanism that controls the intermittent cycle of shooting and projecting individual frames and advances the film frame by frame
504
505Quality - Also known as timbre, texture, r color. The complexity of a sound, which is defined by its harmonic content. Described as simple or complex, quality is the characteristic that distinguishes a sound from others of the same pitch and loudness
506
507Rack Focus - Also known as select focus, shift focus, or pull focus. A change of the point of focus from one subject to another within the same shot. Rack focus guides our attention to a new clearly focused point of interest while blurring the previous subject in the shot
508
509Realism - An interest in or concern for the actual or real; a tendency to view or represent things as they really are
510
511Real Time - The actual time during which something takes place. In real time, screen duration and plot duration are exactly the same. Many directors use real time within films to create uninterrupted "reality" on the screen, but they rarely use it for entire films
512
513Reflector Board - A piece of lighting equipment, but not really a lighting instrument because it does not rely on bulbs to produce illumination. Essentially, a reflector board is a double-sided board that pivots in a U-shaped holder. One side is a hard, smooth surface that reflects hard light; the other is a soft, textured surface that reflects softer fill light
514
515Reframing - A movement of the camera that adjusts or alters the composition or point of view of a shot
516
517Repetition - The number of times that a story element recurs in a plot. Repetition signals that a particular event has noteworthy meaning or significance
518
519Rerecording - Also known as looping or dubbing. The replacing of dialogue which can be done manually (that is, with the actors watching the footage, synchronizing their lips with it, and rereading the lines) or, more likely today, through computerized automatic dialogue replacement (ADR). (Dubbing also refers to the process of replacing dialogue in a foreign language with English, or the reverse, throughout a film)
520
521Reshoot - To make additional takes of a shot in order to meet the director's standards or as supplemental material for production photography
522
523Resolution - The concluding narrative events that follow the climax and celebrate or otherwise reflect upon story outcomes
524
525Restricted - Providing a view from the perspective of a single character. For example, restricted narration reveals information to the audience only as a specific character learns of it
526
527Reverse-Angle Shot - A shot in which the angle of shooting is opposite to that of the preceding shot
528
529Revolver Photographique - Also known as chronophotographic gun. A cylinder-shaped camera that creates exposures automatically, at short intervals different segments of a revolving plate. (
530
531Rising Action - The development of the action of the narrative toward a climax
532
533Rough-Draft Screenplay - Also known as scenario. The next step after a treatment, the rough-draft screenplay results from discussions, development, and transformation of an outline in sessions known as story conferences
534
535Round Character - A complex character possessing numerous, subtle, repressed, or contradictory traits round characters often develop over the course of a story
536
537Rule of Thirds - A principle of composition that enables filmmakers to maximize the potential of the image, balance its elements, and create the illusion of depth. A grid pattern, when superimposed on the image, divides the image into horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds that breakup those planes into additional elements
538
539Satellite - A minor plot event in the diegesis, or world, of the narrative but detachable from it (although removing a satellite may effect the overall texture of the narrative)
540
541Scale - The size and placement of a particular object or a part of a scene in relation to the rest- a relationship determined by the type of shot used and the placement of the camera
542
543Scene - A complete unit of plot action incorporating one or more shots; the setting of that action
544
545Scope - The overall range of a story
546
547Score Music - Nondiegetic music that is typically composed and recorded specifically for use in a particular film, and is used to convey or enhance meaning and emotion
548
549Screen Direction - The direction of a figure's or object's movement on the screen
550
551Screen Test - A filming undertaken by an actor to audition for a particular role
552
553Script Supervisor - The member of the crew who is responsible for ensuring throughout the filming of a movie. Although script supervisors once had to maintain detailed logs to accomplish this task, today they generally rely on the video assist camera for this purpose
554
555Sequence - A series of edited shots characterized by the inherent unity of theme and purpose
556
557Series Photography - The use of a series of still photographs to record the phases of an action, although the actions within the images do not move
558
559Set - A constructed space used as the setting for a particular shot in a movie. Sets must be constructed both to look authentic and to photograph well
560
561Setting - The time and space in which a story takes place
562
563Setup - One camera position and everything associated with it. Whereas the shot is the basic building block of the film, the setup is the basic component of the film's production
564
565Shooting - The first stage of creating motion pictures, in which images are recorded on previously unexposed film as it moves through the camera. Shooting is followed by processing and projecting
566
567Shooting Angle - The level and height of the camera in relation to the subject being photographed. The five basic camera angles produce eye-level shots(neutral attitude), high-angle shots, low-angle shots, Dutch-angle shots, and aerial-view shots
568
569Shooting Script - A guide and reference point for all members of the production unit, in which the details of each shot are listed and can thus be followed during filming
570
571Short-Focal-Length Lens - Also known as wide-angle lens. A lens that creates the illusion of depth within a frame, albeit with some distortion at the edges of the frame; creates wide-angle views, makes subjects appear farther away than they actually are, through its nearly complete depth of field it renders almost all objects in the frame of focus
572
573Shot - One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of film stock in the camera
574
575Shot/Reverse Shot - One of the most prevalent and familiar of all editing patterns, consisting of parallel editing (crosscutting) between shots of different characters, usually in a conversation or confrontation. When used in continuity editing, the shots are typically framed over each character's shoulders to preserve screen direction
576
577Shutter - A camera device that shields the film from the light at the aperture during the film-movement portion of the intermittent cycle of shooting
578
579Simultaneous Sound - Sound that is diegetic and occurs onscreen
580
581Single Character's Point of View - A point of view that is captured by a shot made with the camera close to the line of sight of one character (or animal or surveillance camera), showing what that person would be seeing of the action
582
583Slate - The board or other device that is used to identify each scene during shooting
584
585Slow Motion - Cinematographic technique that decelerates action on-screen. It is achieved by filming the action at a rate greater than the normal 24 frames per second (fps). When the shot is then played back at the standard 24 fps, cinematic time proceeds at a slower rate than the real action that took place in front of the camera
586
587Sound Crew - The group that generates and controls a movie's sound physically, manipulating its properties to produce the effects that the director desires
588
589Sound Design - A state-of-the-art concept, pioneered by director Francis Ford Coppola and film editor Walter Murch, combining the crafts of editing and mixing and, like them, involving both theoretical and practical issues. In essence, sound design represents advocacy for movie sound (to counter some people's tendency to favor the movie image)
590
591Sound Effect - A sound artificially created for the sound track that has a definite function in telling the story
592
593Soundstage - A windowless, soundproofed, professional shooting environment that is usually several stories high and can cover an acre or more of floor space
594
595Sound Track - A separate recording tape occupied by one specific type of sound recorded for a movie (one track for the vocals, one for sound effects, one for music, etc.)
596
597Special Effects (SPFX, FX) - Technology for creating images that would be too dangerous, too expensive, or, in some cases, simply impossible to achieve with traditional cinematographic materials. The goal of special-effects cinematography is generally to create with verisimilitude within the imaginative world of even the most fanciful movie
598
599Splicing - In pre-digital editing, the act of gluing or taping together shots to form a continuous whole
600
601Split Screen - A method, created either in the camera or during the editing process, of telling two stories at the same time by dividing the screen into different parts. Unlike parallel editing, which cuts back and forth between shots for contrast, the split screen can tell multiple stories within the same frame
602
603Sprocketed Rollers - Devices that control the speed of unexposed film as it moves through the camera, printer, or projector
604
605Stakes - In a conventional narrative, that which is at risk as a consequence of the protagonist's pursuit of the goal
606
607Stand-In - An actor who looks reasonably like a particular movie star (or at least an actor playing a major role) in height, weight, coloring, and so on, who substitutes for that actor during the tedious process of preparing setups or taking light readings
608
609Stanislavsky System - A system of acting, developed by Russian theater director Konstantin Stanislavsky in the late nineteenth century, that encourages students to strive for realism, both social and psychological, and to bring their past experiences and emotions to their roles. This system influenced the development of method acting in the United States
610
611Steadicam - A camera suspended from an articulated arm that is attached to a vest strapped to the cameraperson's body, permitting the operator to remain steady during "handheld" shots. The Steadicam removes jumpiness and is now often used for smooth, fast, and intimate camera movement
612
613Stop-Motion Cinematography - A technique that allows the camera operator to stop and start the camera in order to facilitate changing the subject while the camera is not shooting. Frequently used for claymation and other forms of physical animation.
614
615Story - In a movie, all the events we see or hear on the screen, and all the events that are implicit or that we infer to have happened but that are not explicitly presented
616
617Storyboard - A scene-by-scene (sometimes shot-by-shot) breakdown that combines sketches or photographs of how each shot is to look and written descriptions of other elements that are to go with each shot, including dialogue, sound, and music
618
619Story Conference - One of any number of sessions during which the treatment is discussed, developed, and transformed from an outline into a rough-draft screenplay
620
621Stream of Consciousness - A literary style that gained prominence in the 1920s in the hands such as Marcel Proust, Virginia Woolf, James Joyce, and Dorothy Richardson and that attempted to capture the unedited flow of experience through the mind
622
623Sketch Relationship - A time relationship in which screen duration is longer that plot duration
624
625Stuntperson - A performer who doubles for another actor in scenes requiring special skills or involving hazardous actions, such as crashing cars, jumping from high places, swimming, or riding (or falling off of) horses
626
627Subplot - A subordinate sequence of action in a narrative, usually relevant to and enriching the plot
628
629Subtractive Color Systems - Adopted in the 1930s, this technique involved shooting three separate black-and-white negatives through three light filters, each representing a primary color (red, green, blue). Certain color components were subtracted (or removed) from each of the three emulsion layers, creating a positive image in natural color
630
631Summary Relationship - A time relationship in which screen duration is shorter than plot duration
632
633Surprise - A taking unawares that is potentially shocking
634
635Suspense - The anxiety brought on by partial uncertainty: the end is certain, but the means are not
636
637Swich Pan - A type of transition between two or more scenes made by moving the camera so rapidly that it blurs the moment of transition, thus suggesting (1) that the two actions are happening simultaneously, as in Billy Wilder's Some Like it Hot (1959; editor: Arthur P. Schmidt), where a swish pan separates an amorous scene involving Tony Curtis and Marilyn Monroe from a scene of Jack Lemmon, dressed as a woman, dancing with Joe E. Brown; or (2) that several years have passed between the scenes that comprise the breakfast table sequence of Orson Welles's Citizen Kane (1941; editor: Robert Wise)
638
639Take - An indication of the number of times a particular shot is taken (e.g. shot 14, take 7)
640
641Take-Up Spool - A device that winds the film inside the movie camera after it has been exposed
642
643Texture - As related to sound, see quality
644
645Theme - A shared, public idea, such as metaphor, an adage, a myth, or a familiar conflict or personality type
646
647Third-Person Narration - Narration delivered from outside of the diegesis by a narrator who is not a character in the movie
648
649Three-Point System three point system - Perhaps the best-known lighting convention in feature filmmaking, a system that employs three sources of light: key light, fill light, and backlight- each aimed from a different direction and position in relation to the subject; employed exclusively during the hollywood studio era (1927-47); used to cast glamorous light on the studio's most valuable assets
650
651Three-Shot - A shot in which three characters appear; ordinarily a medium shot or medium-long shot
652
653Tilt Shot - The vertical movement of a camera mounted on the gyroscopic head of a stationary tripod. Like the pan shot, the tilt shot is a simple movement with dynamic possibilities for creating meaning
654
655Treatment - Also known as synopsis. An outline of the action that briefly describes the essential ideas and structure for a film
656
657Two-Shot - A shot in which two characters appear; ordinarily a medium shot or medium long shot
658
659Typecasting - The casting of actors because of their looks or "type" rather than for their acting talent or experience
660
661Verisimilitude - A convincing appearance of truth; movies are verisimilar when they convince you that the things on the screen- people, places, and so on, no matter how fantastic or antirealistic- are "really there"
662
663Video Assist Camera - A tiny device, mounted in the viewing system of the film camera, that enables a script supervisor to view a scene on a monitor (and thus compare its details with those of surrounding scenes, to ensure visual continuity) before the film is sent to the laboratory for processing
664
665Viewfinder - On a camera, the little window that the cameraperson looks through when taking a picture; the viewfinder's frame indicates the boundaries of the camera's point of view
666
667Voice-Over Narration - Narration heard concurrently and over a scene but not synchronized to any character who may be talking on the screen. It can come from many sources, including a third person (who is not a character) bringing us up-to-date, a first-person narrator commenting on the action, or, in a nonfiction film, a commentator
668
669Walk-On - A role even smaller than a cameo, reserved for a highly recognizable actor or personality
670
671Widescreen - Any aspect ratio wider than 1.33:1, the standard ratio until the early 1950s
672
673Wipe - A transitional device between shots in which shot B wipes across shot A, either vertically or horizontally, to replace it. Although (or because) the device reminds us of early eras in filmmaking, directors continue to use it
674
675Zoom In - A shot in which the image is magnified by movement of the camera's lens only, without the camera itself moving. This magnification is the essential difference between the zoom in and the dolly in
676
677Zoom Lens - Also known as variable-focal-length lens. A lens that is moved toward and away from the subject being photographed, has a continuously variable focal length, and helps reframe a shot within the take. A zoom lens permits the camera operator during shooting to shift between wide-angle and telephoto lenses without changing the focus or aperture settings. Produces images that stimulate the effect of movement of the camera toward or away from the subject; rather than actually moving through space, merely magnifies the image, can make a shot seem artificial to an audience
678
679Zoopraxiscope - An early device for exhibiting moving pictures- a revolving disk with photographs arranged around the center
680
681aerial-view shot - Also known as bird's-eye-view shot. An omniscient-point-of-view shot that is taken from an aircraft or extremely high crane and implies that the observer can see all.
682
683ambient sound - Sound that emanates from the ambience (background) of the setting or environment being filmed, either recorded during production or added during postproduction. Although it may incorporate other types of film sound—dialogue, narration, sound effects, Foley sounds, and music—ambient sound does not include any unintentionally recorded noise made during production.
684
685Cinematic Time - The imaginary time in which a movie's images appear or its narrative occurs; time that has been manipulated through editing.
686
687cutting - Also known as splicing. The actual joining together of two shots. The editor must first cut (or splice) each shot from its respective roll of film before gluing or taping all the shots together.
688
689denouement - The resolution or conclusion of the
690narrative.
691
692direct cinema - An approach to documentary filmmaking that employs an unobtrusive style in an attempt to give viewers as truthful and "direct" an experience of events as possible.
693
694dissolve - Also known as lap dissolve. A transitional device in which shot B, superimposing onto another(both visible on screen) to imply relationship b/w the shots or the passing of time,
695-gradually appears over shot A and begins to replace it at midpoint in the transition. Dissolves usually indicate the passing of time. 
696-transitional
697
698documentary film - A nonfiction film that presents the filmmakers' perspective on actuality. Documentary films take many forms, including factual, instructional, persuasive, and propaganda. Regardless of approach, every documentary is shaped by the filmmaker's intent and subjective interpretation of ideas and actual events.
699
700duration - The time a movie takes to unfold onscreen. For any movie, we can identify three specific kinds of duration: story duration, plot duration, and screen duration. Duration has two related components: real time and cinematic time.
701
702experimental film - Also known as avant-garde film, a term implying a position in the vanguard, out in front of traditional films. Experimental films are usually about unfamiliar, unorthodox, or obscure subject matter and are ordinarily made by independent (even underground) filmmakers, not studios, often with innovative techniques that call attention to, question, and even challenge their own artifice.
703
704falling action - The events that follow the climax and bring the narrative to conclusion (denouement).
705
706landmark film - a revolutionary film, due to either its technical or performance artistry; those films recognized by the National Film Registry
707
708lavalier (microphone) - a miniature type of microphone, usually omni-directional and wireless, and small enough to be taped or clipped to an actor, to record dialogue; aka lav, lapel or lap microphones
709
710L-cut - a digital film editing term, also known as a split edit, J-cut or delayed edit; it refers to a transitional edit in which the audio and video edit do not start at the same time; the audio starts before (or after) the picture cut
711
712lead role - refers to the most important, main character in a film, often distinguished by gender; usually there is at least one male and female lead role; also usually known as protagonist; contrasted to supporting roles or characters.
713
714'legs' - a film that has 'legs' has strong and profitable box-office, stamina and audience drawing power far beyond the opening weekend; the term usually applies to films that last many months
715
716leitmotif - an intentionally-repeated, recurring element or theme associated with a particular person, idea, milieu, or action; the element presents itself as a repeated sound, shot, bit of dialogue, piece of music, etc., that helps unify a film by reminding the viewer of its earlier appearance; sometimes presented along with a film's tag line on a film poster.
717
718letterboxing
719(or letterboxed) - the technique of shrinking the film image just enough so that its entire width appears on TV screen, with black areas above and below the image; refers to the way that videos emulate the widescreen format on television screens; if a widescreen film is not in the letterbox format it is often in pan-and-scan format.
720
721library shot - a stock shot, often unimaginative or commonplace
722
723lighting - refers to the illumination of a scene, and the manipulation of light and shadows by the cinematographer.
724
725lines - refers to the spoken dialogue belonging to a single performer; also refers to the full complement of spoken words in a film or stage script; also known simply as dialogue.
726
727the Lion (Leo) - a slang term that refers to Metro-Goldwyn Mayer (MGM) Studios -- with the legendary "Leo the Lion" logo
728
729lip sync - refers to synchronization between mouth movement and the words on the film's soundtrack
730
731location 
732(or on location) - the properties or places (interior or exterior) used for filming away from the studio, set, or (back)lot, often to increase the authenticity and realism of the film's appearance; exteriors are abbreviated as ext., and interiors as int.
733
734location sound - refers to recording background sound on location, to improve the film's realism; see also buzz track
735
736locked-down shot - refers to a camera shot in which the camera remains immobile, while something happens off-screen (e.g., an off-screen death) - a technique to create suspense
737
738logline - a short, introductory summary of a film, usually found on the first page of the screenplay, to be read by executives, judges, agents, producers and script-readers; all screenwriters use loglines to sell their scripts; also known as premise; see also high concept hook
739
740long-shot 
741(LS) - a camera view of an object or character from a considerable distance so that it appears relatively small in the frame, e.g., a person standing in a crowd of people or a horse in a vast landscape; variations are the medium long-shot (or mid-shot) (MS) and the extreme long-shot (ELS or XLS); also called a wide shot; a long shot often serves as an establishing shot; contrast to close-up (CU); a full-shot is a type of long shot that includes a subject's entire body (head to feet).
742
743looping - refers to the process in which dialogue is re-recorded by actors in the studio during post-production, matching the actor's voice to lip movements on screen; aka ADR (Automated Dialogue Replacement); contrast with dubbing; loop refers to a length of film joined from beginning to end for repeated continuous running
744
745madcap comedy - a fast-paced, wild, and reckless humorous work, usually with plenty of slapstick humor, goofy and farcical action, and crazy characters; also see screwball comedy
746
747made-fors - short for movies filmed or made-for-television, often mid-way in style between a short drama and a cinematic release
748
749magic hour - the optimum time for filming romantic or magical scenes due to 'warm' and 'soft' lighting conditions, characterized by a golden-orange hue color; occurs for about 30 minutes around the time of sunset and sunrise; aka golden hour
750
751mainstream - a Hollywood-made film with major stars, big budgets, and big hype; compare to independents; its extreme opposite is termed counter-cinema (forms of alternative cinema, such as avant-garde, art films, Third World cinema, etc.)
752
753majors - refers to the major Hollywood motion picture producer/distributor studios at the present time (i.e., DreamWorks SKG, MGM/UA, Paramount Pictures, 20th Century Fox, Sony (Columbia/TriStar), Warner Bros, Universal, and Disney); contrast to the smaller, mini-major production-distribution companies (i.e., Miramax, New Line Cinema, and Polygram) that compete directly with the bigger studios
754
755makeup - refers to the materials that are used to prepare the performer for his/her respective role(s) before the camera, anywhere from facial pancake to elaborate costuming, latex masks, and other ghastly transformations; the makeup department is headed by a makeup artist
756
757making of... - a specialized documentary that focuses on the production of a specific film; most "making of..." documentaries are extended promotional advertisements before the release of the film, and almost all of them are shot while the film is in production; some specialized documentaries of classic films (called retrospectives), made years after the film was released, gather interviews and behind the scenes clips, etc.
758
759mark - (1) the name for the clapping of the sticks to sync up the sound and the picture; and (2) something on the ground (tape, a stick, chalk, etc.) that lets the talent know where they should be for the shot
760
761matte shot - the optical process of combining (or compositing) separately-photographed shots (usually actors in the foreground and the setting in the background) onto one print through a double exposure that does not meld two images on top of each other, but masks off (or makes opaque and blank) part of the frame area for one exposure and the opposite area for another exposure; the second image is printed in the masked-off area; it is a photographic technique whereby a matte painting or artwork from a matte artist - usually painted on glass - is combined with live action footage to provide a convincing setting for the action; also sometimes known as split-screen.
762
763McGuffin
764(or MacGuffin) - Alfred Hitchcock's term for the device or plot element (an item, object, goal, event, or piece of knowledge) that catches the viewer's attention or drives the logic or action of the plot and appears extremely important to the film characters, but often turns out to be insignificant or is to be ignored after it has served its purpose; its derivation is Scottish, meaning a "lion trap" for trapping lions in the lion-less Scottish Highlands (i.e., a trap that means nothing, since it is for an animal where there is no such animal).
765
766medium shot - refers to a conventional camera shot filmed from a medium distance; although it is difficult to precisely define, it usually refers to a human figure from the waist (or knees) up; between a close shot and a long shot; abbreviated as m.s.
767
768megaplex
769(multiplex) - both refer to movie chains (i.e., Loews, AMC Theatres) with movie theatres that screen more than one film at a time, as opposed to single-screen theatres. A multiplex has from 2 up to 16 screens, a megaplex has 16 or more screens; plex is the abbreviation for a multiplex theatre.
770
771melodrama - originally referred to "a drama accompanied by music"; a film characterized by expressive plots with strong and intensified emotion, often with elements of pathos, illness and hardship; called 'women's films' or 'weepies' (tearjerkers) during the 1940s; aka meller; sometimes used disparagingly to describe films that are manipulative and crudely appeal to emotions;
772
773metaphor - a filmic device in which a scene, character, object, and/or action may be associated, identified, or interpreted as an implied representation of something else (that is unrelated)
774
775midnight movies - offbeat, often independent (non-Hollywood) counter-cultural cult films exhibited at theatres for late-night shows - sometimes involving audience participation; appealed to various small segments of niche audiences with different tastes; these films (originally sexual thrillers, slasher flicks, etc.) were often box-office bombs upon initial release, but then gained a faithful following; the phenomenon began in the early 70s, then mostly disappeared in the 80s, but has recently been revived.
776
777mime 
778(or pantomime) - acting without words, emphasizing facial expressions, body movements, and gestures; common during the silent film era
779
780miniatures - small-scale models photographed to give the illusion that they are full-scale objects; also known as model or miniature shots.
781
782miscast - refers to an actor/actress who is completely wrong, untalented, or unbelievable for the role he or she has been cast in.
783
784mise en scène - a French term for "staging," or "putting into the scene or shot"; in film theory, it refers to all the elements placed (by the director) before the camera and within the frame of the film -- including their visual arrangement and composition; elements include settings, decor, props, actors, costumes, makeup, lighting, performances, and character movements and positioning; lengthy, un-cut, unedited and uninterrupted sequences shot in real-time are often cited as examples of mise-en-scene; contrast to montage
785
786mix (mixing) - the electrical combination of different sounds, dialogue, music, and sound effects from microphones, tape, and other sources onto the film's master soundtrack during post-production; dubbing (or re-recording) refers to the mixing of all soundtracks into a single composite track; the soundtrack is blended by a mixer (chief sound recording technician)
787
788mockumentary - a fictional, farcical film that has the style, 'look and feel' of a documentary, with irreverent humor, parody, or slapstick, that is deliberately designed to 'mock' the documentary or subject that it features; related to docudrama (a film that depicts real people and actual events in their lives)
789
790'modern' 
791(or modern-day) classic - a popular, critically-acclaimed film in recent years destined (possibly?) to ultimately become an all-time classic
792
793mogul - refers to a domineering, autocratic head of a major film studio; most commonly used when the studio system dominated film-making; now popularly called a studio chief
794
795money shot - aka payoff shot; a term originally borrowed from the pornographic film industry; referring to a scene, image, revelation, or climactic moment that gives the audience "their money's worth," may have cost the most money to produce - and may be the key to the movie's success
796
797monitor - refers to a small television screen hooked up to the camera and/or recording device that allows crew other than the camera operator to check the quality of a scene as it is being shot or to check and see if it needs to be reshot
798
799monologue - a scene or a portion of a script in which an actor gives a lengthy, unbroken speech without interruption by another character; see also soliloquy. See Best Film Speeches and Monologues
800
801moppet - the term for a child, or pre-teen child actor
802
803morality tale (or play) - a literary term mostly, but used also to refer to a film (often heavy-handed and obvious in tone) that presents a judgment on the goodness/badness of human behavior and character, and emphasizes the struggle between good and evil
804
805morph - the transformation of one digital image into another with computer animation.
806
807motion pictures
808(movies, pic(s), pix, or "moving pictures") - a length of film (with or without sound) with a sequence of images that create an illusion of movement when projected; originally referred to the motion or movement (due to the principle of persistence of vision) perceived when a string of celluloid-recorded images were projected at a rate of 16 or more frames per second; an art form, and one of the most popular forms of entertainment, known archaically as a photoplay during the silent era.
809
810motivated and unmotivated lighting - refers to lighting (or a light source) that is naturally existing in the real world, i.e., from a lamp post, table lamp, sunlight shining through a window, etc., that appears in a scene; for the lighting to appear natural in a film scene, it should seem to be coming from light sources that are visible or implied within the scene; the opposite effect is unmotivated lighting
811
812Mouse (House) - a slang term for the Walt Disney Co. or any division thereof -- refers to the company's most famous animated character: Mickey Mouse
813
814MPAA - acronym-initials meaning 'Motion Picture Association of America' - an organization that represents the interests of the major motion picture studios
815
816MTV style editing - refers to the style of filming and editing first found on the MTV cable channel in the 1980s and its music videos, consisting of rapidly-cut shots, fast-paced action, jump-cuts, fast-edits, numerous camera angles
817
818musical (film) - a major film genre category denoting a film that emphasizes segments of song and dance interspersed within the action and dialogue; known for its distinctive artists, stars, singers, and dancers; two major types are 'backstage' musicals and 'music-integrated' musicals.
819
820mute - a print with only the picture image (minus the sound track)
821
822hypersemiotisation - film actors obtain an aura or screen presence because the frame invests every action of the voice and body with meaning
823
824impersonation - way to judge acting that is considered to be greater value than personification-the actor undergoes significant transformations to become his/her role(better than personification) "million actor"=same thing
825
826personification - a way to judge acting that is considered less than that of impersonation-the actor seems to be himself throughout a series of roles
827
828commutation test - way to gauge the quality of acting by substituting actors or performing styles to see what effects the substitution will have upon the meaning of a performance; BELIEVABILITY must be examined through historical contexts as well as through the ways that the actor's voice and body construct a sense of truth in his or her terms
829
830Kuleshov editing experiment - what comes before and after certain events changes the way you react and look at things as a viewer. (dead lady, soup, child) syntagmatic
831-any series of shots without the establishing shot we will naturally think about a hole when those to shots are juxtaposed (when seeing portions of the space); even if filmed at different locations and at different times
832
833John Ellis - borrowing from laura molvie (tobelookedatness) -when actors are placed within the frame they get voyeuristic/fetishistic pleasure due to makeup, hair,.....
834
835barry king - hypersemitisation (he made it)
836
837stephen heath - actors voices and bodies are the ways in which they actually construct meaning-by: 1.character 2.star image 3.agency
838
839star image - actors style/appearance based on previous performances
840
841agent - narrative function of the actors role...how are they going to construct meaning in that role
842
843varisimilar code - how realistic the performance is...how do they construct believability and truth for the viewer
844
845changes in acting - -early screen acting: ordinary ppl being filmed in daily activities.
846-the coming of sound (1927)
847
848DW Griffith/Lilian Gish - director/actor pair who were first to show emotions and body movement and voice in a movie; Griffith=continuity editing, Birth of a nation=racist(KKK rise)
849
850sound date - 1927
851
852Rouben Mamoulian - contrapuntal sound
853overlapping sound
854overlapping dialogue
855he used sound as a trigger for the images (characters can be shown thinking about the past)
856
857stella adler - brought method acting to the US
858
859vsevolod pudokin - first book on film acting (1935)
860-must master close up and expressive objects
861
862ideogram - a term taken from Sergei Eisenstein's theory of "collisions" or, as he calls it "the point of copulation" where the combination of two images of the simplest series regarded as a product combines to correspond to a concept; resulting in an "intellectual cinema"
863
864nondiegetic insert - type of discontinuity editing; disruption of Syklav effect; example=jump cut; filmmaker cuts from one scene to a metaphorical/symbolic shot that is not part of the narrative;used for ironic comedy
865
866syntagma - important to editing; Eisenstein; opposite of paradigmatic
867
868paradigmatic - Andre Bazin; mise-en-scene; opposite of syntagma
869
870Andre Bazin - shots are dialectic; If you put A + B together the viewer should see C; emotionally, internally; shots become dynamic; counter theory of mise-en-scene
871
872Hitchcock - appears in all of his films
873
874eyeline match cut - continuity editing that cuts back and forth between two people at a similar camera angle, level, and zoom; matches space and time
875
876rhythmic editing - duration, pace, accent
877-self reflexive
878
879stychomythia - staccato-type of dialogue that is characteristic of Screwball comedies.
880
881Mickey-Mousing - synchronizing or matching movement to music
882
883Sonorous Envelope - used to prevent the subject from resisting being absorbed into a film's narrative; this concept suggests that background music recaptures the analogous pleasure of psychic traces of the subject's bodily fusion with his/her mother
884
885Dialogue Overlap - a type of sound mixing that continues a line of dialogue after the cut, as in Amadeus when Salieri explains his fascination with Mozart to his confessor at the start of the film
886
887sound mixing - putting different types of sound together into a celluloid composite
888
8898 ways to describe film sound - 1. Pitch (how high/low the sound is)
8902. Loudness (volume or intensity of sound)
8913. Quality (the reaction the sound is supposed to make the viewer feel, loud has a different reaction than soft sound)
8924. Fidelity
8935. Source of sound (location of where sound is coming; can be implied)
8946. diegetic/nondiegetic sound (is source for sound in the story world or no)
8957. If diegetic(in story), on screen/off screen
8968. Simultaneous/non simlultaneous- simultaneous sound is always diegetic and on screen; nonsimultaneous sound is normally a voice over; (flash back or flash forward or character's mental thoughts)
897
898Sources of Sound - 1. Synchronous/Asynchronous Sound- Synchronous is when sound is matched to the image (Mickey-Mousing); Asynchronous sound
8992. Internal/External- External is on or off screen sound that characters can hear and will react to it; Internal is character's thoughts, may take us to the past in a flashback and they may be unsimultaneous
900
901Types of Sounds - 1.Dialogue/Vocal
9022.Environmental/Ambient-come from background
9033.Music
9044.Silence
905
906Bleach Bypass - Skip part of film development process
907- Faded look, desaturated colors, worn out
908- Good for war movies
909
910Editor's Jobs - 1. Promote Continuity
9112. Juxtapose Images
9123. Condense Time
913
914-spatial relationships between shots
915-temporal relationships between shots, the overall rhythm of the film
916
917Functions of Sound - -maintain continuity
918-set mood
919-directs viewer's attention
920-develop character
921-inform viewer's how to react to the action
922-read ambiguity
923-sonorous envelope
924-rhythym
925-emphasis
926-POV
927-greater meaning to silence
928
929ideology - implied worldview about human life and culture
930
931Freudian slips - taboo thoughts/desires that they can only be made manifest through accidents, infelicitous language, dreams and the arts
932
933Syuzhet - plot that an active viewer recreates, according to cognitive psychologists, while following appropriate cues from the film narrative
934
935fabula - essence of the film's story that viewers come to understand as they piece together the plot or syuzhet
936
937spectatorial subject positioning - a term borrowed from Queer theory, its the viewer's ability to negotiate several roles (including those of sexual preference, gender, and authority) while watching a film
938
939cult film - have small but very devoted and rabid fans who admire and value certain aspects of these films
940
941homage - brief references to previous films, roles, or directorial styles that may have influenced a film or its making; such references usually add a self-reflexive quality to a filmic text
942
943parody - type of genre study that exaggerates the conventions of genres in order to call attention ti them in a self-conscious way, explicitly breaking the illusions of reality, representation, or invisible editing of a straight treatment of these conventions
944
945genre cycles - collection of films that enjoys an intense popularity and influence over a distinct period of time, and these cycles rise and fall in popularity, depending upon social or historical factors that might influence their appeal
946
947film theories (3) - 1. Apparatus: look at film's structure, properties, and meanings
9482. Realists: know how cinematic language and technology approximates real world experience
9493. Formalists: (all ch.'s in textbook) how does film make form and put it into reality
950
951Russian formalism - -apocalyptic criticism (get rid of one culture, end with a different culture and a happy ending)
952-Vladimir Propp
953-M.M. Bakhtin: looked at ways in which narratives operate; came up with two terms- dialogism(in any given text there are competing voices for ascendancy; viewers all see different things) and carnival(esque or ization)(going against status quo; what can we change about culture or social structures)
954-Eisenstein was one of the first filmmakers who was also a theorist
955
956binary opposition, dualism, or structuralism - -Claude Levi-Strauss
957-all human cultures and activity can be widdled down to two things: 
958 1. define what something is by talking about what it isnt...ex-cat dog, star wars light/dark sides
959 2. conflicts within the narrative
960-post-structuralism: a way to read a text against itself to unearth the hidden meaning(repressed ideas within the text)
961-aporia=points of contention, what about it is confusing, contradictory, or problematic, do you disagree with it?
962-Jacques Derrida: wizard of oz
963
964freudianism - -Sigmund Freud
965-what do you supress that the film can uncover
966-2 famous films: Hitchcock's "Psycho" and Olivier's "Hamlet"
967
968cognitive psychology - -David Bordwell
969-text is a dead thing until someone engages with it; then it is an art form; "I" create the meaning
970
971Ideological Criticism - Marxism
972Feminism
973Gay/Lesbian/Queer
974Race/Cultural Identity
975Film Historiography
976
977Marxism - -Louis Althusserand Antonio Gramsci were Marx's students
978-Althusserand: way to fight system 
979-Gramsci: (internalize being lesser) since we have our own needs and desires we will do what needs to get done to acquire desires (if your boss tells you to sweep then youre gonna sweep to get your paycheck)
980-one group always on top of another group
981-bourgeoisie on top of lower-class=conflict=clash=inequality is wiped out and now there's a culture of equality....and repeat the process
982
983feminism - -laura mulvey: men dominate in film and how they depict women on screen; men are scared females will castrate them; when we look at women we derive pleasure from them; women=passive, men=active
984-marjorie rosen: 
985-concerned with female image on and off screen, and with the female image in general
986-how are women disenfranchised
987-women portrayal in film is offensive
988-
989
990race/cultural identity - -king kong example=metaphor for black male aggression and sexuality
991-ways in which hollywood depict and picture race
992-racist?
993-
994
995film historiographhy - social
996economic-films economic history
997aesthetic-influences on culture
998T
999
1000Studio period - when there was a lot of money in the film industry before the great depression
1001
1002filmic invisibility - deliberately concealing things from viewers
1003
1004seymour chatman - implied author; filmmakers unaware of hiddens
1005
1006aristotle - filmmaker, film critique, camera obscura(first camera)(box with hole in it), audiences, first photographer, first psychologist, first film theorist
1007
1008eadweard muybridge - responsible for photographs being able to move, established camera movement
1009
1010Dixon - first motion picture camera/projector
1011
10121927 - sound film comes into existence
1013
10141894 - first film on record (sneeze-Dixon)
1015Fred Otneese
1016
1017first porno film - the kiss
1018
10191893 - thomas edison makes first movie studio (black maria)
1020-thomas edison stole Dixon's ideas (projector, camera)
1021
1022actualities - lumiere brothers
1023realism
1024
1025georges melies - anti realist
1026first special fx master
1027
1028Edwin S Porter - multiple settings and film outdoors, parallel action, continuity editing
1029
1030color grading
1031color correction - altering and enhancing the color of a motion picture with electronic, photochemical, or digital techniques
1032
1033digital imaging technician (DIT) - responsible for managing media capture with postproduction image manipulation in mind
1034
1035lighting elements - source
1036quality
1037direction
1038
1039aspect ratio - relationship between the frame's two dimensions
1040-1.375:1=academy(35 mm flat)^7
1041-1.66:1= European widescreen(35 mm flat)
1042-1.85:11=American widescreen(35 mm flat)
1043-2.2:1= Super Panavision and Todd-AO(70 mm flat)
1044-2.35:1=Panavision and Cinemascope(35 mm anamorphic)
1045-2.75:1=Ultra Panavision (70 mm anamorphic)
1046
1047in-camera effects - created in production camera on the original negative
1048
1049process shot - made by filming action in front of a rear-projection screen that has on it still or moving images for the background
1050
1051motion capture - also known as motion tracking or mocap is a specific CGI effect in which a live-action subject wears a bodysuit fitted with reflexive markers that enables a computer to record each movement as digital images
1052
1053cinematographic plan - visual concept for telling the story
1054
1055Acting types and actor types - -Personality Actors: actors who take their personae from role to role
1056-actors who deliberately play against our expectations of their personae
1057-Chameleon Actors: actors who seem to be different in every role (Jack Nicholson, Charlize Theron, Leonardo DiCaprio, Brad Pitt, Christian Bale, Bridges is a marvel of flexibility)
1058-Actors who are often nonprofessionals or people who are cast to bring verisimilitude to a part
1059-actors defined by their personae: Tom Cruise, Cameron Diaz, Will Smith
1060
1061option contract - every six months the studio reviews the actor's standard seven year option contract, if the actor has made progress in being assigned roles and demonstrating box office appeals the studio may continue to employ them for another six months, if not the studio would drop the actor and they are now out of work.
1062
1063screen tests - filmed auditions for unknown actors to see how they look under studio lighting and how they sound in recordings
1064
1065improvisation - can mean extemporizing or delivering lines based loosely on the written script or without the preparation that comes with studying a script before rehearsing it
1066
1067analyzing an actor's performance - based off of: appropriateness, inherit thoughtfulness or emotionality, expressive coherence, wholeness and unity
1068
1069Kuleshov effect - -man, soup, and dead lady example
1070-spatial relationships even when we are given minimal visual information or when we are presented with shots filmed at entirely different times and places is called ___
1071
1072reverse-angle shot - shooting at an angle that is opposite to that in a preceding shot or to dolly or zoom out to include more people/actions
1073
1074intercutting - editing of two or more lines of action that occur simultaneously at different locations
1075
1076graphic match cut - similarity between shots a and b is in the shape and form of what we see. in this type of cut the shape color or texture of objects matches across the edit providing continuity
1077
1078iris shot - iris-out: begins with a large circle that closes in around a subject
1079iris-in: begins with a small circle and expands to a partial or full image
1080
1081freeze frame freeze-frame - stop-frame or hold-frame
1082still image within a movie created by repetitive printing in the laboratory of the same frame so that it can be seen without movement for whatever length of time the filmmaker desires
1083
1084split screen - phillips smalley and lois weber (1913)
1085effect that is similar to parallel editing in its ability to tell two or more stories at the same cinematic time, whether or not they are happening at the same time or place
1086
1087sound design - art of creating the sound for a film
1088
1089dolby system - enhances fidelity by electronically reducing the hiss generated by analog sound recording and enables the technicians to match a movies's sound to the emotional intensity of its pictures
1090
1091out-takes - any footage that wont be used
1092
1093re-recording - looping or dubbing
1094
1095harmonic content - measured as wavelengths
1096
1097internal sound - when we hear the thoughts of a character within a scene
1098
1099interior monologue - combination of both spoken lines
1100
1101foley sounds - special category of sound effects
1102-DIFFERENCES B/W FOLEY+SOUND FX: traditional sound effects are created/recorded "wild" and then edited in whereas foleys are created and recorded in sync with the picture. SECOND DIFFERENCE: traditional sound fx can be taken directly from a library of prerecorded fx while foley sounds are unique