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Filmmaking > Cinematic Terms | P-Z > Flashcards

Cinematic Terms | P-Z Flashcards

1
Q

p.a.

A

abbreviation for ‘personal appearance’ - often required of major stars - to promote or provide PR (p.r.) or ‘public relations’ (marketing) for their films

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2
Q

pace

A

the speed/tempo of the dramatic action, which is usually enhanced by the soundtrack and the speed of the dialogue, the type of editing, etc.

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3
Q

package

A

the marketing elements of a film project, such as script, signed film stars, director, locations, ‘high-concept’ hook, etc.

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4
Q

pan

A

verb meaning ‘to express a totally negative opinion of’ a film, normally in a critical film review; also known as ‘trashing’ a film

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5
Q

pan (or panning shot, orpanoramic shot)

A

abbreviation for panorama shot; refers to the horizontal scan, movement, rotation or turning of the camera in one direction (to the right or left) around a fixed axis while filming; a variation is the swish pan (also known as flash pan, flick pan, zip pan, blur pan, or whip pan), in which the camera is purposely panned in either direction at a very fast pace, creating the impression of a fast-moving horizontal blurring of images across the screen; often confused with a dolly ortracking shot.

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6
Q

pan and scan

A

a technique that avoids the ‘letterboxing’ of a widescreen film for a full-framed 4x3 home video or TV picture, by focusing on the elements of the picture that are most important to the plot and by adjusting or cropping the image; when an important part of the image drops out of the visible screen, the picture is mechanically panned to the side (left or right in a ping-pong effect) to show the missing part - hence, the term pan-and-scan; approximately 43% of the visuals are sacrificed or cropped out in the pan-and-scan version, affecting the director’s original intent and aesthetic sense

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7
Q

parallel(editing, action, sound, etc.)

A

editing that cuts between two sequences taking place at different locations and possibly different times; parallel action refers to a narrative device in which two scenes are observed in parallel by cross-cutting; parallel sound refers to sound that matches the accompanying image; aka cross-cutting, inter-cutting

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8
Q

parody

A

a comedy that imitates or makes fun of an existing work(s) in an absurd, non-sensical way, and exaggerates its characteristics

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9
Q

payoff

A

a dramatic scene that justifies everything that preceded it; the necessary result of a complication for which the audience has been prepared; contrast to punchline and money shot

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10
Q

payola

A

refers to bribery or under-the-table payments

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11
Q

persona

A

literally, Latin for “mask”; related to the on-screen image or personality associated with a star

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12
Q

pic(s) (also pix)

A

slang terms for motion picture(s)

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13
Q

picture within a picture

A

a particular story-telling approach, literally, to have one film within another; in some cases, the characters are aware of the ‘film-within-a-film,’ and break the fourth wall and enter into or interact with it; aka subset film or film within a film

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14
Q

pin-up girl

A

refers to the most sexually-attractive star-actresses of an era, who would be popularized in seductive poses usually semi-clad - in pictures, calendars, or mass-produced posters that were usually literally “pinned-up”, usually with thumbtacks, on bedroom walls, the insides of lockers, and so forth; this practice started especially amongst GI servicemen away from home during military combat who pined for the ‘girl-back-home’; related terms are cover girl (for magazine covers), model or cheesecake

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15
Q

pitch(es)

A

orally or written (sales) proposals for film projects usually made by screenwriters (to sell a screenplay idea), or independent producers for studio producers or executives to obtain financial backing; anything from a one-line description to a two- to three-pagetreatment of an idea (before becoming a script); also refers to short phrases that capture or succinctly sum up the script

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16
Q

pivotal character

A

refers to the character that launches the action between theprotagonist and the antagonist; or the character who sets the main events of the plot in motion; films with a classic “love triangle” involve a woman who serves as the ‘pivotal character’ between two rival suitors

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17
Q

pixillation

A

an animation technique in which the illusion of continuous, real movement of three-dimensional objects, often people, is broken and/or made to move unevenly or jerky through the use of stop-action cinematography (single frame animation) or by printing only selected frames from the continuously-exposed negative

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18
Q

plot and plot point

A

refers to a series of dramatic events or actions that make up a film’snarrative; a plot point is a key turning point or moment in a film’s story that significantly advances the action; plot points either set the story further into motion, or disrupt and complicate the plot; also known as beat or A story; contrast to a subplot (aka B story or C story) - a secondary plot in a film; a plot plant is the technique of ‘planting’ an apparently trivial piece of information early in a story - that becomes more important later on

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19
Q

point of view(POV)

A

the perspective from which the film story is told; also refers to a shot that depicts the outlook or position of a character; also seeomniscient and subjective point of view, and P.O.V. shot

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20
Q

P.O.V. shot(or point-of-view shot)

A

a subjective shot made from the perspective of one of the characters to show the audience the scene as it would look through the character’s eyes; usually coupled (before and/or after) with areaction shot (or a three-shot sequence called a shot reverse shot) to establish the POV; also known as first-person point-of-view shot or subjective camera (the use of the camera to suggest the POV of a particular character)

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21
Q

porn (porno)

A

refers to a film that exploits sex; see also nudie

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22
Q

post-credits sequence

A

either a throwaway scene or an epilogue that happens during or after the end credits; sometimes used as a bonus for theatergoers who remain to watch the credits, and partly to generate ‘buzz’ about the extra scene

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23
Q

post-modern

A

refers to a return to tradition, in reaction to more ‘modernist’ styles

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24
Q

post-production

A

the final stage in a film’s production after principal photography or shooting, involving editing, the addition of sound/visual effects, musical scoring, mixing, dubbing, distribution, etc.; in digital post-production, can also include changing facial expressions, removing flaws or obtrusive objects (microphone, boom, etc.), enhancing the visual image, etc.; aka post; contrast to pre-production

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25
Q

post-synchronization (akaAutomatic Dialogue Replacement, or ADR, or post synching)

A

refers to the post-production process of recording the sound after the film has been shot, often adding dialogue spoken by actors as they watch the projected film

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26
Q

potboiler

A

a literary reference to the hard-edged, American detective/crime thrillers (also often called ‘pulp fiction’ or ‘dime novels’) rapidly written and filled with violence, crime, and sex - to literally ‘boil the pot’; also known as hard-boiled

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27
Q

pre-Code

A

refers to the four-five years (1930-1934) before the enforcement of the Hays Production Code in Hollywood, to rigidly sanitize and censor films. In film plots from mid-1935 and lasting about the next 30 years, adultery and promiscuity were prohibited (unless they ended in a miserable downfall), and all crimes (and their criminals) had to be punished.

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28
Q

premiere

A

the first official public screening of a movie, marking the kick-off, opening or opening night; a ‘red carpet’ premiere is one with greater publicity and hoopla (sensational promotion), ballyhoo, orhype; aka a bow, debut, or preem

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29
Q

premise

A

the main idea of a movie, usually explainable in a few sentences

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30
Q

pre-production

A

the planning stage in a film’s production after the project is finallygreenlighted, and before principal photography or actual shooting commences, involving script treatment and editing/rewriting, scheduling, set design and construction, casting, budgeting and financial planning, and scouting/selection of locations; contrast topost-production

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31
Q

prequel

A

the second or third film in a series of films that presents characters and/or events that are chronologically set before the time frame of the original movie; contrast to sequel

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32
Q

preview

A

a short film, usually with excerpts from a future film, intended as an advertisement; a sneak preview refers to an unadvertised, often surprise showing of an entire film before its general release or announced premiere, often to gauge audience reaction; aka trailer

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33
Q

pre-screen

A

to view/watch/see a movie before it is released for the public (at thepremiere)

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34
Q

principal photography

A

refers to the filming of major and significant portions of a film production that involves the main/lead actors/actresses; contrast tosecond-unit photography

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35
Q

principals

A

refers to the main characters in a play or film (usually those that havedialogue); contrasted to protagonists or antagonists, or extras.

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36
Q

print

A

refers to a positive copy of a film

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37
Q

prison film

A

a very popular sub-genre with the film’s plot usually set within the walls of an institutional prison; themes involve imprisonment and/or escape, the effects on the characters involved and interactions between officers and inmates, and issues of justice/injustice; the prison flick sub-genre can be found in any major genre (animated, drama, comedy, musical, science fiction, sexploitation, etc.)

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38
Q

process(projection or shot)

A

a technique that shoots live action in front of a screen on which the background view is projected; a process shot refers to a shot of live action in front of a process projection

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39
Q

producer (film)

A

the chief of a movie production in all logistical matters (i.e., scheduling, financing, budgeting) save the creative efforts of the director; raises funding and financing, acquires or develops a story, finalizes the script, hires key personnel for cast, crew, and director, and arranges for distributors of the film to theaters; serves as the liaison between the financiers and the film-makers, while managing the production from start to finish.

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40
Q

product placement

A

refers to how companies buy advertising space within a film for their products, as a way for a producer to fund some film production costs

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41
Q

production

A

the general process of putting a film together, including casting, set construction, costuming, rehearsals, and shooting; also refers to themiddle stage of production which is preceded by pre-productionand followed by post-production

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42
Q

production design

A

refers to a film’s overall design, continuity, visual look and composition (colors, sets, costumes, scenery, props, locations, etc.) that are the responsibility of the production designer; the art department refers to the people in various roles (e.g., matte painters, set designers and decorators, illustrators, title designers, scenic artists, and storyboard artists) who work under the production designer’s supervision; the art director is responsible for the film’s physical settings (specifically refers to the interiors, landscapes, buildings, etc.)

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43
Q

production (value)

A

production refers to an entire movie project; pre-production refers to the stage at which a film is prepared to go into production; post-production refers to the stage at which editing, scoring and effects are executed on a motion picture; production value refers to the overall quality of a film, based not on the script, acting, or director, but on criteria such as costumes, sets, design, etc.

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44
Q

projector

A

the machine that rapidly puts (‘projects’) a succession of motion picture images (individual frames) up onto a screen, using the principle of illusion of motion

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45
Q

prologue

A

a speech, preface, introduction, or brief scene preceding the the main action or plot of a film; contrast to epilogue.

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46
Q

promo

A

slang term for sales promotion

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47
Q

props(or property)

A

abbreviation for properties - refers to the furnishings, fixtures, hand-held objects, decorations, or any other moveable items that are seen or used on a film (or stage) set but that are not a structural part of the set; usually the responsibility of the prop man or property master.

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48
Q

protagonist

A

the lead or main character in a film; also known as hero/heroine; contrast to antagonist.

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49
Q

punchline

A

a funny, witty line that culminates a story, joke or scene; contrast with payoff and one-liner

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50
Q

Q rating

A

refers to an ad research rating that gauges how easily a celebrityis recognized – and how well the celebrity is liked

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51
Q

rack focusing

A

refers to an on-screen film technique of focus change that blurs the focal planes in sequence, forcing the viewer’s eye to travel to those areas of an image that remain in sharp focus; the focus changes from an object in the foreground to an object in the background or vice versa, to direct, shift, and steer the attention of the viewer forcibly from one subject to another; also known asselective focusing or pull focus

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52
Q

rating system(s) or ratings

A

also known as the MPAA (Motion Picture Association of America) film rating system, first officially instituted in late 1968; it refers to the ever-evolving classification system for films usually based upon age-appropriateness, and the judgment of a film’s suitability for various audiences, in terms of sexual content, offensiveness, or violence; see also censorship

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53
Q

reaction shot

A

a quick shot that records a character’s or group’s response to another character or some on-screen action or event; often accompanied with a POV shot; reaction shots are usuallycutaways.

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54
Q

real time

A

actual time it would take for an event to occur in reality, as contrasted to filmic time (time can be sped up or slowed down). Real and filmic time often coincide for long sequences within a film; also see running time.

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55
Q

realism

A

filming so that the reality outside the camera is shown in a neutral style with as little distortion and interference as possible; realism is attained by long, uninterrupted takes, deep focus shots, and other filmic techniques; contrast to expressionism; similar to the ‘reality’ of docudramas

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56
Q

rear (screen) projection

A

a special effects technique to create backgrounds, in which actors are filmed in front of a screen on which a background scene is projected; commonly used in early films to produce the effect of motion in a vehicle. Also see process shot, process photography, or back projection.

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57
Q

red carpet

A

literally, to “roll out” a welcoming ‘red carpet’, laid down for major ceremonies (film premieres, awards ceremonies) to signify an important, honorary event with dignitaries and esteemed guests attending; often the locale for live interviews and photo opportunities

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58
Q

red herring

A

an instance of foreshadowing that is deliberately planted to make viewers suspect an outcome–but the audience is to be deceived - the opposite happens and the false clue ‘plant’ is irrelevant; often done for humor, irony, or for other thematic reasons; contrast toMcGuffin

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59
Q

redlighted

A

refers to a film project that was in production, but lost its financial backing - resulting in a premature abandonment by the studio; aka a film in turnaround

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60
Q

reel

A

refers to a plastic or metal spool for winding film; also, earlier films were measured in reels (one reel = about 10 minutes of running time).

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61
Q

re-enactment

A

a film production that re-creates an actual event as closely as possible

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62
Q

reference

A

refers to how one film in its storyline (through dialogue, images) alludes to, recalls, or refers to another film; similar to homage

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63
Q

reissue

A

refers to a studio releasing a work subsequent to the original or initial release; similar to re-release

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64
Q

release

A

refers to the first distribution and general public exhibition of a film to theatre audiences.

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65
Q

remake

A

refers to a later production (of a previous film), with different credits, script, and cast; a redone, second version of a film’s narrative and subject matter; remakes have been common throughout all of film history.

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66
Q

rentals

A

refers to that portion of film grosses that goes to filmdistributors; also refers to videocassette (or DVD) rentals

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67
Q

re-release

A

the revival or rebroadcast of a work by the original distributor, studio, releaser, or broadcaster.

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68
Q

reshoot contingency

A

refers to the funds kept or saved by a producer in casesupplementary shootings (reshoots) are required - often occurring after test screenings or decisions made by studio executives

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69
Q

resolution

A

the outcome, or the “untying” of tension in the scenes after theclimax of a film; refers to how things turned out for all of the characters; some films abruptly end without a scene following the climax; aka denouement

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70
Q

retrospective

A

usually a tribute, exhibition, or ‘looking back’ at a film star’s, artist’s or director’s work over a span of years with a comprehensive compilation or montage of film clips or excerpts; also known as a retro; also, in terms of a screenplay, a film in which nearly the entire story is looking back in time at events that have already taken place, usually accomplished by flashback

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71
Q

reverse angle shot

A

a basic camera angle composed of a shot photographed from the opposite side of a subject to provide a different perspective; in adialogue scene between characters, a shot of the second participant is commonly composed as an over-the-shoulder shot; sometimes known as an 180 degree angle shot or change in perspective; the alternating pattern between two characters’ points of view is known as shot/reverse shot

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72
Q

reverse motion

A

refers to a trick camera effect, created by running film backwards in the camera or during optical printing; aka reverse action

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73
Q

revisionistic

A

refers to films that present an apparent genre stereotype and then subvert, revise, or challenge it; aka deconstruction

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74
Q

revival house

A

film or exhibition theatres that are dedicated to emphasizing or specializing in only one type of film - such as foreign films, older films, silent films, classics, rarely-screened films, etc.

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75
Q

roadshow

A

refers to exploitation films (such as “sex-hygeine” films) with controversial content (disguised as educational medical information) that were heavily promoted and shown on the road, and would be packed up quickly in case of the authorities; also refers to films that were released early and shown in prestigious theatres

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76
Q

roman a clef

A

a French term literally meaning ‘novel with a key’; in film terms, refers to a film in which actual persons/events are disguised or masked as fictional characters - but with a ‘key,’ the true persons/events are revealed

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77
Q

rotation

A

refers to a camera rotation - which can be a vertical or horizontalpan; or it may refer to a camera move in which the camera is moved in a complete (or half) circle to produce a spinning, disorienting effect to the viewer; a partial rotation is termed a tilt

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78
Q

rough cut

A

an early edited (or ‘cut’) version of a film - with all the pieces of the film assembled in continuous, sequential order, but without any fancy editing; also sometimes known as first cut; one of the stages toward the final cut; often used in a focus group screening.

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79
Q

running time

A

a measure of the duration or length of a film, usually about two hours for a feature film.

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80
Q

rush(es)

A

the prints of takes (of the camera footage) from one day’s shooting, usually without correction or editing, for examination by the director before the next day’s shooting; aka daily-ies

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81
Q

satire

A

a mocking, ridiculing commentary on an economic, political, religious or social institution, ideology or belief, person (or group), policy, or human vice.

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82
Q

scenario

A

(1) the outline for a screenplay, or (2) a complete screenplay

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83
Q

scene

A

usually a shot (or series of shots) that together comprise a single, complete and unified dramatic event, action, unit, or element of film narration, or block (segment) of storytelling within a film, much like a scene in a play; the end of a scene is often indicated by a change in time, action and/or location; see also shot andsequence.

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84
Q

scenery

A

refers to the outdoor background in a set (represented by either a backdrop or a natural view).

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85
Q

scene-stealing

A

usually refers to a character (or group of characters), usually subsidiary, whose appearance, actions and/or dialogue draws more attention than other actors in the same scene; similar to the term ‘chewing up the scenery.’

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86
Q

schlock film

A

from the Yiddish expression for ‘inferior’ - refers to a forgettable, cheaply-made, low-budget, luridly-advertised B-film (or lower Z-film) with little or non-existent quality - often unintentionally hilarious; designed to take in profitable box-office in opening week; usually films found in the horror, comedy and science-fiction genres of the 50s and 60s.

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87
Q

(film) score

A

the musical component of a movie’s soundtrack, usually composed specifically for the film by a film composer; the background music in a film, usually specially composed for the film; may be orchestral, synthesized, or performed by a small group of musicians; also refers to the act of writing music for a film

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88
Q

screen direction

A

refers to the direction that characters or objects are moving in a film’s scene or visual frame; common screen directions include “camera left” (movement to the left) or “camera right” (movement to the right); a neutral shot is a head-on shot of a subject with no evident screen direction; a jump-cut often indicates a change in screen direction

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89
Q

screener

A

the term for a promotional DVD (or video) version of a film that is sent to voters (and film critics) by the movie studios for their convenience during the awards season, before the movie is officially available to the public through video rental chains

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90
Q

screening

A

the exhibition or display of a movie, typically at a cinemahouse/theatre; to screen (or unspool) a film means to show or project a film; types of screenings include a critical screening (a pre-release viewing for film critics), a pre-screening, or a focus-group screening (to test audience reactions to a film’s rough cut); cinema is another term for a movie theatre.

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91
Q

screenplay

A

a script or text for a film production written by a scripter orscreenwriter(s) (or scribe), written (scribbled, scripted, orpenned) in the prescribed form as a series of master scenes, with all the dialogue provided and the essential actions and character movements described; screenplays are oftenadaptations of other works; known archaically as aphotoplay during the silent era.

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92
Q

screen test

A

refers to a filmed audition in which an actor performs a particular role for a film production; casting often depends upon the photogenic (the projection of an attractive camera image) quality of the star.

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93
Q

screwball comedy

A

a type of highly-verbal comedy prevalent in 1930’s Hollywood, and typified by frenetic action, verbal wit and wisecracks (substituting or serving as a metaphoric euphemism for sex), a battle of the sexes with conflict that is ultimately resolved - all elements that serve as important plot points.

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94
Q

script

also shooting script

A

refers to the written text of a film - a blueprint for producing a film detailing the story, setting, dialogue, movements and gestures of actors, and the shape and sequence of all events in the film; in various forms, such as a screenplay, shooting script, breakdown script (a very detailed, day-to-day listing of all requirements for shooting, used mostly by crew), lined script, continuity script, or a spec script (written to studio specifications); a screenplay writer is known as ascreenwriter, scripter, scribbler, scribe or penner; a last-minute script re-writer is known as a script doctor; ascenario is a script that includes camera and set direction as well as dialogue and cast direction; a shooting script is a detailed final version of the screenplay with the separate scenes arranged in proper sequence, and used by the cast.

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95
Q

second banana

A

in general terms, an actor who plays a subordinate or secondary role; aka second fiddle; in comedies, it refers to a performer who acts as a sidekick, foil or stooge (straight man) to a lead comedian

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96
Q

second-unit photography

A

in larger film productions, this refers to the less important scenes (large crowd scenes, scenery, foreign location backgrounds, various inserts, etc.) that are filmed by a smaller, secondary or subordinate crew, usually headed by asecond-unit director; contrast to principal photography

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97
Q

segment (or seg)

A

a section or episode of a film; a series of sequences that comprise a major section of the plot; segmentation of a film often helps to further analysis

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98
Q

sell-through

A

an industry term meaning prerecorded videocassettes or DVDs priced lower, to encourage their sale rather than rental

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99
Q

sepia tone

A

a black-and-white image that has been converted to a sepia tone or color (a brownish gray to a dark olive brown) in order to enhance the dramatic effect and/or create an “antique” appearance

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100
Q

sequel

A

a cinematic work that presents the continuation of characters, settings, and/or events of a story in a previously-made or preceding movie; contrast to a prequel, follow-up, serial,series, spin-off or remake.

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101
Q

sequence

A

a scene, or connected series of related scenes that are edited together and comprise a single, unified event, setting, or story within a film’s narrative; also refers to scenes that structurally fit together in the plot; sequence usually refers to a longer segment of film than a scene; sequences are often grouped into acts (like a three-act play); a sequence shot refers to a long, normally complicated shot with complex camera movements and actions; see also shot and scene.

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102
Q

serial

A

a multi-part, ‘short-subject’ film that was usually screened a chapter/episode per week at a film theatre; the predominant style of the serial was melodrama; often, each chapter or episode, continually presented in installments over several weeks, would conclude with an unresolved cliffhanger to ensure that audience would return the following week to discover the resolution; popular until the early 1950s; contrast with series and sequels.

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103
Q

series

A

a string or sequence of films with shared situations, characters or themes and related titles, but with little other inter-dependence, especially with respect to plot or significant character development. Usually presented withoutcliffhangers; the term also applies to feature films with more than one sequel; contrast with serials and sequels.

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104
Q

set

A

the environment (an exterior or interior locale) where the action takes place in a film; when used in contrast to location, it refers to an artificially-constructed time/place (a backdroppainting or a dusty Western street with a facade of storefronts); supervised by the film’s art director; strike refers to the act of taking apart a set once filming has ended.

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105
Q

set-piece

A

usually a self-contained, elaborate scene or sequence that stands on its own (i.e., a helicopter chase, a dance number, a memorable fight, etc.), and serves as a key moment in the film; in terms of production, it may also refer to a scene with a large set

106
Q

setting

A

the time (time period) and place in which the film’s story occurs, including all of the other additional factors, including climate (season), landscape, people, social structures and economic factors, customs, moral attitudes, and codes of behavior; aka locale.

107
Q

set-up

A

the place or position where the director and the director of photography put the camera (and lighting) when shooting a scene; a scene is usually shot with multiple setups and with multiple takes from each setup; aka angle.

108
Q

set-up(screenplay)

A

in screenplay terms, set-up refers to the first act in which the characters, situation, and the setting are established.

109
Q

sex comedy

A

a humorous, light-hearted film with an improbable plot about sexual relationships and extra-marital affairs, with various pairings between numerous characters, often characterized by slamming doors; aka sex farce or bedroom farce.

110
Q

sexploitation

A

refers to non-pornographic, non-explicit, soft-core films that feature sexual themes or explicit sexual material and nudity often in an apparently crude, immature, leering way; these films exploited the concept of sex without violating long-standing cultural and legal taboos against showing it all on the screen; often with lurid titles; aka skin flick

111
Q

shoot

A

the process of filming or photographing any aspect of a motion picture with a camera; the plan for a shoot is termed ashooting schedule.

112
Q

short subject(shorts orshort films)

A

a film that is shorter than around 30 or 45 minutes; in the silent film era, most films were shorts, such as those shown in nickelodeons; then, during the early film era, the price of a movie ticket included not only the weekly feature but also “selected short subjects,” as they were usually billed; contrast to features.

113
Q

shot

A

the basic building block or unit of film narrative; refers to a single, constant take made by a motion picture camera uninterrupted by editing, interruptions or cuts, in which a length of film is exposed by turning the camera on, recording, and then turning the camera off; it can also refer to a single film frame (such as a still image); a follow-shot is when the camera moves to follow the action; a pull-back shot refers to a tracking shot or zoom that moves back from the subject to reveal the context of the scene; see also scene andsequence; shot analysis refers to the examination of individual shots; a one-shot, a two-shot, and a three-shotrefers to common names for shooting just one, two, or three people in a shot

114
Q

shot, scene, and sequence

A

a shot, scene, and sequence together make up the larger dramatic narrative of film; scenes are composed of shots, sequences are composed of scenes, and films are composed of sequences.

115
Q

sight gag

A

aka visual gag; an image that conveys humor visually, usually non-verbally; often used in silent film comedy, or in films with very little dialogue.

116
Q

silent film(or silents)

A

the term for motion pictures without sound (spoken dialogue or synchronized soundtrack), although they were often accompanied by live commentary, piano-music, sound effects, and/or orchestration; the period from about 1895 to 1927 (when “talkies” were introduced); contrast with talkies.

117
Q

silver bullet

A

aka “magic bullet” - a solution that completely solves the complicated dramatic problem within a film; the term was derived from European folklore in which only a silver bullet could kill a werewolf.

118
Q

size

A

refers to a film element, used by the film-maker to indicate a character’s or object’s relative strength compared to other things or persons

119
Q

skip frame

A

the optical printing effect of skipping or cutting out certain frames of the original scene to speed up the action

120
Q

slapstick (comedy)

A

a broad form of comedy in which the humor comes from physical acts or pantomime, frequently harmless violence and pratfalls intended to produce laughter. The name was derived from a device called a slapstick, two boards that slapped together with a loud crack when used to strike something or someone; prevalent during the silent era and in early talkies, with its primary motif being pie-throwing.

121
Q

slasher film

A

usually a cheaply-made sub-genre film (usually in the horror genre) designed for the teenage audience (teen movie), deliberately made to contain gory, blood-splattering, explicit deaths without any build-up, style or suspense, often committed by an unstoppable serial killer, with a sharp bladed weapon; most slasher films are created to generate sequels and repetitive boredom; aka splatter films; see also trash film, grindhouse film, schlock film, B-film and Z-film

122
Q

slate (board)

A

refers to the digital board held in front of the camera that identifies shot number, director, camera-person, studio and title; the slate has the clap sticks on top and the scene number, take and production name or title usually written on it, and the person operating the slate will say “mark” and clap the sticks for picture and sound sync purposes; originally the data was written with chalk on a slate board; the footage of the slate at the beginning of each shot or take is used in the laboratory and editing room to identify the shot; see alsoclapboard

123
Q

sleeper

A

a movie that is released with little publicity or pre-releasebuzz, often directed by and starring relatively unknown people, that eventually becomes popular (as a cult film) or financially successful beyond expectations, usually due to positive word-of-mouth; the term is sometimes used incorrectly to describe unpopular movies that the critics love

124
Q

slow-motion

or slo-motion

A

refers to an effect resulting from running film through a camera at faster-than-normal speed (shooting faster than 24 frames per second), and then projecting it at standard speed; if a camera runs at 60 frames per second, and captures a one second-long event, a 24-frame playback will slow that event to two and a half seconds long; overcrank(ing) means to speed up the camera, thereby making the action appear slower when projected - the term dates back to the old days of physically hand-cranking film through a camera; this filmic technique is usually employed to fully capture a ‘moment in time’ or to produce a dramatic (or romantic feeling); contrast to fast-motion (or accelerated motion, achieved by undercranking) or time compression

125
Q

smash-cut

or shock cut

A

a cinematic term that refers to an abrupt, jarring and unexpected change in the scene or film’s image (and the audio), in order to surprise the viewing audience; see alsotransition

126
Q

snub

A

during nominations or awards proceedings, when a prominent, leading, or favored performer/director/crew member or film is inexplicably excluded or denied an award or nomination

127
Q

soft-focus

A

a cinematographic effect in which a filter, vaseline or gauze-like substance placed over the camera lens reduces the clarity or sharpness of focus, blurs the image, and produces a diffused, hazy light; often used to enhance romantic or dreamy scenes, or to remove wrinkle lines from an actor’s face

128
Q

soliloquy

A

a dramatic monologue delivered by a single actor with no one else onstage; sometimes expressed as a ‘thinking aloud’ dialogue of inner reflections; delivered by a character to him or herself, or directly to the audience; contrast to an aside.

129
Q

sound

A

the audio portion of a film including dialogue, music, and effects; sound effects refers to all created sounds except dialogue or music

130
Q

soundstage(or stage)

A

a large, soundproof area/room in a studio used in film production, where elaborate sets are constructed, to allow film-makers greater control over climate, lighting, and sound, security, and spectators.

131
Q

soundtrack

A

technically, this term refers to the audio component of a movie, including the dialogue, musical score, narration, and sound effects, that accompany the visual components. Popularly, it refers to a collection of songs heard during the movie, and often sold as an album.

132
Q

spaghetti western

A

a western, low-budget B-movie filmed in Italy (or Spain) during the 60s, usually characterized by low production values, sparse dialogue.

133
Q

special effects (or F/X, SFX, SPFX, or EFX)

A

a broad, wide-ranging term used by the film industry meaning to create fantastic visual and audio illusions that cannot be accomplished by normal means, such as travel into space. Many visual (photographic) or mechanical (physical) filmic techniques or processes are used to produce special illusionary effects, such as optical and digital effects, CGI,in-camera effects, the use of miniatures/models, mattes, rear-camera projections, stop-motion animation,bluescreens, full-scale mockups, pyrotechnics (squibs (miniature explosions, i.e. a gunshot)), stunt men,animatronics (electronic puppets), rain/snow/wind machines, etc.; F/X are coordinated by the visual effects and the special effects supervisors; known negatively as trick photography; see also visual effects - a sub-category of special effects. See this site’s Milestones in Special/Visual Effects in Film History.

134
Q

spin-off

A

refers to a derivative work (film or TV), either a sequel or a prequel which includes characters from the previous original product; contrast to a prequel, follow-up, serial, series,sequel or remake

135
Q

split edit

A

an editing technique used to ease the transition from one scene to another, in which the audio starts before (or after) the picture cut; aka L-cut or J-cut

136
Q

split-reel

A

in the silent era, refers to two different short-subject films (each too brief for a separate screening) that were joined together on one reel for movie-house exhibition

137
Q

split-screen

A

the combination of two actions filmed separately by copying them onto the same negative and having them appear side-by-side within a single frame (without overlapping); a slight variation on split-screen is termed multiple image (different images are set alongside each other within a single frame); split-screen is usually intended to signify simultaneous action; also see bluescreen and matte shot

138
Q

spoiler

A

information about the plot or ending of a film that may damage or impair the enjoyment of the film if known ahead of time; usually, critics or reviewers warn readers with a ‘spoiler alert’, or avoid revealing spoilers altogether. See Greatest Plot Twists and Spoilers

139
Q

spoof

A

usually a comedic film that pays tribute to an earlier film in a humorous way.

140
Q

stand-in

A

a substitute person who is physically similar (in size and appearance) to an actor and who takes the actor’s place during often lengthy preparation of a scene (the taking of light meter readings, camera setup, light adjustment, etc.) but not during filming. Not to be confused with a stunt double or abody double.

141
Q

star

A

the name given to famous, talented, and popular actors or celebrities, often in lead character roles, who can draw an audience to a film with their photogenic appearance, inspirational acting, or some other quality. Historically, astarlet (or ingenue) was an attractive actress promoted by a film studio in a small role as an up-and-coming star during the 40s and the 50s; also used in the term star quality and star system

142
Q

star system

A

refers to the way in which studios “groomed” stars under contract, and sought star vehicles for them; studios served as protectorates for their stars

143
Q

star vehicle

A

a film expressly made to show off the talents of a performer, with all other aspects almost secondary; compare with tour de force

144
Q

static shot

A

an unmoving camera shot that is stationary, due to the use of a tripod

145
Q

Steadicam (shot)

A

a hand-held camera technique using a stabilizing Steadicam (introduced in the late 70s), developed by inventor Garrett Brown, with a special, mechanical harness that allows the camera operator to take relatively smooth and steady shots, though hand-held, while moving along with the action; the resulting images are comparable to normal tracking shots on a wheeled dolly

146
Q

stealing a scene(or scene-stealing)

A

usually refers to a supporting actor/actress attracting attention from the lead actor or actress to whom the center of interest legitimately belongs; see also ‘tour de force’ performance

147
Q

stereotyping

A

the act of portraying a particular character (or group) with a formulaic, conforming, exaggerated, and oversimplified representation, usually offensive and distorted

148
Q

still

A

refers to a single, static image, either (1) a frame still (possibly enlarged) from a finished film, (2) a production still taken from an unfinished film, or (3) a publicity shot (of an actor or scene); aka photogram.

149
Q

stinger

A

a surprising, last-minute bit of dialogue (or footage) that appears after the end (or closing) credits

150
Q

stock character

A

a minor character whose actions are completely predictable, stereotypical, or standard for his/her job or profession; similarly, a stock situation is a basic, recognizable plot situation (e.g., a lover hiding in the closet, twins mistaken for each other, etc.).

151
Q

stock footage (or stock/library shot)

A

previously-shot footage or film of common elements or scenes, such as canyons or deserts in the American West, or travelogue shots (e.g., skylines, airplane takeoffs/landings, famous places, etc.) that are kept in a film archive or library and used to fill in portions of a movie in different film productions, thereby saving the time of reshooting similar scenes over and over; a stock shot refers to an unimaginative or commonplace shot that looks like it could be stock footage

152
Q

stop-motion (animation)

A

a special-effects animation technique where objects, such as solid 3-D puppets, figures, or models are shot one frame at a time and moved or repositioned slightly between each frame, giving the illusion of lifelike motion. Stop-motion was one of the earliest special-effects techniques for science-fiction films, now replaced by CGI and animatronics; aka stop-frame motion

153
Q

story

A

the events that appear in a film and what we can infer from these events; aka narrative or plot

154
Q

storyboard

A

a sequential series of illustrations, stills, rough sketches and/orcaptions (sometimes resembling a comic or cartoon strip) of events, as seen through the camera lens, that outline the various shots or provide a synopsis for a proposed film story(or for a complex scene) with its action and characters; the storyboards are displayed in sequence for the purpose of visually mapping out and crafting the various shot divisions and camera movements in an animated or live-action film; a blank storyboard is a piece of paper with rectangles drawn on it to represent the camera frame (for each successive shot); a sophisticated type of preview-storyboard (often shot and edited on video, with a soundtrack) is termed an animatic

155
Q

straight man

A

an actor/actress who serves as a stooge for a comedian (orfunnyman), usually by adopting a serious stance or reaction to the comic partner; the straight man often feeds lines to the other irreverent comedian - who replies with witty comments; aka second banana or foil

156
Q

studio(s)

A

(1) the for-profit companies that specialize in developing, financing and distributing most American commercial films; (2) also refers to the actual site for a film production, with physical sets, stages, offices, backlots (located on the outdoor grounds of a film studio and used for filming exteriors), etc; see also majors and independents, and mogul.

157
Q

studio chief

A

the head or chairperson of a film studio who has the final authority for each film project (gives the green light - or authorization go-ahead), and oversees the many departments (financial, legal, marketing, advertising, distribution, etc.); also called the topper; in Hollywood’s Golden Age, the chief was called a mogul

158
Q

studio system

A

refers to the all-powerful control the monopolistic film studios had over all aspects of assembly-line filmmaking and film production from the 1920s until the late 1950s, when chiefs -moguls (Mayer, Selznick and Zukor) ruled; tactics included the ownership of property, control of publicity and marketing, and iron-clad contracts with star-actors, directors, composers, cameramen, costume designers, writers, and producers.

159
Q

stunt double(s)

A

a stunt performer(s) (aka stunts) that take the place of an actor when the scene calls for a dangerous or risky action (car crash, fight, window jump, etc.); doubles usually have the same build or appearance as the star; also called stunt performer, stuntman or stuntwoman; not to be confused with a stand-in or a body double; stunts are supervised, conducted and planned by a stunt coordinator

160
Q

stylize(d)

A

a term that refers to the artificial exaggeration or elimination of details in order to deliberately create an effect - in other words, to make (or interpret) a person, a face, a tree, a figure, or something as ‘grotesque,’ ‘disturbing,’ or ‘overbright’ as opposed to realistic or naturalistic.

161
Q

subjective point-of-view (POV)

A

a film in which the narrator has a limited point-of-view regarding the characters, events, action, places, thoughts, conversations, etc.; a subjective camera is a style of filming that allows the viewer to look at events from the POV of either a character or the author, when the camera position is close to the line of sight of the character; contrast to omniscient point-of-view

162
Q

subplot

A

a secondary, subordinate, or auxiliary plotline, often complementary but independent from the main plot (the A story), and often involving supporting characters; not the same as multiple plotlines; aka the B story or C story

163
Q

subtext

A

the deeper and usually unexpressed “real” meanings of a character’s spoken lines or actions - if the viewer can ‘read between the lines’.

164
Q

subtitles

A

refers to the printed line(s) of text superimposed and displayed at the bottom of the screen frame, often used to translate a foreign-language phrase, or to describe a time/place; also the text translating an entire foreign language film (that hasn’t been dubbed); often termed caption

165
Q

Sundance

A

short for the influential Sundance Film Festival, known for the exhibition and screening of the best of independent films each year in Utah; also see (film) festival

166
Q

superimpose (or superimposition)

A

an optical printing process that places or ‘exposes’ one image on top of another on the same piece of filmstock, such as inserted credits and titles at the beginning of a film; sometimes composed as a double exposure

167
Q

supporting role(s) (or players, characters)

A

characters seen less frequently than the lead role characters, but still in important, secondary roles; often termed a featured player or feature player; well-known guest stars often play brief supporting roles in a film; character actors are usually in supporting roles

168
Q

surreal (surrealism)

A

a term applied to a film, signifying a distorted or fantastic dream state, a nightmarish or hallucinogenic world, or a subconscious thought or death experience; often expressed by a random, non-sequential juxtaposition of images that go beyond realism

169
Q

suspenser

A

another term for a suspense/thriller film

170
Q

swashbuckler

A

usually refers to adventure films with an heroic, athletic, sword-wielding character

171
Q

sword-and-sandal epic

A

a term for a movie, usually a Roman or Biblical epic, characterized by the weapons (swords) and footwear (sandals) of the period

172
Q

sword and sorcery

A

a term for the class of fantasy movies characterized by the presence of wizards and warriors, magic and sword fighting

173
Q

symbol

A

an object in a film that stands for an idea, or that has a second level of meaning to it, e.g., a window or train=freedom, a rose=beauty, a cross-roads=a decision point, etc.; the more a symbol is repeated, the greater its significance

174
Q

symmetry

A

within a film when two or more distinct plotlines ‘mirror’ each other or develop variations on the film’s theme or plot; akamirroring

175
Q

synchronous sound

A

refers to sound whose source can be seen in the image’s frame, or whose source can be understood from the context of the image

176
Q

tag line

A

a clever phrase or short sentence to memorably characterize a film, and tease and attract potential viewers, or sell the movie; also creates a catchy ‘soundbite’ often repeated or presented in a trailer or on a film’s poster, sometimes along with the film’s leitmotif

177
Q

take

A

a single continuously-recorded performance, shot or version of a scene with a particular camera setup; often, multiple takes are made of the same shot during filming, before the directorapproves the shot; in box-office terms, take also refers to the money a film’s release has made

178
Q

talent

A

a term applied to the actors, as a group, on a film set

179
Q

talkies

A

the common term used for films with sound (beginning in 1927), although rarely used currently. The advent of talkies marked the dawning of the era of sound films, as opposed tosilent films

180
Q

talking head(s)

A

a medium shot of people conversing; used as a criticism - denoting an uninteresting image

181
Q

tap

A

a slang term, meaning to “pick”, “select”, “name”, or “appoint”

182
Q

tearjerker(s)

A

an excessively-sentimental or emotional film, usually with suffering female protagonists, tragic circumstances, manipulative scenes, and dramatic musical scoring; akamelodramas or weepies; derogatively known as a ‘woman’s film’ or ‘chick flick’; contrast to feel-good film

183
Q

Technicolor

A

the trade name for the best known color film process; 3-strip color is often used as a synonymous term; also used generically as a term for rich, bright, vibrant, sometimes garish colors; Technicolor films were described as highly saturated(with pure and vivid colors); Technicolor (a 3-color dye transfer system) was introduced in the Disney short cartoon, Flowers and Trees (1932)

184
Q

tech-noir

A

modern day (or post-modern) expressionistic film noirs set in the future, with dark, decaying societies

185
Q

telefilm

A

refers to a feature-length motion picture made for television; also known as telepic or telepix; see also made-for TV movie

186
Q

telephoto(lens)

A

refers to a camera lens with a very long focal length and narrow angle of view - the effect is to compress or condense depth in space, thereby bringing distant objects closer to the viewer (without moving the camera), but it also flattens the depth of the image; it has the opposite of the effect of a wide-angle lens

187
Q

tentpole

A

an industry slang or trendy buzzword term, meaning a film that is expected to serve as a primary support for a studio, i.e., to be a top-grossing blockbuster (usually during the summer season), to compensate for a studio’s other flops; usually the film is the start of, or an installment in, a franchise

188
Q

theatre - theater(film)

A

the place for screening, presenting, or viewing a film or motion picture; aka cinema

189
Q

theatrical

A

a slang term referring to a feature-length motion picture

190
Q

theme(film)

A

the central characteristic, idea, concern or motif in a film

191
Q

theme music

A

the opening or closing music of a motion picture, often containing the film’s ‘signature’ or leitmotif tune/phrase that is associated with a character or situation within the film

192
Q

three-shot

A

refers to a medium shot that contains three people; compare to two-shot

193
Q

tie-in

A

refers to any commercial venture connected to a film

194
Q

tilt shot (or oblique angle)

A

a camera tilted up or down on a diagonal along a vertical axis; a vertical camera movement from a fixed position often used to suggest an imbalance, or strangeness, or to emphasize size, power or menace; also known as tilt pan, tilt up or tilt down (or reveal), or vertical pan, although not technically the same as “pan up” or “pan down”, similar to a moving close-up; a dutch angle is filmed at an extreme diagonal tilt

195
Q

time lapse

A

a method of filming where frames are shot much slower than their normal rate, allowing action to take place between frames, and giving the appearance of the action taking place much faster in the finished product; often done for nature filming (the blooming of a flower, the movement of clouds, etc.), allowing the viewer to witness the event compressed from real time (hours or days) into a few seconds; (one frame shot every 30 seconds over 24 hours of real time would equal two minutes of film time); opposite of slow-motion

196
Q

tint

A

the use of color to physically tint film stock to achieve a desired mood, usually done selectively by hand; often used by silent black-and-white films before the widespread use of color film. See gel and sepia.

197
Q

title role

A

the lead part in a movie or other production for an actor or actress, that is named after the title of the film

198
Q

titles

A

the words that appear on the film screen and convey information; categories of titles include: credit titles, main titles, end titles, insert titles, and subtitles; a creeper title, also known as a roll-up title, refers to a film title that appears to move solwly across the screen - vertically or horizontally; in silent film, “titles” (called title cards or intertitles) included the written commentary and full screens of textual dialogue spliced within the action; title design refers to the artistic manner in which the title of a film is displayed on screen; theworking title is the name by which a film is known while it is being made (e.g., during the filming of Psycho (1960), it was known as Production 9401); see Movie Title Screens; see alsocredits

199
Q

tix

A

abbreviation for tickets

200
Q

tone

A

the mood or atmosphere of a film scene, often revealed by the director in the way a film is directed, e.g., serious, humorous, satiric, amusing, etc.

201
Q

toon

A

abbreviation for cartoon

202
Q

topline

A

to star; or to be billed above the title of a film; the topliner is the star of a particular film

203
Q

topper

A

refers to the head of a company or organization

204
Q

tour de force

A

literally “forceful turn” (French); usually refers to a lead actor’s performance that was incredibly skillful, brilliant, notable, masterful, reflecting a very high standard, and perfectly displaying the actor’s ability; compare to ‘stealing a scene’ - the equivalent for a supporting actor role

205
Q

tracking shot (or truck)

A

a smooth shot in which the camera moves alongside (‘tracking within’) the subject, usually mounted on a dolly, in a side-to-side motion (relative to the scene or the action); also known asfollowing shot; sometimes used interchangeably with dolly shot, pull back (pull-out, push-out, widen-out or push-back) shot, track back (moving away) or track in (or push-in) (moving forward), or zoom shot; see also Steadicam

206
Q

trademark

A

refers to a personal touch or embellishment of an actor, director, writer or producer within a film; aka signature,calling card.

207
Q

trades

A

refers to the professional magazines and publications that report the daily or weekly entertainment news of the entertainment industry.

208
Q

trailer

A

a short publicity film, preview, or advertisement composed of short excerpts and scenes from a forthcoming film or coming attraction, usually two-three minutes in length; often presented at the showing of another film. Historically, these advertisements were placed at the end of a newsreel or supporting feature and so “trailed” them, hence the name; also commonly known as preview(s); also, another name for thetail - a length of blank leader (strip of film) at the end of a reel; a teaser is basically a very short trailer (of 15-30 seconds in length) that only provides a few hints about the film (a Web address, a few bars of music, a quick sequence of images, specially-shot footage, etc.).

209
Q

transition (or transitional technique ordevice)

A

one of several ways of moving from one shot or scene to the next, including such transitional effects or shots as a cut,fade, dissolve, and wipe; a transition focus between two scenes means the current scene goes out of focus and the next scene comes into focus

210
Q

trash film

A

refers to second-run, low-budget films that are deliberately over-the-top, infantile, amateurish, sometimes excessively gory or raunchy which are intended to shock, disgust, and repel mainstream audiences, and appeal to non-traditional audiences. Sometimes described as a sub-category ofexploitation and cult films, or called a ‘turkey’ film. Compare with sexploitation, B-films, and Z-films.

211
Q

travelogue

A

a film made for the purpose of showing scenes from foreign, exotic places

212
Q

treatment

A

a detailed literary summary or presentation of a film’s story, with action and characters described in prose form, often used to market and/or sell a film project or script; a completed treatment is a late stage in the development of a screenplay after several story conferences have incorporated changes into the script; contrast to a synopsis (a brief summation of a film);

213
Q

trilogy

A

a group of three films that together compose a larger narrative and are related in subject or theme

214
Q

triple threat

A

refers to an actor or actress who can sing, dance and act skillfully and equally well on a consistent basis; usually applicable to performers in the musicals genre; it also could refer to a person who can act, direct, and screenwrite!

215
Q

tubthump

A

a term that denotes to promote or draw attention to; usually conducted by publicists, advertisers, and agents; from the ancient show business custom of actors wandering the streets banging on tubs and drums to draw an audience together

216
Q

turnaround

A

refers to a film or project that has been abandoned by a studio and is no longer active (and now available for being shopped to another studio)

217
Q

twist ending

A

a film that is marketed as having a surprise ending that shouldn’t be revealed (as a spoiler) to those who haven’t seen the picture

218
Q

two-fer

A

slang for coupons that discount an film’s admission price to “two for” the price of one

219
Q

two-hander

A

refers to a film with only two characters

220
Q

two-reeler

A

in the silent era, this referred to a film lasting a little over 20 minutes

221
Q

two-shot

A

a medium or close-up camera shot of two people (often in dialogue with each other), framed from the chest up; often used to provide a contrast between the two characters; compare to three-shot

222
Q

typecasting

A

when an actor or actress is commonly (but unfairly) identified, associated with, or ‘stereotyped’ by a particular character role;casting against type is the reverse of typecasting; typagerefers to director Eisenstein’s theory of casting that shunned professional actors in favor of ‘types’ or representative characters

223
Q

U-matic

A

refers to 3/4 inch magnetic tape, originally a professional cassette tape format now being supplanted by new digital formats; a competing tape format was the inferior 1/2” VHS orbeta

224
Q

unbilled role

A

a ‘supporting’ role for a major (sometimes minor) star that is officially credited (usually in the end credits), but no mention (or billing) is made in the film’s advertisements or the opening credits; contrast with cameo and uncredited role.

225
Q

uncredited role

A

a role that a major (or minor) star plays that is not credited in the credits or in the film’s poster; contrast with cameo andunbilled role.

226
Q

underacting

A

refers to an understated, neutral and muted acting performance; contrast with overacting

227
Q

undercranking

A

refers to the slowing down of a camera, by shooting at less than the standard 24 fps, so that the image, when normally projected, will appear in fast motion; often used to produce a comic effect

228
Q

underexposed

A

refers to a film shot that has less light than normal, causing an indistinct, dimly-lit, unclear image; the opposite ofoverexposed

229
Q

underground film

A

a low-budget, non-commercial film, usually independently-made, without the traditional sources of funding or distribution

230
Q

unions

A

organizations that represent professionals in the motion picture industry (e.g., directors, actors, writers, etc.), and help those individuals negotiate contracts, receive recognition, pursue rights, protect interests, etc.; aka guilds

231
Q

unreliable narrator

A

A literary term meaning a protagonist or narrator whose perspective is skewed to their own perspective, producing a portrayal of events that may or may not be accurate or truthful; the lack of credibility may be deliberate or due to a lack of knowledge

232
Q

unspool

A

a slang term meaning to screen or show a film

233
Q

utopia(n)

A

refers to an imaginary, ideal (or mythical), perfect state or place (especially in its laws, government, social and moral conditions), often with magical healing, restorative properties; see also its opposite - dystopia

234
Q

vamp

A

a femme fatale or woman with a bad reputation, usually seductive and scheming in nature or behavior.

235
Q

Variety

A

a respected, oft-quoted show-biz periodical or trade paper (or one of the trades) that reports and provides coverage on the entertainment industry (including the film industry), and best known for its goofy, shorthand ‘Varietyese’ headlines, using made-up words, e.g. ‘dee jay’ (disc jockey), or ‘B.O.’ (box office or boffo)

236
Q

vaudeville

A

a stage variety entertainment show, featuring a series of short acts - songs, dancing, acrobatics, comedy skits, and animal acts; it was highly popular in America from the late 1880s to the 1920s, when it became overtaken by sound films and radio; most of the early film, radio and TV comedians found their start on the vaudeville circuit.

237
Q

VCR

A

literally, ‘Video-Cassette Recorder’; aka VTR (video tape recorder); a consumer-level machine for home entertainment that plays-back and records images and sounds from TV on magnetized tape in a videotape cassette; VHS stands for ‘Video Home System’ or the 1/2 inch video cassette tape format; see also U-matic or beta

238
Q

video

A

literally, “to see,” in other words, the visual or pictured image (either projected, taped, etc.), as opposed to the audio aspect of film; also refers to the visual component of television;digital video refers to a video signal represented by a series of binary numbers that are readable by computer - compare with analog video; aka vid (for short)

239
Q

video nasty

A

a British term from the 1980s that refers to a select group of ultra-violent videos (low-budget films produced in Italy and the US) that were considered highly objectionable and to be regulated

240
Q

vigilante film

A

usually a type of action film in which the protagonist takes the law into his/her own hands as a self-appointed doer of justice, revenge, and payback.

241
Q

vignette

A

a scene in a film that can stand on its own; also refers to a masking device, often with soft edges.

242
Q

visual effects

A

considered a sub-category of special effects; refers to anything added to the final picture that was not in the original shot; visual effects can be accomplished in-camera (like stop motion, double exposures and rear/front projection) or via a number of different optical or digital post-production processes (CGI, for example), usually with a computer

243
Q

voice-over (or v.o.)

A

refers to recorded dialogue, usually narration, that comes from an unseen, off-screen voice, character or narrator (abbreviated as o.s. meaning beyond camera range), that can be heard by the audience but not by the film characters themselves; narration is a type of voice-over; v.o. often conveys the character’s thoughts, either as a ‘voice’ heard within one’s head, or as other narrative information and commentary to explain the action or plot; often a technique infilm noirs; the abbreviation is used as an annotation in a script

244
Q

vorkapich

A

this film term was named after Serbian-American film director/editor Slavko Vorkapich; the term ‘vorkapich’ was popularized in screenplays of the 1930s and 1940s - it meant a montage sequence, that Vorkapich himself called “symphonies of visual movement”

245
Q

walk-on

A

a minor role consisting of a single, brief appearance on the screen, usually not appearing in the credits and without dialogue; contrast with extras, bit parts, and non-speaking roles.

246
Q

walk-through

A

the first rehearsal on the set, to figure out lighting, sound, camera positioning, etc.

247
Q

walla walla

A

refers to the atmospheric, background sound effect for the indistinct murmurings and buzz of voices in a crowd; extras in crowd scenes, in older films (or in radio), would be asked to murmur a phrase (‘walla walla,’ ‘rhubarb,’ ‘peas and carrots,’ or ‘watermelon,’ etc.) to create the sound of the crowd and to pretend that they were talking; see also foley artist, dubbing, and non-synchronized sound

248
Q

wardrobe

A

the general name for the costume department, or the costumes (and their accessories) themselves; see alsocostume

249
Q

weenie

A

refers to the object that motivates the main action in a serial(e.g., a lost city, buried treasure, or missing plans, etc)

250
Q

white (or color) balance

A

refers to electronically setting or ‘color-correcting’ a camera’s white balance - or the true color of white, since white doesn’t appear ‘white’ with all lighting conditions

251
Q

whodunit

A

refers to a mystery/detective film

252
Q

whoop-whoops

A

in sound effects, this refers to the extra noises added to a sound, e.g., bells, horns, or whistles to an explosion, to make it more interesting or exciting

253
Q

wide-angle shot

A

a shot (often abbreviated WS) taken with a lens that is able to take in a wider field or range of view (to capture more of the scene’s elements or objects) than a regular or normal lens; a wide-angle shot exaggerates the distance, depth or disparity between foreground and background planes, thereby creating greater depth-of-field and keeping all objects in focus and in perspective; an extreme or ultra-wide-angle lens giving a 180 degree view is called a ‘fish-eye’ lens

254
Q

widescreen

A

refers to projection systems in which the aspect ratio is wider than the 1.33:1 ratio that dominated sound film before the 1950s; in the 1950s, many widescreen processes were introduced (to combat the growing popularity of television), such as CinemaScope (an anamorphic system), VistaVision(a non-anamorphic production technique in which the film is run horizontally through the camera instead of vertically), andTodd-AO and Super Panavision (that both used wider-gauge film); also known as letterboxing

255
Q

wipe

A

a transitional technique or optical effect/device in which one shot appears to be “pushed off” or “wiped off” the screen by another shot replacing it and moving across the existing image; also called a push-over; a flip-over (or flip) wipe is when one scene rotates or flips-over to the new scene; wipes were very commonly used in the 30s

256
Q

word of mouth

A

a term referring to the public discussion or buzz that a film can acquire, fueled by sneak previews and advance advertising; word of mouth is an important marketing element in a film’s success or failure - positive word of mouth gives a film legs, while negative word of mouth may prematurely close it down

257
Q

wrap

A

refers to the completion of film shooting (either for the day or for the entire production or project); in the early days of cinema, the cameraman would say after filming: “Wind, Reel, And Print’ - abbreviated as WRAP; a entirely completed film is termed in the can

258
Q

writer

A

refers to the individual who authors the content of the piece from pre-existing material or uses an entirely new idea; usually there are many writers involved with re-writes, adaptations, character development, etc.; aka screenwriter

259
Q

yawner

A

a slang term, meaning a boring film

260
Q

Z-film orZ-movie

A

refers to a very low-budgeted, independently-made, non-union, less than B-film grade movie, usually with first-time director and actors; often quickly-made for the teenaged youth market and amateurish-looking, but with campy appeal; with exploitational subject matter that includes surfing films, motorcycle flicks, cheap horror films, etc.; Z-films become prime candidates for cult film status

261
Q

zoom shot

A

a single shot taken with a lens that has a variable focal length, thereby permitting the cinematographer to change the distance between the camera and the object being filmed, and rapidly move from a wide-angle shot to a telephoto shot in one continuous movement; this camera technique makes an object in the frame appear larger; movement towards a subject to magnify it is known as zoom in or forward zoom, or reversed to reduce its size is known as zoom out/back or backward zoom

262
Q

zoptic special effects

A

a revolutionary special effects, 3-D process invented by cameraman Zorian Perisic, incorporating a camera system and a projector with synchronized zoom lenses, to create the illusion of movement in depth

Filmmaking (2 decks)

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