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Art of Film > exam 3 > Flashcards

exam 3 Flashcards

1
Q

in action sequence, speeding up the pace of the editing by decreasing the duration of shots (eg. cutting more frequently); staple of screen suspense

A

accelerated editing

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2
Q

process of breaking a scene down into separate shots that can be edited to preserve spatial and temporal continuity

A

analytical editing

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3
Q

long mechanical arm that suspends a microphone over the source of sound and can be moved to follow it

A

boom

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4
Q

in continuity editing, a cut that implies continuous time from one shot to the next, but slightly mismatches the screen position to things on screen

A

cheat cut

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5
Q

method of narrative film-making that took shape early in the history of American studio system; narration is omniscient and objective; events are linear; end leaves no questions;

A

classical style

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6
Q

logic implied b/t edited shots; their means of coherence

A

continuity

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7
Q

*characters try to achieve a clear cut goal against an opposing force that creates conflict

A

classical film narrative

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8
Q

*smooth, virtually “invisible” transitions b/t shots

A

continuity editing

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9
Q

*serves the emotional appeal of the story, and provides clear narrative action by matching screen direction, character position, and temporal relations from shot to shot

A

cutting to continuity

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10
Q

editing which alternates shots of two or more lines of action that are occurring simultaneously in dif locations or spaces

A

crosscutting

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11
Q

n. 1) point at which two shots are spliced together in editing process 2) instantaneous change from one shot to another in finished film
v. 1) terminate the filming of a shot 2) trim the length of a shot in editing process

A

cut

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12
Q

shot that cuts from the main action to a dif action or to a detail somehow related to the main action

A

cut-away

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13
Q

imported french term (“cutting out”) refering to the way in which a scene is broken down into patterns of shots

A

Decoupage (day ku pahj)

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14
Q

the world of the film’s story

A

diegesis

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15
Q

transition from one shot to the next in which the second shot gradually appears as the first disappears; usually implies a passage of time and connection b/t events

A

dissolve

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16
Q

omission of parts of a film narrative; uses transitions like jump cuts or dissolves to skip over certain events and save time

A

ellipsis

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17
Q

a wide or long shot occurring at the beginning of a film scene that establishes the general setting and provides viewer with context for subsequent closer shots

A

establishing shot

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18
Q

editing technique obeying the 180 rule which the first shot shows a character looking offscreen and the second shows what the character sees

A

eyeline match

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19
Q

common optical transition, usually marking the change of a scene, a lapse of time, or both

  • black screen gradually brightens to reveal beginning of a shot
  • shot gradually darkens until screen is black
A

fade
fade-in
fade-out

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20
Q

alteration of a normal story progression in which the present is interrupted with a shot or sequence of shots from the past

A

flashback

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21
Q

interrupts the present story with a shot or sequence of shots from the future

A

flashforward

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22
Q

arresting/freezing of motion in a shot; achieved by reprinting an identical frame of film many times over

A

freeze frame

23
Q

continuity approach to editing demands that the camera stay on one side of the action to preserve consistent screen direction and clear-cut spatial relations b/t objects and characters with respect to the right and left sides of the frame

A

180 Rule

24
Q

*imaginary line determining the side to which the camera is limited

A

axis of action

25
Q

system of values, beliefs, or ideas shared by a certain culture and often taken for granted as “natural” and inherently true

A

ideology

26
Q

shot, usually close up, edited into film after principal shooting has been completed

A

insert

27
Q

editing technique in which shots of one action intrude upon or alternate with shots of another; increases suspense and speed of editing

A

intercutting

28
Q

adjustable, usually circular masking device that blacks out a portion of the screen

  • gradually contracting circle of light ending in darkness
  • gradually widening circle of light from a dark screen
A

iris
iris-out
iris-in

29
Q

*iris that is held steadily for a while without expansion or contraction

A

vignette

30
Q

cut which sharply breaks continuity by going forward abruptly in time; a direct cut form one shot to the next with no concern for smoothness of transition; make views feel sense of dislocation and fragmentation

A

jump cut

31
Q

in a narrative, the clear, straightforward progression of events without significant digressions, delays or irrelevant action

A

linearity

32
Q

shot continues for an unusually long time before a cut

A

long take

33
Q

single long take that records the entire action/dialogue of a scene in order to assure adequate coverage

A

master shot

34
Q

cut in which an object or shape in the outgoing shot “matches” a similar object or shape in the incoming shot

A

match cut

35
Q

cut which occurs in the middle of a gesture or movement, with the result that the cut is less noticeable and the movement seems to continue without interruption

A

match on action (action shot)

36
Q

(america) transitional sequence of rapidly edited shots, usually connected by dissolves, used for purposes of ellipsis, to suggest a longer passage of time; (french) entire process of film editing

A

montage

37
Q

sound which comes from a source outside the world of the story

A

nondiegetic sound

38
Q

effects produced in the film laboratory using an optical printer

A

opticals

39
Q

1) editing tech. which prolongs the time of an action by joining together several shots of the action from dif. angles, or by using cut aways to allow repetition of parts of the action covered in previous shots
2) sound editing tech which continues sound form one shot into a following shot

A

overlapping

40
Q

shot commonly used in conversation scenes in which the speaker is seen from the perspective of a person standing behind

A

over-the-shoulder shot

41
Q

editing tech. in which two or more scenes in separate locations are shown separately, usually with the assumption that they are occurring simultaneously

A

parallel editing

42
Q

shot that is taken from the viewpoint of a character so we see what the character is seeing

A

point-of-view shot (subjective shot)

43
Q

addition of sound/dialogue to images after they have been shot and edited

A

postsynchronization

looping: if dialogue

44
Q

shot of a character reacting to the content of the preceding shot

A

reaction shot

45
Q

return to a wider/longer view of a scene after a sequence of closer shots following an establishing shot

A

reestablishing shot

46
Q

right/left, top/bottom relationships in a shot or scene, set up by an establishing shot and preserved through continuity and adherence to the 180 rule

A

screen direction

47
Q

basic figure or pattern in continuity editing; in one shot we see a character looking at something offscreen, in the next shot, we see what the character is looking at

A

shot/reverse shot

48
Q

sound that is carried over the transition from one scene to another, or sound that begins before the transition to the scene in which it belongs

A

sound link

49
Q

shot drawn from a film library and cut into a film

A

stock shot (library shot)

50
Q

sound that matches the movement of the images, corresponding with its visible onscreen source;
-does not match

A

synchronous sound

asynchronous

51
Q

theoretical term used to describe the aim of the classical style to efface or make “invisible” the operations of film tech. in the process of narration

A

transparency

52
Q

words spoken over the image by an offscreen narrator

A

voice-over

53
Q

optical transition from one shot to another in which a line appears to move across the screen pushing one shot off the screen and replacing it with another

A

wipe

54
Q

useful term referring to the position of the spectator in a given shot, which is not always synonymous with the position of the camera

A

witness point

Art of Film (3 decks)

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