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Japanese Cinema > Film Terms > Flashcards

Film Terms Flashcards

1
Q

auteur

A

The presumed or actual “author” of a film, usually identified as the director. Also sometimes used in an evaluative sense to distinguish good filmmakers (auteurs) from bad ones.

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2
Q

ideology

A

A relatively coherent system of values, beliefs, or ideas shared by some social group and often taken for granted as natural or inherently true.

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3
Q

plot

A

: In a narrative film, all the events that are directly presented to us, including their causal relations, chronological order, duration, frequency, and spatial locations. Opposed to story.

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4
Q

story

A

In a narrative film, all the events that we see and hear, plus all those that we infer or assume to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations. Opposed to plot.

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5
Q

narration

A

The process through which the plot conveys or withholds story information. The narration can be more or less restricted to character knowledge and more or less deep in presenting characters’ mental perceptions and thoughts.

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6
Q

order

A

In a narrative film, the aspect of temporal manipulation that involves the sequence in which the chronological events of the story are arranged in the plot.

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7
Q

ellipsis

A

In a narrative film, the shortening of plot duration achieved by omitting
intervals of story duration.

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8
Q

diegesis

A

In a narrative film, the world of the film’s story. The diegesis includes events that are presumed to have occurred, and actions and spaces not shown onscreen.

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9
Q

interpretation

A

The viewer’s activity of analyzing the implicit and symptomatic meanings suggested in a film.

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10
Q

segmentation

A

The process of dividing a film into parts for analysis.

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11
Q

Referential meaning

A

allusion to particular items of knowledge outside the film which the viewer is expected to recognize.

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12
Q

Explicit meaning

A

Significance presented overtly, usually in language and often near the film’s beginning or end.

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13
Q

Implicit meaning

A

significance left tacit, for the viewer to discover upon analysis or reflection.

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14
Q

Symptomatic meaning

A

significance which the film divulges, often “against its will”, by virtue of historical or social context.

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15
Q

style

A

The repeated and salient uses of film techniques characteristic of a single film or a group of films (for example, a filmmaker’s work or a national movement).

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16
Q

form

A

The general system of relationships among the parts of a film.

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17
Q

variation

A

In film form, the return of an element with notable changes.

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18
Q

function

A

The role or effect of any element within the film’s form.

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19
Q

motif

A

An element in a film that is repeated in a significant way.

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20
Q

leitmotif

A

Distinctive, recurring “theme music” associated with a particular character, group of people, relationship, object, place, concept, emotion, etc.

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21
Q

mise-en-scene

A

All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior.

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22
Q

editing 1

A
  1. In filmmaking, the task of selecting and joining camera takes
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23
Q

editing 2

A
  1. In the finished film, the set of techniques that governs the relations among shots.
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24
Q

shot 1

A
  1. In shooting, one uninterrupted run of the camera to expose a series of frames. Also called a take.
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25
Q

shot 2

A
  1. In the finished film, one uninterrupted image with a single static or mobile framing.
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26
Q

take

A

In filmmaking, the shot produced by one uninterrupted run of the camera. One shot in the final film may be chosen from among several takes of the same action.

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27
Q

Long take

A

A shot that continues for an unusually lengthy time before the transition to the next shot.

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28
Q

shot/reverse shot

A

Two or more shots edited together that alternate characters, typically in a conversation situation. Over-the-shoulder framings are common in shot/reverse shot editing.

29
Q

cut 1

A
  1. In filmmaking, the joining of two strips of film together with a splice.
30
Q

cut 2

A
  1. In the finished film, an instantaneous change from one framing to another.
31
Q

jump cut

A

An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while figures remain constant.

32
Q

cross-cutting

A

Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously

33
Q

scene

A

A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions.

34
Q

sequence

A

Term commonly used for a moderately large segment of film, involving one complete stretch of action. In a narrative film, often equivalent to a scene.

35
Q

dissolve

A

A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition (the exposure of more than one image on the same film strip).

36
Q

fade-in

A

A dark screen that gradually brightens as a shot appears

37
Q

fade-out

A

A shot gradually darkens as the screen goes black.

38
Q

wipe

A

A transition between shots in which a line passes across the screen, eliminating the first shot as it goes and replacing it with the next one.

39
Q

framing

A

The use of the edges of film frame to select and to compose what will be visible onscreen

40
Q

angle of framing/camera angle

A

The position of the frame in relation to the subject it shows: above it, looking down (high angle); horizontal, on the same level (a straight-on
angle); looking up (a low angle).

41
Q

distance of framing/camera distance

A

The apparent distance of the frame from the mise-en-scene elements: extreme close-up, close-up (a person’s head from the neck up that fills most of the screen), medium close-up (a human figure from the chest up fills most of the screen), medium shot (a human figure from the waist up fills most of the screen), long shot (a standing human figure appears nearly the height of the screen), extreme long shot.

42
Q

height of framing

A

The distance of the camera above the ground, regardless of the angle of framing.

43
Q

mobile framing

A

The effect on the screen of the moving camera, a zoom lens, or certain special effects; the framing shifts in relation to the scene being photographed

44
Q

crane shot

A

A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction

45
Q

following shot

A

A shot with framing that shifts to keep a moving figure onscreen.

46
Q

tracking shot

A

A mobile framing that travels through space forwards, backwards or laterally

47
Q

pan

A

A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing which scans the space horizontally.

48
Q

tilt

A

A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically.

49
Q

reframing

A

Short panning or tilting movements to adjust for the figures’ movements, keeping them onscreen or centered.

50
Q

canted framing

A

A view in which the frame is not level; either the right or left side is lower than the other, causing objects in the scene to appear slanted out of an upright position.

51
Q

establishing shot

A

A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects and setting in a scene.

52
Q

reestablishing shot

A

A return to a view of an entire space after a series of closer shots following the establishing shot

53
Q

point-of-view shot (POV)

A

A shot taken with the camera placed approximately where the character’s eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking.

54
Q

eyeline match

A

A cut in which the first shot shows a person looking off in one direction and second shows a nearby space containing what he or she sees.

55
Q

match on action

A

A continuity cut which splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted

56
Q

graphic match

A

Two successive shots joined so as to create a strong similarity of compositional elements (e.g., color, shape).

57
Q

montage sequence

A

A segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images. Frequently dissolves, fades, superimpositions and wipes are used to link the images in a montage sequence

58
Q

rhythm

A

The perceived rate and regularity of sounds, series of shots, and movements within the shots. Rhythmic factors include beat (or pulse), accent (or stress), and tempo (or pace).

59
Q

deep focus

A

A use of the camera lens and lighting that keeps both the close and distant planes being photographed in sharp focus.

60
Q

size diminution

A

A cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foregrounded objects.

61
Q

flashback

A

An alteration of story order in which the plot moves back to show events that have taken place earlier than the ones already shown.

62
Q

flashforward

A

An alteration of story order in which the plot presentation moves forward to future events, then returns to the present.

63
Q

diegetic sound

A

Any voice, musical passage, or sound effect presented as originating from a source within the film’s world. Internal diegetic sound: sound represented as coming from the mind of the character within the story space. Although we and the character can hear it, we assume that other characters cannot. External diegetic sound: sound represented as coming from a physical source within the story space and which we assume characters in the scene also hear.

64
Q

nondiegetic sound

A

Sound, such as mood music or a narrator’s commentary, represented as coming from a source outside the space of the narrative

65
Q

dialogue overlap

A

In editing a scene, arranging the cut so that a bit of dialogue coming from shot A is heard under a shot which shows another character on another element in the scene.

66
Q

sound bridge 1

A
  1. At the beginning of one scene, the sound from the previous scene carries over briefly before the sound from the new scene begins.
67
Q

sound bridge 2

A
  1. At the end of one scene, the sound from the next scene is heard, leading into that scene.
68
Q

sound over

A

Any sound that is not represented as coming from the space and time of the images on the screen. This includes both nonsimultaneous diegetic sound and nondiegetic sounds.

Japanese Cinema (1 decks)

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