vocabulary Flashcards
1
Q
180 degree system
A
continuity editing: dictates that the camera should stay on one side of the action to give spatial consistency
2
Q
abstract form
A
a type of filmic organization in which the parts relate to one another through repetition and variation of such visual qualities
3
Q
Academy ratio
A
standardized chape of the film frame, originally 1.33:1 and now 1.85:1
4
Q
aerial perspective
A
a cue for suggesting depth in the image by presenting objects in the distance less distinctly than those in the foreground
5
Q
anamorphic lens
A
a lens for making widescreen films, takes in a wide field of view and squeezes it into the frame
6
Q
aspect ratio
A
the relationship of the frame’s width to its height
7
Q
associational form
A
a type of organization in which the film’s parts are juxtaposed to suggest similarities contrasts, concepts, emotions and expressions
8
Q
asynchronous sound
A
sound that is not matched temporally with the movements occurring in the image, as when dialogue is out of synchronization with lip movements
9
Q
axis of action or 180 degree line
A
the imaginary line that passes through the main actors or principal movement that defines the spatial relations
10
Q
backlighting
A
illumination cast onto the figures in the scene from the back side, usually creating a thin outline of highlighting
11
Q
canted framing
A
a few in which the frame is not level, causing objects in the scene to appear slanted
12
Q
categorical form
A
a type of organization in which the parts treat distinct subsets of a topic
13
Q
cheat cut
A
a cut that presents continuous time from shot to shot but that mismatches the position of figures or objects
14
Q
close-up
A
framing in which the scale of the object shown is relatively large, head fro mthe neck up
15
Q
constructive editing
A
editing that suggests a scene’s space by providing only portions of it, without an establishing shot
16
Q
continuity editing
A
a system of cutting to maintain continuous and clear narrative action
17
Q
crane shot
A
a shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction
18
Q
crosscutting
A
editing that alternates shots of two or more lines of action occurring in different places simultaneously
19
Q
deep focus
A
a use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus
20
Q
deep space
A
an arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one farthest away
21
Q
depth of field
A
the measurements of the closest and farthest planes in front of the camera lens between which everything will be in sharp focus
22
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 that shows another character or element
23
Q
diegetic sound
A
any voice, musical passage or sound effect presented as originating from a source within the film’s world
24
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
25
dolly
a camera support with wheels, used in making tracking shots
26
duration
the aspect of temporal manipulation that involves the time span presented in the plot and and assumed to operate in the story
27
elliptical editing
shot transitions that omit parts of an event, causing an ellipsis in plot duration
28
equivalents
storytelling technique, devices or formal elements that are shared across media
29
equivalents
storytelling techniques, devices or formal elements that are shared across media
30
establishing shot
a shot usually involving a distant framing that shows the spatial relations among the important figures, objects and setting in a scene
31
exposure
the adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperture
32
external diegetic sound
sound represented as coming from a physical source within the story space that we assume characters in the scene also hear
33
extreme close-up
a framing in which the scale of the object shown is very large; most commonly, a small object or a part of the body
34
extreme long shot
a framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen
35
eyeline match
a cut obeying the axis of action principle, in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what they see
36
fade-in
a dark screen that gradually brightens as a shot apppears
37
fade-out
a shot that gradually disappears as the screen darkens. Occasionally, fade-out brighten to pure white or a colour
38
fidelity
the degree to which a film adaptation remains faithful to either the narrative details or the spirit of its source meterial
39
fill light
illumination from a source less bright then the key light, used to soften deep shadows in a scene (three-point lighting)
40
film noir
usually in the detective or thriller genres with low-key lighting and a somber mood
41
filter
a piece of glass or gelatin placed in front of the camera or printer lens to alter the quality/quantity of light striking the film in the aperture
42
flashforward
plot presentation moves forward to future events and then returns to the present
43
focal length
the distance from the center of the lens to the point at which the light rays meet in sharp focus, the focal length determines the perspective relations of the space represented on the flat screen
44
focus
the degree to which light rays coming from the same part of an object through different part of the lens reconverge at the same point on the film frame, creating sharp outlines and distinct textures
45
framing
the use of the edges of the film frame to select and to compose what will be visible onscreen
46
frequency
in narrative film, the aspect of temporal manipulation that involves the number of times any story event is shown in the plot
47
frontal lighting
illumination directed into the scene from a position near the camera
48
frontality
in staging, the positioning of figures so that they face the viewer
49
graphic match
two successive shots joined as to create a strong similarity of compositional elements
50
handheld camera
the use of the camera operator's body as a camera support, either holding it by hand or using a harness
51
high-key lighting
illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light
52
ideology
a relatively coherent system of values, beliefs or ideas shared by some social group and often taken for granted as natural or inherently true
53
internal diegetic sound
sound represented as coming from the mind of a character within the story space. Although we and the character can hear it, we assume that the other characters cannot
54
interpretation
the viewer's activity of analyzing the implicit and symptomatic meanings suggested in a film
55
jump cut
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 the figures remain constant
56
key light
in the three-point lighting system, the brightest illumination coming into the scene
57
long shot
a framing in which the scale of the object shown is small; a standing human figure would be nearly the height of the screen
58
long take
a shot that continues for an unusually lengthy time before the transition to the next shot
59
low-key lighting
illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light
60
match on action
a continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted
61
medium close-up
a framing in which the scale of the object shown is fairly large; a human figure seen from the chest up
62
medium long-shot
an object 4-5 feet high will fill most of the screen
63
medium shot
framing in which a human from the waist up will fill most of the screen
64
mise-en-scene
all of the elements placed in front of the camera to be photographed
65
mixing
combining two or more sound tracks by recording them onto a single one
66
montage sequence
a segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images
67
motif
an element in a film that is repeated in a significant way
68
narration
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' perceptions and throughts
69
narrative form
a type of filmic organization in which the parts relate to one another through a series of casually related events taking place in time and space
70
nondiegetic inserts
a shot or series of shots cut into a sequence, showing objects that are represented as being outside the world of the narrative
71
nondiegetic sound
sound, such as mood music or a narrator's commentary, represented as coming from a source outside the space of the narrative
72
nonsimultaneous sound
diegetic sound that comes from a source in time either earlier or later than the images it accompanies
73
overlap
a cue for suggesting represented depth in the film image by placing objects partly in front of more distant ones
74
overlapping editing
cuts that repeat part or all of an action, thus expanding its viewing time and plot duration
75
pan
a camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing that scanning the space horizontally
76
plot
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 storym which is the viewer's imaginary construction of all the events in the narrative
77
point-of-view (POV) shots
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
78
postproduction
the phase of film production that assembles the images and sounds into the finished film
79
preproduction
the phase of filmmaking that prepares for production on the basis of a screenplay, design and financing
80
raking focus
shifting the area of sharp focus from one plane to another during a shot; the effect on the screen is called rack-focus
81
ramping
changing the speed of photographed motion within a single shot, as when the action in a fight scene suddenly goes from regular speed to slow motion and back. This effect can be achieved during shooting and postproduction
82
rate
the number of frames exposed per second
83
rear projection
a technique for combining a foreground action with a background action filmed earlier
84
reestablishing shot
a return to a view of an entire space after a series of closer shots following the establishing shot
85
reframing
shot panning or tilting movements to adjust for the figures' movements, keeping them onscreen or centered
86
rhetorical form
a type of filmic organization in which the parts create and support an argumetn
87
screen direction
the right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the characters' eyelines
88
shallow space
staging the action in relatively few planes of depth
89
shot/reverse shot
two or more shots edited together that alternate characters, typically in a conversation situation
90
side lighting (side light)
lighting coming from one side of a person or an object to create a sense of volume, to bring out surface tensions or to fill in areas left shadowed by light from another source
91
simultaneous sound
diegetic sound that is represented as occurring at the same time in the story as the image it accompanies
92
size diminution
a cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects
93
sound bridge
at the beginning of one scene, the sound from the previous scene carries over briefly before the sound from the new scene
94
sound perspective
the sense of a sound's position in space, yielded by volume, timbre, pitch and, in stereophonic reproduction systems, binaural information
95
story
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
96
style
the repeated and salient uses of film techniques characteristic of a single film or a group of films
97
superimposition
the exposure of more than one image on the same film strip or in the same shot
98
synchronous sound
sound that is matched temporally with the movement occurring in the images, as when dialogue corresponds to lip movement
99
three-point lighting
a common arrangement using three direction of light on a scene: backlighting, key light and fill light
100
tilt
a camera movement with the camera body swiveling upward or downward on a stationary support
101
top lighting
lighting coming from above a person or an object, usually in order to outline the upper areas of the figure or to separate it more clearly from the background
102
tracking shot
a mobile framing that travels through space forward, backward or laterally
103
typage
a performance technique of Soviet Montage cinema. The actor's appearance and behaviour are presented as typical of a social class or group
104
underlighting
illumination from a point below the figures in the scene
105
unity
the degree to which a film's parts relate systematically to one another and provide motivations for all the elements included
106
whip pan
an extremely fast movement of the camera from side to side, which briefly causes the image to blur into a set of indistinct horizontal streaks Often an imperceptible cut joints two whip pans to create a trick transition between scenes
107
wipe
a transition between shots in which a line passes across the screen, eliminating one shot as it goes and replacing it with the next one
108
zoom lens
a lens with a focal length that can be changed during a shot
109
historical contexts of film narrative innovation
Italian neorealism, European art cinema, American independent cinema
110
episodic narrative structures
a plot structure that consists of episodes, often thematically linked
111
film form
The pattern of elements in a narrative film by which it is organized
112
two elements of film form
the film itself and the viewer's engagement
113
the organizational force of perception
the ways brains interpret images
114
narrative film element
those elements of a film that create the story: plot, setting, characters, goals and subjective states
115
film form: motivation
the narrative function of an element of a film: can be a narrative or stylistic device
116
film form: motif
a significant element that is repeated
117
film form: variation
a significant film element that is repeated in a film but has variations
118
film form: development
progression of the film's development (plot structure)
119
film form: unity vs disunity
unity: the degree to which all elements of a film serve a narrative function and are interrelated to other elements in a film
120
four elements of mise-en-scene
setting, costume/make-up, lighting, staging
121
Dimensions of setting
the places within a film's story, real or imaginary, shot on location or in a studio
122
dimensions of setting: genre
recurrent locations associated with particular genres
123
dimensions of setting: verisimilitude vs artifice
verisimilitude: the degree of resemblance that an image possesses in relation to its real-world counterpart
124
dimensions of setting: compositing
the combination of different elements derived from different sources into a single image
125
dimensions of setting: digital environment creation
digitally rendered images and environments
126
costume: functions
assists in the individuation of character, traits, gender, ethnicity or class, can also be used as props or historical cue
127
makeup: functions
accentuate expressions, aging and subjective states
128
character placement and movement: functions
directs attention to the most narratively salient characters, expressive of character dynamics and subjective states
129
planimetric staging
the staging of action and placement of characters along planes in the shot
130
main features of the shot
framing, onscreen/offscreen space, camera position, lens, camera movement, tonality of film, speed of motion, process shots
131
framing
creates a border that delimits what the viewer sees
132
short focal length lens
wide angle: distorts straight lines
133
ultra wide-angle lens
fisheye: turns space into a convex sphere
134
middle focal length lens
normal: reduces distortion
135
long focal lens
telephoto: flattens space and reduces depth cues
136
tonality of film
the combination of colours of a particular tone
137
speed of motion: fewer fps
the greater the speed on screen
138
more fps
slow motion
139
speed ramping
post-production effect of changing frame rate within a shot
140
process shots
the photographic manipulation of the image (superimposition, rear screen projection
141
tonality in Psycho (1960)
black and white film stock used to reduce budget cost and also mimic television shows, also limiting gore
142
soviet montage
a collection of theories and practices advanced by soviet filmmakers that stressed editing as the central element of film
143
aesthetic principles of soviet editing
an interpretation of reality, with an emphasis on editing to ensure the spectators did not view a shot as an unmediated piece of the story world
144
Dziga Vertov: Kino-eye
film was able to capture what was inaccessible to the human eye by assembling film fragments and editing them together
145
Spatial discontinuity
placed emphasis upon creating spatial and temporal discontinuities, shots meant to collide
146
dialectical montage
the effect in montage when the juxtaposition of two shots that reflect some kind of conflict, has the potential to make an abstract concept tangible
147
continuity editing
to create a smooth flow from shot to shot
148
theory of dialectical/intellectual montage
editing can create a visual metaphor, new meaning or stimulate a certain emotional response (Kuleshov effect)
149
diegesis
refers to the fictional world as described inside the story, it refers to all that is really going on on-screen, to fictional reality
150
main elements of soundtrack
dialogue, music, sound effects, sound mixing
151
music: polarization
when audiovisual interaction of the emotional tone of the music contrasts with the content of the images causing music and/or image to be reinterpreted
152
music: affective congruency
the matching of the emotional tone of both the music and visuals, which can heighten the spectator's emotional responses
153
overlapping dialogue
the simultaneous speech of two or more characters to imitate the natural rhythms of dialogue as opposed to the narrative clarity of turn taking
154
temporal order
the order in which the plot presents story events
155
temporal duration
the time that the film takes place in
156
screen duration
the running time of the film
157
temporal frequency
the number of occasions that a story event is presented in a film
158
internal focalization (depth)
the representation of the private subjective states of characters
159
internal focalization
the inference of the subjective states of characters based on their expressions and perceptions
160
external focalization
the presentation of characters through their verbal and physical behaviour
161
diegetic narrator
a character who narrates the events of a film
162
nondiegetic narrator
a figure who narrates the story outside of the story world
163
extra fictional narrator
a non-diegetic narrator presented as the narrator of the film
164
hard lighting
sharp edges and defined shadows
165
soft lighting
reduced shadows
166
high key lighting
usually three-point lighting, even light across the image
167
low key lighting
usually lack of fill light, increased degree of contrast between darker and lighter parts of the image
168
discontinuous editing
violate the norms of continuity editing, false eyeliner matches, jump cuts, mismatching on action, temporal editing
169
dolly zoom
moving backwards while zooming in to create a warped illusion (vertigo)
170
acting
the activity through which a story is told by means of enactment
171
presentational acting
acknowledges the audience through gestures, looks and signs
172
representational acting
a form of performance that does not acknowledge the audience and does not break the fourth wall
173
histrionic style
exaggerated gestures to express heightened emotions (silent film era)
174
realism
movement toward subtler gestures by relying on face and eyes to express emotional states
175
star persona
a star impersonates a character through the type they embody through their physical appearance and previous body of work
176
chiaroscuro
contrast between light and shadow
177
plot turn
an incident in a film’s narrative in which the story is taken in a different direction, often impacting upon the goals of the protagonist(s)
