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Film Studies 100 vocabulary > vocabulary > Flashcards

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1
Q

180 degree system

A

continuity editing: dictates that the camera should stay on one side of the action to give spatial consistency

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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

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3
Q

Academy ratio

A

standardized chape of the film frame, originally 1.33:1 and now 1.85:1

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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

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5
Q

anamorphic lens

A

a lens for making widescreen films, takes in a wide field of view and squeezes it into the frame

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6
Q

aspect ratio

A

the relationship of the frame’s width to its height

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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

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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

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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

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10
Q

backlighting

A

illumination cast onto the figures in the scene from the back side, usually creating a thin outline of highlighting

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11
Q

canted framing

A

a few in which the frame is not level, causing objects in the scene to appear slanted

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12
Q

categorical form

A

a type of organization in which the parts treat distinct subsets of a topic

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13
Q

cheat cut

A

a cut that presents continuous time from shot to shot but that mismatches the position of figures or objects

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14
Q

close-up

A

framing in which the scale of the object shown is relatively large, head fro mthe neck up

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15
Q

constructive editing

A

editing that suggests a scene’s space by providing only portions of it, without an establishing shot

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16
Q

continuity editing

A

a system of cutting to maintain continuous and clear narrative action

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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

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18
Q

crosscutting

A

editing that alternates shots of two or more lines of action occurring in different places simultaneously

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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

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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

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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

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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

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23
Q

diegetic sound

A

any voice, musical passage or sound effect presented as originating from a source within the film’s world

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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

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25
Q

dolly

A

a camera support with wheels, used in making tracking shots

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26
Q

duration

A

the aspect of temporal manipulation that involves the time span presented in the plot and and assumed to operate in the story

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27
Q

elliptical editing

A

shot transitions that omit parts of an event, causing an ellipsis in plot duration

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28
Q

equivalents

A

storytelling technique, devices or formal elements that are shared across media

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29
Q

equivalents

A

storytelling techniques, devices or formal elements that are shared across media

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30
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

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31
Q

exposure

A

the adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperture

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32
Q

external diegetic sound

A

sound represented as coming from a physical source within the story space that we assume characters in the scene also hear

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33
Q

extreme close-up

A

a framing in which the scale of the object shown is very large; most commonly, a small object or a part of the body

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34
Q

extreme long shot

A

a framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen

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35
Q

eyeline match

A

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

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36
Q

fade-in

A

a dark screen that gradually brightens as a shot apppears

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37
Q

fade-out

A

a shot that gradually disappears as the screen darkens. Occasionally, fade-out brighten to pure white or a colour

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38
Q

fidelity

A

the degree to which a film adaptation remains faithful to either the narrative details or the spirit of its source meterial

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39
Q

fill light

A

illumination from a source less bright then the key light, used to soften deep shadows in a scene (three-point lighting)

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40
Q

film noir

A

usually in the detective or thriller genres with low-key lighting and a somber mood

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41
Q

filter

A

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

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42
Q

flashforward

A

plot presentation moves forward to future events and then returns to the present

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43
Q

focal length

A

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

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44
Q

focus

A

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

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45
Q

framing

A

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

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46
Q

frequency

A

in narrative film, the aspect of temporal manipulation that involves the number of times any story event is shown in the plot

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47
Q

frontal lighting

A

illumination directed into the scene from a position near the camera

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48
Q

frontality

A

in staging, the positioning of figures so that they face the viewer

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49
Q

graphic match

A

two successive shots joined as to create a strong similarity of compositional elements

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50
Q

handheld camera

A

the use of the camera operator’s body as a camera support, either holding it by hand or using a harness

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51
Q

high-key lighting

A

illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light

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52
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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53
Q

internal diegetic sound

A

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

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54
Q

interpretation

A

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

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55
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 the figures remain constant

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56
Q

key light

A

in the three-point lighting system, the brightest illumination coming into the scene

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57
Q

long shot

A

a framing in which the scale of the object shown is small; a standing human figure would be nearly the height of the screen

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58
Q

long take

A

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

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59
Q

low-key lighting

A

illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light

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60
Q

match on action

A

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

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61
Q

medium close-up

A

a framing in which the scale of the object shown is fairly large; a human figure seen from the chest up

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62
Q

medium long-shot

A

an object 4-5 feet high will fill most of the screen

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63
Q

medium shot

A

framing in which a human from the waist up will fill most of the screen

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64
Q

mise-en-scene

A

all of the elements placed in front of the camera to be photographed

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65
Q

mixing

A

combining two or more sound tracks by recording them onto a single one

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66
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

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67
Q

motif

A

an element in a film that is repeated in a significant way

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68
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’ perceptions and throughts

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69
Q

narrative form

A

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

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70
Q

nondiegetic inserts

A

a shot or series of shots cut into a sequence, showing objects that are represented as being outside the world of the narrative

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71
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

72
Q

nonsimultaneous sound

A

diegetic sound that comes from a source in time either earlier or later than the images it accompanies

73
Q

overlap

A

a cue for suggesting represented depth in the film image by placing objects partly in front of more distant ones

74
Q

overlapping editing

A

cuts that repeat part or all of an action, thus expanding its viewing time and plot duration

75
Q

pan

A

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
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 storym which is the viewer’s imaginary construction of all the events in the narrative

77
Q

point-of-view (POV) shots

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

78
Q

postproduction

A

the phase of film production that assembles the images and sounds into the finished film

79
Q

preproduction

A

the phase of filmmaking that prepares for production on the basis of a screenplay, design and financing

80
Q

raking focus

A

shifting the area of sharp focus from one plane to another during a shot; the effect on the screen is called rack-focus

81
Q

ramping

A

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
Q

rate

A

the number of frames exposed per second

83
Q

rear projection

A

a technique for combining a foreground action with a background action filmed earlier

84
Q

reestablishing shot

A

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

85
Q

reframing

A

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

86
Q

rhetorical form

A

a type of filmic organization in which the parts create and support an argumetn

87
Q

screen direction

A

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
Q

shallow space

A

staging the action in relatively few planes of depth

89
Q

shot/reverse shot

A

two or more shots edited together that alternate characters, typically in a conversation situation

90
Q

side lighting (side light)

A

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
Q

simultaneous sound

A

diegetic sound that is represented as occurring at the same time in the story as the image it accompanies

92
Q

size diminution

A

a cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects

93
Q

sound bridge

A

at the beginning of one scene, the sound from the previous scene carries over briefly before the sound from the new scene

94
Q

sound perspective

A

the sense of a sound’s position in space, yielded by volume, timbre, pitch and, in stereophonic reproduction systems, binaural information

95
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

96
Q

style

A

the repeated and salient uses of film techniques characteristic of a single film or a group of films

97
Q

superimposition

A

the exposure of more than one image on the same film strip or in the same shot

98
Q

synchronous sound

A

sound that is matched temporally with the movement occurring in the images, as when dialogue corresponds to lip movement

99
Q

three-point lighting

A

a common arrangement using three direction of light on a scene: backlighting, key light and fill light

100
Q

tilt

A

a camera movement with the camera body swiveling upward or downward on a stationary support

101
Q

top lighting

A

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
Q

tracking shot

A

a mobile framing that travels through space forward, backward or laterally

103
Q

typage

A

a performance technique of Soviet Montage cinema. The actor’s appearance and behaviour are presented as typical of a social class or group

104
Q

underlighting

A

illumination from a point below the figures in the scene

105
Q

unity

A

the degree to which a film’s parts relate systematically to one another and provide motivations for all the elements included

106
Q

whip pan

A

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
Q

wipe

A

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
Q

zoom lens

A

a lens with a focal length that can be changed during a shot

109
Q

historical contexts of film narrative innovation

A

Italian neorealism, European art cinema, American independent cinema

110
Q

episodic narrative structures

A

a plot structure that consists of episodes, often thematically linked

111
Q

film form

A

The pattern of elements in a narrative film by which it is organized

112
Q

two elements of film form

A

the film itself and the viewer’s engagement

113
Q

the organizational force of perception

A

the ways brains interpret images

114
Q

narrative film element

A

those elements of a film that create the story: plot, setting, characters, goals and subjective states

115
Q

film form: motivation

A

the narrative function of an element of a film: can be a narrative or stylistic device

116
Q

film form: motif

A

a significant element that is repeated

117
Q

film form: variation

A

a significant film element that is repeated in a film but has variations

118
Q

film form: development

A

progression of the film’s development (plot structure)

119
Q

film form: unity vs disunity

A

unity: the degree to which all elements of a film serve a narrative function and are interrelated to other elements in a film

120
Q

four elements of mise-en-scene

A

setting, costume/make-up, lighting, staging

121
Q

Dimensions of setting

A

the places within a film’s story, real or imaginary, shot on location or in a studio

122
Q

dimensions of setting: genre

A

recurrent locations associated with particular genres

123
Q

dimensions of setting: verisimilitude vs artifice

A

verisimilitude: the degree of resemblance that an image possesses in relation to its real-world counterpart

124
Q

dimensions of setting: compositing

A

the combination of different elements derived from different sources into a single image

125
Q

dimensions of setting: digital environment creation

A

digitally rendered images and environments

126
Q

costume: functions

A

assists in the individuation of character, traits, gender, ethnicity or class, can also be used as props or historical cue

127
Q

makeup: functions

A

accentuate expressions, aging and subjective states

128
Q

character placement and movement: functions

A

directs attention to the most narratively salient characters, expressive of character dynamics and subjective states

129
Q

planimetric staging

A

the staging of action and placement of characters along planes in the shot

130
Q

main features of the shot

A

framing, onscreen/offscreen space, camera position, lens, camera movement, tonality of film, speed of motion, process shots

131
Q

framing

A

creates a border that delimits what the viewer sees

132
Q

short focal length lens

A

wide angle: distorts straight lines

133
Q

ultra wide-angle lens

A

fisheye: turns space into a convex sphere

134
Q

middle focal length lens

A

normal: reduces distortion

135
Q

long focal lens

A

telephoto: flattens space and reduces depth cues

136
Q

tonality of film

A

the combination of colours of a particular tone

137
Q

speed of motion: fewer fps

A

the greater the speed on screen

138
Q

more fps

A

slow motion

139
Q

speed ramping

A

post-production effect of changing frame rate within a shot

140
Q

process shots

A

the photographic manipulation of the image (superimposition, rear screen projection

141
Q

tonality in Psycho (1960)

A

black and white film stock used to reduce budget cost and also mimic television shows, also limiting gore

142
Q

soviet montage

A

a collection of theories and practices advanced by soviet filmmakers that stressed editing as the central element of film

143
Q

aesthetic principles of soviet editing

A

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
Q

Dziga Vertov: Kino-eye

A

film was able to capture what was inaccessible to the human eye by assembling film fragments and editing them together

145
Q

Spatial discontinuity

A

placed emphasis upon creating spatial and temporal discontinuities, shots meant to collide

146
Q

dialectical montage

A

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
Q

continuity editing

A

to create a smooth flow from shot to shot

148
Q

theory of dialectical/intellectual montage

A

editing can create a visual metaphor, new meaning or stimulate a certain emotional response (Kuleshov effect)

149
Q

diegesis

A

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
Q

main elements of soundtrack

A

dialogue, music, sound effects, sound mixing

151
Q

music: polarization

A

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
Q

music: affective congruency

A

the matching of the emotional tone of both the music and visuals, which can heighten the spectator’s emotional responses

153
Q

overlapping dialogue

A

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
Q

temporal order

A

the order in which the plot presents story events

155
Q

temporal duration

A

the time that the film takes place in

156
Q

screen duration

A

the running time of the film

157
Q

temporal frequency

A

the number of occasions that a story event is presented in a film

158
Q

internal focalization (depth)

A

the representation of the private subjective states of characters

159
Q

internal focalization

A

the inference of the subjective states of characters based on their expressions and perceptions

160
Q

external focalization

A

the presentation of characters through their verbal and physical behaviour

161
Q

diegetic narrator

A

a character who narrates the events of a film

162
Q

nondiegetic narrator

A

a figure who narrates the story outside of the story world

163
Q

extra fictional narrator

A

a non-diegetic narrator presented as the narrator of the film

164
Q

hard lighting

A

sharp edges and defined shadows

165
Q

soft lighting

A

reduced shadows

166
Q

high key lighting

A

usually three-point lighting, even light across the image

167
Q

low key lighting

A

usually lack of fill light, increased degree of contrast between darker and lighter parts of the image

168
Q

discontinuous editing

A

violate the norms of continuity editing, false eyeliner matches, jump cuts, mismatching on action, temporal editing

169
Q

dolly zoom

A

moving backwards while zooming in to create a warped illusion (vertigo)

170
Q

acting

A

the activity through which a story is told by means of enactment

171
Q

presentational acting

A

acknowledges the audience through gestures, looks and signs

172
Q

representational acting

A

a form of performance that does not acknowledge the audience and does not break the fourth wall

173
Q

histrionic style

A

exaggerated gestures to express heightened emotions (silent film era)

174
Q

realism

A

movement toward subtler gestures by relying on face and eyes to express emotional states

175
Q

star persona

A

a star impersonates a character through the type they embody through their physical appearance and previous body of work

176
Q

chiaroscuro

A

contrast between light and shadow

177
Q

plot turn

A

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)

Film Studies 100 vocabulary (1 decks)

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