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| 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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| all events in a narrative, both the ones explicitly presented and those the viewer infers |
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| everything visibly and audibly presented in the film |
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| in 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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| the aspect of temporal manipulation that involves the time span presented in the plot and presumed to operate in the story |
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| the aspect of temporal manipulation that involves the number of times any story event is shown in the plot |
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| the locale of the totality of the action (whether shown or not) |
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| the locales visibly or audibly represented in the scenes |
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| the process through which the plot conveys or withholds story information. It 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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| 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 |
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| all the elements placed in front of the camera to be photographer; the settings and props, lighting, costumes and makeup, and figure behavior |
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| illumination directed into the scene from a position near the camera |
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| illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures |
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| 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 |
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| in the three-point lighting system, the brightest illumination coming into the scene |
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| Illumination from a source less bright than the key light, used to soften deep shadows in a scene |
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| a common arrangement using three directions of light on a scene: from behind the subjects, from one bright source, and from a less bright source balancing the key light |
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| 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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| illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light |
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| how the director organizes the items on screen |
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| a cue suggesting represented depth in the film image by placing object partly in front of more distant ones |
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| 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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| a cue for suggesting represented depth in the image by showing object that are farther away as smaller foreground objects |
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| staging the action in relatively few planes of depth |
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| staging the action in many planes of depth |
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| a general term for all the manipulation of a the film strip by the camera in the shooting phase and by the laboratory in the developing phase |
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| the strip of material on which a series of still photographs is registered ; it consists of a clear base coated on one side with a light-sensitive emulsion |
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| 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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| a piece of glass or gelatin placed in front of the camera or printer lens to alter the quantity of light striking the film in the aperture |
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| in shooting, the number of frames exposed per second; in projection, the number of frames shown per second; if both are the same action will appear normal, disparity causes slow or fast motion; standard for both is 24 frames per second |
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| a shaped piece of transparent material with either or both sides curved to gather and focus light rays. Most camera and projector lenses place a series of lenses within a metal tube to form a compound lens |
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| the distance from the center of the lens to the point at which the light rays meet in sharp focus. It determines the perspective relations of the space represented on the flat screen. |
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| short focal length that affects a scene's perspective by distorting straight lines near the edges of the frame and by exaggerating the distance between foreground and background planes. |
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| shows objects without severely exaggerating or reducing the depth of the scene's planes |
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| long focal length that affects a scene's perspective by enlarging distant planes and making them seem close to the foreground planes. |
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| focal length can be changed during a shot |
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| 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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| the degree to which light rays coming from the same part of an object through different parts of the lens reconverge at the same point on the film frame, creating sharp outlines and distinct textures |
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| use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus |
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| shifting the area of sharp focus from one plane to another during a shot; the effect on the screen is called rack-focus |
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| the exposure of more than one image on the same film strip or in the same shot |
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| general term for various photographic manipulations that create fictitious spatial relations in the shot |
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| any shot involving rephotography to combine two or more images into one or to create a special effect, also called composite shot |
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| on uninterrupted run of the camera to expose a series of frames |
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| a technique used for combining a foreground action with a background action filmed earlier. The foreground is filmed in a studio, against a screen; the background imagery is projected from behind the screen |
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| a composite process whereby footage meant to appear as the background of a shot is projected from the front onto a screen; figures in the foreground are filmed in front of the screen as well |
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| a type of process shot in which the different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work |
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| the use of the edges of the film frame to select and to compose what will be visible onscreen |
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| the relationship of the frame's width to its height |
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| the standardized shape of the film frame, 1.85:1 |
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| stretches of black fabric that frame the theater scene, can be adjusted according to the aspect ratio of the film |
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| lens for making films using Academy ratio, squeezes wide field of view onto frame |
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| a round, moving mask that can close down to end a scene or emphasize a detail, or that can open to begin a scene, or to reveal more space around a detail |
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| a view in which the frame is not level; either the right or the left side is lower than the other, causing objects in the scene to appear slanted out of an upright position |
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| a framing in which the scale of the object shown is very small; a building, landscape, or crown of people will fill the screen |
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| a framing in which the scale of the object shown is small; a standing human figure would appear nearly the size of the screen |
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| a framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically |
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| a framing in which the scale of the object shown is of moderate size; a human figure from the waist up would fill most of the screen |
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| a framing in which the scale of the object shown is fairly large; a human figure is seen from the chest up would fill most of the screen |
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| a framing in which the scale of the object shown is relatively large; most commonly a person's head from the neck up |
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| a framing in which the scale of the object shown is very large; a small object or part of the body |
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| a camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing that scans the scene horizontally |
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| 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. |
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| a mobile framing that travels through space forward, backward, or laterally |
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| 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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| the use of the camera operator's body as a camera support, either by holding it by hand or using a harness |
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| short panning or tilting movements to adjust for the figures' movements, keeping them onscreen or centered |
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| a shot with framing that shifts to keep a moving figure onscreen |
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| a shot that continues for an unusually lengthy time before the transition to the next |
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| the task of selecting and joining camera takes, the set of techniques that gather relations among shots |
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| a shot that gradually disappears as the screen darkens |
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| a dark screen that gradually brightens as a shot appears |
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| a transition between two shots during which the first image gradually disappears while the second image gradually appears |
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| 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 |
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| the change from one framing to another, the splicing of two clips together |
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| two successive shots joined so as to create a strong similarity of compositional elements |
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| editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously |
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| an alteration of story order in which the plot moves back to show events that have taken place earlier than the ones already shown |
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| an alteration of story order in which the plot presentation moves forward to future events and then returns to the present |
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| shot transitions that omit parts of an event, causing an ellipsis in plot duration |
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| cuts that repeat part or all of an action, thus expanding its viewing time and plot duration |
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| a system of cutting to maintain continuous and clear narrative action. Continuity editing relies on matching screen direction, position, and temporal relations from shot to shot. |
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| the imaginary line that passes from side to side through the main actors, defining the spatial relations of all the elements of the scene as being to the right or left. The camera is not supposed to cross the axis at a cut and thus reverse those spatial relations. Also called the 180 degree line. |
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| the continuity approach to editing dictates that the camera should stay on one side of the action to ensure consistent left-right spatial relations between elements from shot to shot |
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| 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 |
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| A shot, usually involving a distant framing, that shows the spatial relations among important figures, objects, and setting in the scene |
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| two or more shots edited together that alternate characters, typically in a conversation situation |
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| 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 he or she sees. If the person looks left, the next shot should imply that the looker is offscreen right. |
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| A return to a view of an entire space after a series of closer shots following the establishing shot |
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| 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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| a cut that presents continuous time from shot to shot but that mismatches the positions of figures or objects |
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| 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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| 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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| a shot or series of shots cut into a sequence, showing objects as being outside the world of the narrative |
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| combine two or more sound tracks by recording them onto a single one |
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| 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 another element in a scene |
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| the sense of a sound's position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information |
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| any voice, musical passage, or sound effect presented as originating from a source within the film's world |
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| sound, such as mood or a narrator's commentary, represented as coming from a source outside the space of the narrative |
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| 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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| 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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| any sound that is not represented as coming from the space and time of the images on the screen. This includes both non diegetic sounds and nonsimultaneous diegetic sounds. |
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| sound that is matched temporally with the movements occurring in the images, as when dialogue corresponds to lip movements |
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| sound that is not matched temporally with the movements occurring in the image, as when dialogue does not correspond to lip movements |
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| diegetic sound that is represented as occurring at the same time in the story as the image it accompanies |
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| diegetic sound that comes from a source in time either earlier or later than the image it accompanies |
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| the sound from one scene carries over to another before the sound for the new scene begins |
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| a technique of ending the scene with a line that prepares for the next scene |
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| a type of filmic organization in which the parts relate to one another through repetition and variation of such visual qualities as shape, color, rhythm, and direction of movement |
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| a type of organization in which the film's parts are juxtaposed to suggest similarities, contrasts, concepts, emotions, and expressive qualities |
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| Animation that uses a series of drawings on pieces of celluloid called cels for short. Slight changes between the drawings combine to create an illusion of movement. |
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| a form of single-frame animation in which three dimensional objects, often people, are made to move in staccato bursts through the use of stop-action cinematography |
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| a machine that projects live-action motion picture frames one by one onto a drawing pad so that an animator can trace the figures in each frame. The aim is to achieve more realistic movement in an animated film. |
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