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| Composed not of words, but of myriad integrated techniques and concepts connects us to the story while deliberately concealing the means by which it does so. |
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| An unbroken span of action captured by an uninterrupted run of a motion picture camera-that allow visual elements to rearrange themselves and the viewers perspective itself to shift within any composition. |
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| Gives movies the power to choose what the viewer sees and how that viewer sees it at any given moment |
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| A shot that often shows a part of the body filling the frame-traditionally a face but possibly a hand or eye, or mouth. |
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| A direct change from one shot to another that is the precise point at which shot A ends and Shot B begins, one result of cutting |
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Transitional devices in which a shot fades in from a black field on black and white film or from a color field on color film or fades out to a black field (or a color field).
Passage of time between scenes |
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| Also known as low shot. A shot that is made with the camera below the action and that typically places the observer in a position of inferiority. |
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| A continuity editing technique that smoothes the transition between shots portraying a single action from different camera angles. The editor sends the first shot and begins the subsequent shot at approximately the same point in the matching action. |
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| Everything that a movie presents on its surface. |
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| An association, connection, or inference that a viewer makes on the basis of the given story and form of a film. Everyday sense of the word meaning |
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| Film analysis that examines how a scene or sequence uses formal elements to convey story, mood, and meaning. |
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| A shared public idea such as a metaphor and adage a myth or a familiar conflict or personality type |
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| Slow movement of the camera toward a subject making the subject appear larger and more significant. Such gradual intensification is commonly used at moments of a characters realization and or decision or as a point of view shot to indicate the reason for the characters realization |
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The time a movie takes to unfold onscree. For any movie we can identify three specific kinds of duration:
Story duration
Plot duration
screen duration
Duration has two related components real time and cinematic time |
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The position from which a film presents the actions of the story not only the relation of the narrator to the story but also the cameras act of seeing and hearing. two fundamental types point of view are:
Omniscient
restricted |
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Popular entertainment a product produced and marketed by a large commercial studio.
Cause and effect
Sequential progression |
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| the means by which the subject is expressed |
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| technique that makes different lines of action appear to be occurring simultaneously |
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| 3 fundamental principles of film form |
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Light
an illusion of movement
manipulate space and time in unique ways |
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