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| French for "author". Used by critics writing for Cahiers du cinema and other journals to indicate the figure, usually the director, who stamped a film with his/her own "personality". |
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| The diegesis includes objects, events, spaces and the characters that inhabit them, including things, actions, and attitudes not explicitly presented in the film but inferred by the audience. |
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| The joining together of clips of film into a single filmstrip. |
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| A jump backwards or forwards in diegetic time. With the use of flashback / flashforward the order of events in the plot no longer matches the order of events in the story. |
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| the degree to which light rays coming from any particular part of an object pass through the lens and reconverge at the same point on a frame of the film negative, creating sharp outlines and distinct textures that match the original object. |
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| Types of film recognized by audiences and/or producers, sometimes retrospectively. |
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| All the things that are "put in the scene": the setting, the decor, the lighting, the costumes, the performance etc. |
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| more correctly labelled fabula and syuzhet, story refers to all the audience infers about the events that occur in the diegesis on the basis of what they are shown by the plot -- the events that are directly presented in the film. |
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| A scene is a segment of a narrative film that usually takes place in a single time and place, often with the same characters. |
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| A single stream of images, uninterrupted by editing. |
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| the objects contained in and the setting of a scene. |
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| Usually used to combine foreground action, often actors in conversation, with a background often shot earlier, on location |
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| The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. |
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| The standard lighting scheme for classical narrative cinema. In order to model an actor's face (or another object) with a sense of depth, light from three directions is used, |
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| A lighting scheme in which the fill light is raised to almost the same level as the key light. This produces images that are usually very bright and that feature few shadows on the principal subjects. |
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| A lighting scheme that employs very little fill light, creating strong contrasts between the brightest and darkest parts of an image and often creating strong shadows that obscure parts of the principal subjects. |
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| Depth, proximity, size and proportions of the places and objects in a film |
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| Frontality refers to the staging of elements, often human figures, so that they face the camera square-on. |
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| A process shot in which two photographic images (usually background and foreground) are combined into a single image using an optical printer. |
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| Space that exists in the diegesis but that is not visible in the frame. |
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| The opposite of deep space, in shallow space the image is staged with very little depth. The figures in the image occupy the same or closely positioned planes |
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| Costume simply refers to the clothes that characters wear. Costume in narrative cinema is used to signify character, or advertise particular fashions, or to make clear distinctions between characters. |
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| he selection of actors on the basis that their facial or bodily features readily convey the truth of the character the actor plays. |
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