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| A critical theory which holds that the director can be the primary creator of a film. although others can also be the driving force behind the production. |
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| Projection of film onto a transparent screen, which serves as a background while the action is being shot. |
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| A sound-deadening housing designed for movie cameras to ensure they are quiet during filming. |
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| The personal who operates the camera on the set. |
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| A style of filmmaking in which the camera simply documents the action in front of it, without interfering. There is no narration. |
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| Computer Generated Images: Used in special effects today (AVITAR) |
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| A shot of the actor or object from the neck/base up. |
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| A piece of apparatus that can lift the camera vertically in the air. |
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| Where there are several planes, a foreground, a middle ground, and a background. |
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| Ensures that a shot with a depth of field remains in focus in all planes. |
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| Every aspect of the production is digital. |
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| The person who is responsible for staging the action in a film. |
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| The person who is responsible for the look of the film. |
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| A gradual transition from one shot to the other where images overlap. |
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| Splicing together a series of shots to create a scene in a film. |
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| A shot, that establishes the location of the action or the time of day. |
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| The person who arranges the financing for a film. |
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| A device used at the beginning of a sequence, where the image gradually lightens from complete darkness. |
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| Used at the end of a sequence, where the image gradually darkens to complete blackness |
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| The width of the motion picture film used in the camera. |
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| A style of filmmaking using harsh shadows, flashbacks, and voiceovers |
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| The film breaking or shredding in the projection gate during the screening of a film. |
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| A camera device where the action is speeded up. |
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| Occurs when the films forward narrative is interrupted by an even from the past. |
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| Sound effects added in post-production to enhance the visuals, such as gunshots, footsteps, or explosions. |
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| An optical effect whereby one image is held for a time and the action seems to become a still photograph. |
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| The head electrician on a movie set |
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| A film that follows a predictable plot pattern. |
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| A person on a film set who lays down dolly tracks, sets up lights, and generally does the hard physical work. |
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| A shot from above that points down on the action |
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| An inserted shot, usually a close-up, used to reveal something in greater detail. |
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| A series of shots that are alternated to create suspense. |
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| Gradual opening up or closing down of the image from or to a small point of light. |
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| An abrupt cut from one scene to the next, or within a scene to compress time. |
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| Shot taken from some distance. |
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| Shot taken from below and pointing up at the action. |
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| A device for covering part of the screen with blackness. |
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| A wide shot in a film, performing a scene in its entirety. |
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| A shot from five to fifteen yards |
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| The structure of editing with in a film. |
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| A style that relies on rapid editing, jump cuts, speeded up motion, and multiple camera angles for a dazzling effect. |
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| Action or dialogue that occurs outside the area viewed by the camera. |
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| Describes a shot in which more than a usual amount of light has been allowed to reach the film. |
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| Describes a shot in which more than a usual amount of light has been allowed to reach the film. |
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| Dialogue in which two or more characters speak simultaneously. |
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| A horizontal and circular movement of the camera on its pivot. |
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| The editing, musical scoring, and the final completion of a film after shooting. |
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| To make a recording of the sound track for a film (especially of the dialogue) in a sound studio. |
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| The person who supervises the production of the film, arranges the financing, hires the cast, director, and crew. |
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| A trick effect that reverses the movements of the characters and objects. |
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| Person on the film set who runs errands, assists the other technicians and does general chores. |
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| The result of a day's shooting when the film comes back from the labs after development. |
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| The abrupt replacement of one image by another. |
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| The final script used by the director, technicians, and actors, with the complete breakdown of the scenario into separate shots. |
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| The smallest unit in the grammer of film; one angle of a specific person or object within the film, before editing. |
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| The effect obtained by gauze in front of the lens of the camera, which creates a hazy, romantic effect. |
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| Shot taken from a film library that has been photographed for another film. |
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| The system by which each film studio had a roster of actors, directors, composers, cameraman, costume designers and the like on a regular salary, under contract, to create their films on an assembly-line basis. |
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| A lens that magnifies like a telescope, bringing the object closer to the viewer without moving the camera. |
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| When the camera tilts up toward the action, usually to exaggerate the authority or menace of a character; or tilts down, to indicate superiority, omniscience, or powerlessness. |
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| A movement of the camera on a dolly, toward or away from an object or character. |
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| The opposite of overexposed, thus producing a dim, indistinct image. |
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| Narration or dialogue presented on the sound track of a film to explain the film's action, plot, or characters. |
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| A lens with a wide range of field, which exaggerates depth and perspective. |
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| A device whereby a line moves across the screen, replacing one image and introducing another. |
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| A lens of variable focal length. It can, by gradually magnifying or reducing the image give the effect of moving closer to or farther away from an object. |
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