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| The contents of the frame and the way that they are organized. Includes setting, costume and makeup, lighting, performance |
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| Shallow Space Composition |
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| the mise-en-scene suggests comparatively little depth, the closest and most distant planes are seperated only slightly |
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| a significant distance seems to separate planes |
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| fore-ground, middle ground- back ground + vertical and horizontal division of a frame |
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| An enclosing shape seen onscreen, distances the viwewer from whatever appears inside it by converting that inner world into another picture |
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| instrumental - objects used according to function and metaphorical - objects used for an unexpected,symbolic, metaphorical purpose |
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| 3 Basic Functions : support realism, highlight character, act as narrative markers (change or lack of change become crucial to the story) |
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| Episodic Structure, documentary visual style, actual locations (realistic set), non-professional actors,conversational speech, lack of artifice in editing camera work and lighting. |
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| One still image on a strip of film (24 per second) |
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| In shooting, one uninterrupted run of the camera to expose a series of frames (also called take). In the film one uninterrupted image with a single static or mobile framing |
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| a single continous action. It may be one shot but it is often made of many shots spliced together. The Action takes place in one location at one point in time. |
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| A series of related scenes that are cut back-to-back |
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| A shot that continues for an unusually lenghty period of time before a transition to the next shot |
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| Canted Shot (Dutch Angle) |
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| the camera is slanted off its vertical axis, the horizon is not parralel to the frame. |
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| 35-50mm, perspective is similar to the human eye, no perspective distortion, lines are straight and perpendicular |
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| Long-focal length (Telephoto Lens) |
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| 75-250mm, depth is reduced, movement is slower |
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| Short-focal-length(Wide Angle) |
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| Under 35mm, distorts straight lines, distance between foreground and backround seems bigger, movement more rapid, wider angle of vision |
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| a lens with a focal length that can be changed during a shot from wide angle to telephoto, magnifies or demagnyfies objects filmed |
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| Focus in which all objects from close foreground and distant background are seen in sharp definition |
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| the image is harp at a certain distance from the camera and otherwise is blurred, thereby focusing the viewer's attention on one particular part of the screen. |
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| the blurred or hazy effect acheiced by shooting slightly out of focus or through gauze or vaseline |
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| focus changes within a single shot, brigning certain objects into focus and making others blur |
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| 2 basic types; black and white and color. 8mm, 16mm, 35mm, 70mm |
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| fast- sensitive; requires less light to produce an acceptable image slow- relatively insensitive to light but produce high quality |
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| refers to the suspended particle of silver of color-sensitive grains in the emulsion layer;after processing they may be visible or not |
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| Chande the quality of the light entering the lens by absorbing certain wavelenghts. May affect contrast,sharpness, color, and light intensity |
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| shooting during the day but using filters and underexsposure to create night time. |
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| when more light that is required to produce an image hits the film stock it produces:high contrast,glaring light, washed out shadows |
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| when too little light strikes the emulsion; produces dark areas that are very dense and dark |
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| intensity or purity of a color saturated= intense and purer, desaturated= more white, washed out and less intense |
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| Filming at a greater rate |
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| Relationship of the rate of filming and rate of projection |
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| a still image within a movie created by repetitive printing in the laboratory of the same frame so that is can be seen without movement for what ever period of time. |
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| the camera is stationary but pivots side to side |
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| The camera is stationary but tilts up and down |
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| a shot in which the camera is moved on a wheeled dolly that follows the determined course |
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| A shot taken from a camera mounted on a crane that can vary distance, height and angle |
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| a film image produce by an individual carrying the camera, creates an unsteady shot that may suggest point of view |
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| a camera stabilization sytem camera operator can film a steady, continuous shot without losing the hand held freedom |
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| Motivated Camera Movement |
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| prompted by the charecters and events |
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| Unmotivated Camera Movement |
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| pertains to the filmakers commentary on charecters and events |
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| cinematic space that exsits inside the frame |
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| cinematic space that exists outside of the frame |
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| the relationship between the frames 2 dimensions |
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| distrubutes light to simulate an explicit sourse |
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| Stress visual or pictorial values, not concerned about source |
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| 3 Major Features of Film Lighting |
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| Quality, Direction, Source |
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| the relative intensity of the illumination |
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| creates defined shadows, crisp textures and sharp edges |
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| Lighting comes from behind the subject |
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| light source is beneath the subject |
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| light source is above the subject |
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| Key light, Fill Light, Back Light |
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| creates a loq contrast between brighter and darker areas, light wuality is soft |
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| creates a greater contrast and sharper, darker shadows, no fill light |
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| ensures relative positions remain constant, consistant eyelines, cosistant screen direction, delineates space clearly |
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| A cut obeying the axis of action principle, in which the first shot shows a person off in one direction and the second shows a nearby space containing what he or she sees. |
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| Two successive shots joined so as to create a strong similarity of compositional elements (e.g., color, shape). |
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| gradually darkens and dissapears |
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| usually a long or extreme longshot established spatial coordinates |
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| editing that alternates shots of two or more lines of action occuring simultaneously in 2 different places |
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| the shot has no meaning with out the other shots, gains meaning only as part of a larger system |
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| aesthetic of small scetch-like blocks, aggressive movements, shock the spectator |
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| disjunctive narrative, thought and idelogical message, thinks through images |
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| rapid juxtaposing of 2 images causes a 3 in the viewers mind, conflict must be inherant |
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| Plato's concept of narration, refers to all that is really going on on-screen (fictional reality) |
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| Taken at a great distance. Almost always an exterior shot and shows much of the locale. |
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| This shot type (also referred to as a full shot or a wide shot) shows the entire person or object, with the intention to place it in some relation to its surroundings. |
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| Medium Long (Plain American) |
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| Also known as the American shot, this shot shows the character(s) from the knees up. |
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| The name implies that this is a shot from a medium distance. It shows a person from the waist up |
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| A close up is a shot that tightly frames a personÃs face. |
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| This shot is an even tighter variant of a close up. It shows the characterÃs face only partially, sometimes only the eyes or the mouth. It is used only to show specially dramatic element of a scene. |
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