Term
|
Definition
| A style of filmmaking that attempts to duplicate the look of objective reality as it's commonly perceived, with emphasis on authentic locations and details, long shots, lengthy takes, and a minimum of distorting techniques. |
|
|
Term
|
Definition
| A style of filmmaking in which aesthetic forms take precedence over the subject matter as content. Time and space as ordinarily perceived are often distorted. Emphasis is on the essential, symbolic characteristics of objects and people, not necessarily on their superficial appearance. Formalists are often lyrical, self-consciously heightening their style to call attention to it as a value for its own sake. |
|
|
Term
| Bird's-Eye View, Bird's-Eye Shot |
|
Definition
| A shot in which the camera photographs a scene from directly overhead. |
|
|
Term
|
Definition
| From the French, meaning "in the front ranks." Those minority artists whose works are characterized by an unconventional daring and by obscure, controversial, or highly personal ideas. |
|
|
Term
| Classical Paradigm, Classical Cinema |
|
Definition
| a vague but convenient term used to designate the style of mainstream fiction films produced in America, roughly from the mid-teens until the late 1960s. The classical paradigm is a movie strong in story, star, and production values, with a high level of technical achievement, and edited according to conventions of classical cutting. The visual style is functional and rarely distracts from the characters in action. Movies in this form are structured narratively, with a clearly defined conflict, complications that intensify to a rising climax, and a resolution that emphasizes formal closure. |
|
|
Term
|
Definition
| A style of filmmaking emphasizing extreme distortion, lyricism, and artistic self-expression at the expense of objectivity. |
|
|
Term
|
Definition
| Those images that are recorded continuously from the time the camera starts to the time it stops. That is, an unedited strip of film. |
|
|
Term
|
Definition
| The dividing line between the edges of the screen image and the enclosing darkness of the theater. Can also refer to a single photograph from the filmstrip. |
|
|
Term
|
Definition
| A relatively close shot, revealing the human figure from the knees or waist up. |
|
|
Term
|
Definition
| a detailed view of a person or object. A close-up of an actor usually includes only his or her head. |
|
|
Term
| Telephoto Lens, Long Lens |
|
Definition
| A lens that acts as a telescope, magnifying the size of objects at a great distance. A side effect is its tendency to flatten perspective. |
|
|
Term
|
Definition
| A panoramic view of an exterior location, photographed from a great distance, often as far as a quarter-mile away. |
|
|
Term
|
Definition
| A shot that includes an area within the image that roughly corresponds to the audience's view of the area within the proscenium arch. |
|
|
Term
|
Definition
| A type of long shot that includes the human body in full, with the head near the top of the frame and the feet near the bottom. |
|
|
Term
|
Definition
| A minutely detailed view of an object or person. An extreme close-up of an actor generally includes only his or her eyes or mouth. |
|
|
Term
|
Definition
| A technique of photography that permits all distance planes to remain clearly in focus, from close-up ranges to infinity. |
|
|
Term
|
Definition
| Usually an extreme long or long shot offered at the beginning of a scene, providing the viewer with the context of the subsequent closer shots. |
|
|
Term
|
Definition
| A film genre characterized by bold and sweeping themes, usually in heroic proportions. The protagonist is an ideal representative of a culture--national, religious, or regional. The tone of most epics is dignified, the treatment larger than life. The western is the most popular epic genre in the United States. |
|
|
Term
|
Definition
| A medium shot, featuring three actors. |
|
|
Term
|
Definition
| Usually a medium shot of two people, with the camera placed just behind the shoulder of one character, directed at the face of the opposite character. |
|
|
Term
| Wide-Angle Lens, Short Lens |
|
Definition
| A lens that permits the camera to photograph a wider area than a normal lens. A side effect is its tendency to exaggerate perspective. Also used for deep-focus photography. |
|
|
Term
|
Definition
| The placement of the camera approximately five to six feet from the ground, corresponding to the height of an observer on the scene. |
|
|
Term
|
Definition
| The positioning of the lights and camera for a specific shot. |
|
|
Term
|
Definition
| A shot taken form a special device called a crane, which resembles a huge mechanical arm. The crane carries the camera and the cinematographer and can move in virtually any direction. |
|
|
Term
| Point-of-View Shot, P.O.V. Shot, First-Person Camera, Subjective Camera |
|
Definition
| Any shot that is taken from the vantage point of a character in the film, showing what the character sees. |
|
|
Term
| Cinematographer, Director of Photography, D.P. |
|
Definition
| The artist or technician responsible for the lighting of a shot and the quality of the photography. |
|
|
Term
|
Definition
| A recognizable type of movie, characterized by certain pre-established conventions. Some common American genres are westerns, sci-fi movies, thrillers, etc. A ready-made narrative form. |
|
|
Term
|
Definition
| A variation of a specific shot. The final shot is often selected from a number of possible takes. |
|
|
Term
|
Definition
| A style of lighting emphasizing bright and even illumination, with few conspicuous shadows. Used mostly in comedies, musicals, and light entertainment films. |
|
|
Term
|
Definition
| A style of lighting that emphasizes diffused shadows and atmospheric pools of light. Often used in mysteries and thrillers. |
|
|
Term
|
Definition
| A style of lighting emphasizing harsh shafts and dramatic streaks of lights and darks. Often used in thrillers and melodramas. |
|
|
Term
|
Definition
| A common technique of lighting a scene from three sources. The key light is the main source of illumination, usually creating the dominant contrast, where we look first in a shot. Fill lights are less intense and are generally placed opposite the key, illuminating areas that would otherwise be obscured by shadow. Backlights are used to separate the foreground elements from the setting, emphasizing a sense of depth in the image. |
|
|
Term
|
Definition
| The main source of illumination for a shot. |
|
|
Term
|
Definition
| The area of the film image that compels the viewer's most immediate attention, usually because of a prominent visual contrast. |
|
|
Term
|
Definition
| Secondary lights that are used to augment the key light--the main source of illumination for a shot. Fill lights soften the harshness of the key light, revealing details that would otherwise be obscured in shadow. |
|
|
Term
|
Definition
| When the lights for a shot derive from the rear of the set, thus throwing the foreground figures into semidarkness of silhouette. |
|
|
Term
|
Definition
| The use of only that light which actually exists on location, either natural (the sun) or artificial (house lamps). When available lighting is used in the interior locations, generally a sensitive fast film stock must also be used. |
|
|
Term
|
Definition
| A ground or molded piece of glass, plastic or other transparent material through which light rays are refracted so they converge or diverge to form the photographic image within the camera. |
|
|
Term
|
Definition
| Too much light enters the aperture of a camera lens, bleaching out the image. Useful for fantasy and nightmare scenes. |
|
|
Term
|
Definition
| A visual style emphasizing soft edges, lush colors, and a radiantly illuminated environment, all producing a romantic lyricism. |
|
|
Term
|
Definition
| A visual style emphasizing sharply defined lines rather than colors or textures. Deep-focus lenses are generally used to produce this hard-edged style, which tends to be objective, matter-of-fact, and antiromantic. |
|
|
Term
|
Definition
| A French term--literally, black cinema-- referring to a kind of urban American genre that sprang up after WWII, emphasizing a fatalistic, despairing universe where there is no escape from mean city streets, loneliness, and death. Stylistically, noir emphasizes low-key and high-contrast lighting, complex compositions, and a strong atmosphere of dread and paranoia. |
|
|
Term
|
Definition
| Pieces of glass or plastic placed in front of the camera lens that distort the quality of light entering the camera and hence the movie image. |
|
|
Term
|
Definition
| The blurring out of focus of all except one desired distance range. Can also refer to a glamorizing technique that softens the sharpness of definition so facial wrinkles can be smoothed over and even eliminated. |
|
|
Term
| Rack Focusing, Selective Focusing |
|
Definition
| The blurring of focal planes in sequence, forcing the viewer's eyes to travel with those areas of an image that remain in sharp focus. |
|
|
Term
|
Definition
| Film stock that's highly sensitive to light and generally produces a grainy image. Often used by documentarists who wish to shoot only with available lighting. |
|
|
Term
|
Definition
| Film stocks that are relatively insensitive to light and produce crisp images and a sharpness of detail. When used in interior settings, these stocks generally require considerable artificial illumination. |
|
|
Term
|
Definition
| A film actor or actress of great popularity. A PERSONALITY star tends to play only those roles that fit a preconceived public image, which constitutes his or her persona. An ACTOR star can play roles of greater range and variety. Eddie Murphy is a personality star; Nicole Kidman is an actor star. |
|
|
Term
|
Definition
|
|
Term
|
Definition
| A previsualization technique in which shots are sketched in advance and in sequence, like a comic strip, thus allowing the filmmaker to outline the mise en scene and construct the editing continuity before production begins. |
|
|
Term
|
Definition
| the arrangement of visual weight and movements within a given space. In live theater, the space is usually defined by the proscenium arch; in movies, it is defined by the frame that encloses the images. Cinematic mise en scene encompasses both the staging of the action and the way it's photographed. |
|
|
Term
|
Definition
| The ratio between the horizontal and vertical dimensions of the screen. |
|
|
Term
|
Definition
| A movie image that has an aspect ratio of approximately 5:3, though some widescreens possess horizontal dimensions that extend as wide as 2.5 times the vertical dimension of the screen. |
|
|
Term
|
Definition
| An ideological term used to describe any person or film that is biased in favor of left-wing values, particularly in their more extreme form. |
|
|
Term
|
Definition
| A masking device that blacks out portions of the screen, permitting only a part of the image to be seen. Usually, the iris is circular or oval in shape and can be expanded or contracted. |
|
|
Term
|
Definition
| An eyepiece on the camera that defines the playing area and the framing of the action to be photographed. |
|
|
Term
|
Definition
| A technique of photography that permits all distance planes to remain clearly in focus, from close-up ranges to infinity. |
|
|
Term
|
Definition
| A subordinated element of the film image, complementing or contrasting with the dominant contrast. |
|
|
Term
|
Definition
| An unobtrusive area of the film image that nonetheless compels our most immediate attention because of its dramatic or contextual importance. |
|
|
Term
|
Definition
| The artist or technician who creates the mise en scene--that is, the director. |
|
|
Term
|
Definition
| Usually in close shots. The mise en scene is so carefully balanced and harmonized that the people photographed have little or no freedom of movement. |
|
|
Term
|
Definition
| Usually in longer shots. The mise en scene is so spaciously distributed within the confines of the framed image that the people photographed have considerable freedom of movement. |
|
|
Term
|
Definition
| Short for panorama, this is a revolving horizontal movement of the camera from left to right or vice versa. |
|
|
Term
|
Definition
| The spatial relationships among characters within the mise en scene, and the apparent distance of the camera from the subject being photographed. |
|
|
Term
|
Definition
| Techniques of filmmaking that depend on the element of chance. Images are not planned out in advance but must be composed on the spot by the camera operator. Usually used in documentary situations. |
|
|
Term
| Anticipatory Setup, Anticipatory Camera |
|
Definition
| The placement of the camera in such a manner as to anticipate the movement of an action before it occurs. Such setups often suggest predestination. |
|
|
Term
|
Definition
| The use of a well-known cultural symbol or complex of symbols in an artistic representation. In movies, iconography can involve a star's persona, the pre-established conventions of a genre (like the shootout in a western), the use of archetypal characters and situations, and such stylistic features as lighting, settings, costuming, props, and so on. |
|
|
Term
|
Definition
| The joining of one shot (strip of film) with another. The shots can picture events and objects in different places at different times. In Europe, editing is called montage. |
|
|
Term
|
Definition
| A stylistic exuberance and subjectivity, emphasizing the sensuous beauty of the medium and producing an intense outpouring of emotion. |
|
|
Term
|
Definition
| an implied agreement between the viewer and the artist to accept certain artificialities as real in a work of art. In movies, editing (or the juxtaposition of shots) is accepted as "logical" even though a viewer's perception of reality is continuous and unfragmented. |
|
|
Term
|
Definition
| The camera's angle of view relative to the subject being photographed. A high-angle shot is photographed from above, a low angle from below the subject. |
|
|
Term
|
Definition
| A style of filmmaking characterized by austerity and restraint, in which cinematic elements are reduced to the barest minimum of information. |
|
|
Term
|
Definition
| A shot photographed by a tilted camera. When the image is projected on the screen, the subject itself seems to be tilted on a diagonal. |
|
|
Term
| Dolly Shot, Trucking Shot, Tracking Shot |
|
Definition
| A shot taken from a moving vehicle. Originally, tracks were laid on the set to permit a smoother movement of the camera. |
|
|
Term
|
Definition
| Withdrawing the camera from a scene to reveal an object or character that was previously out of frame. |
|
|
Term
|
Definition
| A lens of variable focal length that permits the cinematographer to change from wide-angle to telephoto shots (and vice versa) in one continuous movement, often plunging the viewer in or out of a scene rapidly. |
|
|
Term
|
Definition
| A shot taken with a moving camera that is often deliberately shaky to suggest documentary footage in an uncontrolled setting. |
|
|
Term
|
Definition
| Essentially a variation of the crane shot, though restricted to exterior locations. Usually taken from a helicopter. |
|
|
Term
|
Definition
| A cut to a shot of a character's reaction to the contents of the preceding plot. |
|
|
Term
| Swish Pan, Flash, Zip Pan |
|
Definition
| A horizontal movement of the camera at such a rapid rate that the subject photographed blurs on the screen. |
|
|
Term
|
Definition
| A form of filmmaking characterized by photographing inanimate objects or individual drawings frame by frame, with each frame differing minutely from its predecessor. When such images are projected at the standard speed of twenty-four frames per second, the result is that the objects or drawings appear to move, and hence seem "animated." |
|
|
Term
|
Definition
| Shots of a subject photographed at a rate slower than 24 frames per second, which, when projected at the standard rate, convey motion that is jerky and slightly comical, seemingly out of control. |
|
|
Term
|
Definition
| Shots of a subject photographed at a faster rate that 24 frames per second, which, when projected at the standard rate produce a dreamy, dancelike slowness of action. |
|
|
Term
|
Definition
| A series of images are photographed with the film reversed. When projected normally, the effect is to suggest backward movement--an egg "returning" to its shell, for example. |
|
|
Term
| Freeze Frame, Freeze Shot |
|
Definition
| A shot composed of a single frame that is reprinted a number of times on the filmstrip; when projected, it gives the illusion of a still photograph. |
|
|
Term
|
Definition
| The slow fading out of one shot and gradual fading in of its successor, with a superimposition of images, usually at the midpoint. |
|
|
Term
|
Definition
| An editing technique that suggests the interruption of the present by a shot or series of shots representing the past. |
|
|
Term
|
Definition
| A shot of lengthy duration. |
|
|
Term
|
Definition
| The type of editing in which the shots are arranged to preserve the fluidity of an action without showing all of it. An unobtrusive condensation of a continuous action. |
|
|
Term
|
Definition
| An abrupt transition between shots, sometimes deliberate, which is disorienting in terms of the continuity of space and time. |
|
|
Term
|
Definition
| A return to an initial establishing shot within a scene, acting as a reminder of the physical context of the closer shots. |
|
|
Term
|
Definition
| A style of editing developed by D. W. Griffith, in which a sequence of shots is determined by a scene's dramatic and emotional emphasis rather than by physical action alone. The sequence of shots represents the breakdown of the event into its psychological as well as logical components. |
|
|
Term
|
Definition
| A medium shot featuring two actors. |
|
|
Term
|
Definition
| An uninterrupted shot, usually taken from a long- or full-shot range, that contains an entire scene. The closer shots are photographed later, and an edited sequence, composed of a variety of shots, is constructed on the editor's bench. |
|
|
Term
|
Definition
| A single lengthy shot, usually involving complex staging and camera movements. |
|
|
Term
|
Definition
| The initial sequence of shots in a movie, often constructed by the director. |
|
|
Term
|
Definition
| The sequence of shots in a movie as it will be released to the public. |
|
|
Term
|
Definition
| Extra shots of a scene that can be used to bridge transitions in case the planned footage fails to edit as planned. Usually long shots that preserve the overall continuity of a scene. |
|
|
Term
|
Definition
| A shot taken from an angle 180 degrees opposed to the previous shot. That is, the camera is placed opposite its previous position. |
|
|
Term
| Parallel Editing, Cross-Cutting |
|
Definition
| The alternating of shots from two sequences, often in different locales, suggesting that they are taking place at the same time. |
|
|
Term
|
Definition
| A type of editing propounded by the Soviet filmmaker Eisenstein, in which separate shots are linked together not by their literal continuity in reality but by symbolic association. A shot of a preening braggart might be linked to a shot of a toy peacock, for example. Most commonly used in documentaries, in which shots are connected in accordance to the filmmaker's thesis. |
|
|
Term
|
Definition
| An editing technique that suggests the interruption of the present by a shot or series of shots representing the future. |
|
|
Term
|
Definition
| Any unobtrusive technique, object, or thematic idea that's systematically repeated throughout the film. |
|
|
Term
|
Definition
| Transitional sequences of rapidly edited images, used to suggest the lapse of time or the passing of events. Often uses dissolves and multiple exposures. In Europe, montage means the art of editing. |
|
|
Term
|
Definition
| An analytical methodology, derived from Hegel and Marx, that juxtaposes pairs of opposites--a thesis and an antithesis--to arrive at a synthesis of ideas. |
|
|
Term
|
Definition
| A method of documentary filming using aleatory methods that don't interfere with the way events take place in reality. Such movies are made with a minimum of equipment, usually a hand-held camera and portable sound apparatus. |
|
|
Term
|
Definition
| A nonsynchronous spoken commentary in a movie, often used to convey a character's thoughts or memories. |
|
|
Term
|
Definition
| The agreement or correspondence between image and sound, which are recorded simultaneously, or seem so in the finished print. Synchronous sounds appear to derive from an obvious source in the visuals. |
|
|
Term
|
Definition
| A soundproof camera housing that muffles the noise of the camera's motor so sound can be clearly recorded on the set. |
|
|
Term
|
Definition
| The addition of sound after the visuals have been photographed. Dubbing can be either synchronous with an image or nonsynchronous. Foreign language movies are often dubbed in English for release in this country. |
|
|
Term
|
Definition
| An Italian film movement that produced its best works between 1945 and 1955. Strongly realistic in its techniques, neorealism emphasized documentary aspect of film art, stressing loose episodic plots, extraordinary events and characters, natural lighting, actual location settings, nonprofessional actors, a preoccupation with poverty and social problems, and an emphasis on humanistic and democratic ideals. The term has also been used to describe other films that reflect the technical and stylistic biases of Italian neorealism. |
|
|
Term
|
Definition
| A group of young French directors who came to prominence during the late 1950s. The most widely known are Francois Truffaunt, Jean-Luc Godard, and Alain Resnais. |
|
|
Term
|
Definition
| The kind of logic implied between edited shots, their principle of coherence. |
|
|
Term
|
Definition
| Sound and image that are not recorded simultaneously, or sound that is detached from its source in the film image. Music is usually nonsynchronous in a movie, providing background atmosphere. |
|
|
Term
|
Definition
| The process of combining separately recorded sounds from individual soundtracks onto a master track. The individual who performs this task is called a sound mixer. |
|
|
Term
|
Definition
| An avant-garde movement in the arts stressing Freudian and Marxist ideas, unconscious elements, irrationalism, and the symbolic association of ideas. Surrealist movies were produced roughly from 1924 to 1931, primarily in France, though there are surrealistic elements in the works of many directors, and especially in music videos. |
|
|
Term
|
Definition
| A type of film music that is purely descriptive and attempts to mimic the visual action with musical equivalents. Often used in cartoons. |
|
|
Term
|
Definition
| A term used in drama and film to signify the dramatic implications beneath the language of a play or movie. Often, the subtext concerns ideas and emotions that are totally independent of the language of a text. |
|
|
Term
|
Definition
| Actors that are used primarily to provide a sense of a crowd--as in "a cast of thousands." Players of this type are used as camera material, like a landscape or a set. |
|
|
Term
| Nonprofessional Performers |
|
Definition
| Amateur players who are chosen not because of their acting ability, which can be negligible, but because of their authentic appearance--they 'look' right for a given part. |
|
|
Term
|
Definition
| Stage and screen performers who are capable of playing a variety of roles in a variety of styles. The majority of actors fall under this category. |
|
|
Term
|
Definition
| The technique of exploiting the charisma of popular performers to enhance the box-office appeal of films. The star system was developed in America and has been the backbone of the American film industry since the mid-1910s. |
|
|
Term
|
Definition
| A shot in which the subject being photographed is from below. |
|
|
Term
|
Definition
| The alternating of shots from two sequences, often in different locales, suggesting that they are taking place at the same time. |
|
|
Term
|
Definition
| From the Latin, "mask." An actor's public image, based on his or her previous roles, and often incorporating elements from the actual personalities as well. |
|
|
Term
|
Definition
| The principal production studios of a given era. In the golden age of the Hollywood studio system--roughly the 1930s and 1940s--the majors consisted of MGM, Warner Brothers, RKO, Paramount Pictures, and Twentieth Century-Fox. |
|
|
Term
|
Definition
| A personality star tends to play only those roles that fit a preconceived public image, which constitutes his or her persona. |
|
|
Term
|
Definition
| An actor star can play roles of greater range and variety than a personality star. |
|
|
Term
|
Definition
| A set of ideological values, typically liberal in emphasis, stressing such traits as equality, the importance of environment in determining human behavior, relativism in moral matters, emphasis on the secular rather than religion, an optimistic view of the future and human nature, a belief in technology as the main propellant of progress, cooperation rather than competition, an identification with the poor and the oppressed, internationalism, and sexual and reproductive freedom. |
|
|
Term
|
Definition
| An original model or type after which similar things are patterned. Archetypes can be well-known story patterns, universal experiences, or personality types. Myths, fairy tales, genres, and cultural heroes are generally archetypal, as are the basic cycles of life and nature. |
|
|
Term
|
Definition
| A style of performance derived from the Russian stage director Stanislavsky, which has been the dominant acting style in America since the 1950s. Method actors emphasize psychological intensity, extensive rehearsals to explore a character, emotional believability rather than technical mastery, and "living" a role internally rather than merely imitating the external behavior of a character. |
|
|
Term
|
Definition
| A visual style that inclines toward self-conscious designs and carefully harmonized compositions. The frame is exploited to suggest a self-sufficient universe that encloses all the necessary visual information, usually in an aesthetically appealing manner. |
|
|
Term
|
Definition
| A theory of film popularized by the critics of the French journal "Cahiers du Cinema" in the 1950s. The theory emphasizes the director as the major creator of film art, stamping the material with his or her own personal vision, style, and thematic obsessions. |
|
|
Term
| Process Shot, Rear Projection |
|
Definition
| A technique in which a background scene is projected onto a translucent screen behind the actors so it appears tat the actors are on location in the final image. |
|
|
Term
|
Definition
| The individual responsible for designing and overseeing the construction of sets for a movie, and sometimes its interior decoration and overall visual style. |
|
|
Term
| Miniatures, Models, Miniature Shots |
|
Definition
| Small-scale models photographed to give the illusion that they are full-scale objects. For example, ships sinking at sea, giant dinosaurs, airplanes colliding, etc. |
|
|
Term
|
Definition
| During the studio era, standing exterior sets of such common locales as a turn-of-the-century city block, a frontier town, a European village, and so on. |
|
|
Term
|
Definition
| When the story is told from the perspective of the main character. |
|
|
Term
|
Definition
| Narratives that focus on key phrases of a person's life, when an individual passes from one stage of development to another, such as adolescence to adulthood, innocence to experience, middle age to old age, and so on. |
|
|
Term
|
Definition
| A film genre that focuses on the problems of women, such as career versus family conflicts. Often, such films feature a popular female star as protagonist. |
|
|
Term
| Script, Screenplay, Scenario |
|
Definition
| A written description of a movie's dialogue and action, which occasionally includes camera directions. |
|
|
Term
|
Definition
| Any unobtrusive technique, object, or thematic idea that's systematically repeated throughout a film. |
|
|
Term
|
Definition
| A figurative device in which an object, event, or cinematic technique has significance beyond its literal meaning. Symbolism is always determined by the dramatic context. |
|
|
Term
|
Definition
| An implied comparison between two otherwise unlike elements, meaningful in a figurative rather than literal sense. |
|
|
Term
|
Definition
| Supernatural settings, events, and images that are created by skilled technicians using mostly computer and digital technology. Known as F/X within the film industry, special effects tend to be expensive, labor intensive, and marvelous to behold. |
|
|
Term
|
Definition
| A symbolic technique in which stylized characters and situations represent rather obvious ideas, such a Justice, Death, Religion, Society, and so on. |
|
|
Term
|
Definition
| A reference to an event, person, or work of art, usually well known. |
|
|
Term
|
Definition
| A direct or indirect reference within a movie to another movie, filmmaker, or cinematic style. A respectful and affectionate tribute. |
|
|
Term
|
Definition
| An all-knowing narrator who provides the spectator with all the necessary information. |
|
|
Term
|
Definition
| A special effect that permits the superimposition of many images simultaneously. |
|
|
Term
|
Definition
| A movie based on another medium in which only a superficial resemblance exists between the two versions. |
|
|
Term
|
Definition
| A film based on a literary original which captures the essence of the original, often by using cinematic equivalents for specific literary techniques. |
|
|
Term
|
Definition
| A movie based on a stage play, in which the dialogue and actions are preserved more or less intact. |
|
|
