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| A film that is a string of accounts occurring in space and time, not just a cluster of random items but events connected by the logic of cause and effect. |
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| The implied world of the story, including settings, characters, sounds and events. |
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| Elements that exist outside the diegesis. |
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| The chronological narrative, in its entirety, that implicitly stands behind the events depicted. |
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| The selection and ordering of the actions explicitly presented on screen. |
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| The standard patterns that shapes narrative films. Act One: Exposition leads to turning point. Act Two: Complications lead to climax. Act Three: Action leading to resolution. |
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| A structure that is reinforced by a change in setting and a parallel. |
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| Occurs when the audience temporarily shares the visual perspective of a character of a group of characters. |
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| Staging a scene through the artful arrangement of actors, scenery, lighting, and props -- everything that the audience sees. In a narrative film, mise en scene creates the look of the world of the story. |
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| also called stop motion. an optical effect or technique in which a single frame of film is reprinted in a continuous series, which when shown gives the effect of a still photograph. |
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| repeatedly casting an actor in the same kind of role. It can offer benefits to stars and studios. |
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| Actors that inhabit the psychological reality of their characters. They immerse themselves in the feelings of the character and then connect those emotions to their own experiences to realize the performance. |
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| three-dimensional makeup that is attached to actors' faces and bodies which can alter an actor's appearance. |
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| Light produced by a relatively small light source positioned close to the subject, tends to be unflattering because it creates deep shadows and emphasizes surface imperfections. |
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| Light that comes from a larger source that is diffused (scattered) over a bigger area or reflected off a surface before it strikes the subject, minimizes facial details, including wrinkles. |
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| Natural light. Light that comes from the sun. |
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| A standard for Hollywood lighting effects designed to ensure the appropriate level of illumination and to eliminate shadows. |
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| (Three-point lighting) The primary source of light -- the frontal lighting source aimed at the subject from a range of positions. |
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| (Three-point lighting) Light positioned on the opposite side of the subject from the key light. |
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| (Three-point lighting) Light that visually separates subject from background. |
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| Shots in which figures have a great deal of open space around them -- this may suggest freedom or isolation. |
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| An image in which the lack of space around the subject contributes to a sense of constriction. |
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| using contrasting areas of lightness and darkness to create compositional effects. |
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| A series of visually distinctive German films, following World War I that dealt with German interests in mysticism and omens. Also called Caligarisme. |
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| The production of several shots put together. |
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| Uninterrupted shots of more than one minute. |
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| The camera records images at a speed faster than that at which it is projected. When the film is projected at a standard rate the action appears to be slowed down. |
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| Important variables for a shot: camera height, angle on the action and distance from the action. |
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| Shots where the camera is positioned above the character or action and aimed downward tend to minimize the subject. |
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| Shots which position the camera below the subject, aiming upward, often exaggerate the size and volume of the subject, including the human body. |
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| Also called an overhead shot, gives a unique perspective on the action from above. |
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| A shot in which the human subject is very small in relation to the surrounding environment |
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| a shot that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. |
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| a shot that situates the human body in the frame from the waist up. |
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| A shot that closes in on a section of the body. |
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| A shot that shows the horizontal turning motion of a camera fixed to a tripod. |
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| A shot that is accomplished by moving the camera, on a dolly, along a specially built track; traces movement laterally. |
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| A stabilizing device worn by the camera operator, which permits fluid camera movement and allows greater mobility than tracking shots and minimizes shakiness. |
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| A lens that approximates the vision and perspective of the human eye. |
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| A lens that produces a wider angle of view than the human eye and exaggerates the frame's depth. |
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| A lens that compresses the distance between objects at different distance from the lens; that is, the distance between foreground and background appears to be less than it actually is. |
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| A lens with a variable focal length. Zooming changes the size of the filmed subject without changing the distance between the subject and the camera. |
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| deep-focus cinematography |
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| Cinematography in which objects remain in focus from positions very near the camera to points at some distance from it. |
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| Painted backdrops, typically used in establishing shots to convey a location. |
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| The general principle that the meaning of a shot was determined not only by the material content of the shot, but also by its association with the preceding and succeeding shots. |
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| The average length of a shot. The average shot in contemporary films is shorter than older films. |
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| An editing technique that uses a standard shot pattern that directors use to film conversations between two characters. |
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| Editing in which cutting is so seamless from one shot to the next that audiences in the movie theater are not even aware that they are seeing an assembled sequence of images. |
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| a long shot designed to clarify when and where the scene is taking place in relation to the previous scene and to provide an overview of the entire setting. |
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| A style of editing built around the theory that editing should exploit the differences between shots to produce meaning. |
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| A recording of the musical accompaniment to a movie. |
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| Three components of film sound |
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| words, music, and environment sounds. |
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| The creators of actualities: films that document everyday acts. |
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| Known as "direct cinema" and "observational documentaries", present events without any evidence of the director's perspective or judgments. |
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| Fiction films (usually comical parody) that pose as documentaries by using familiar conventions. |
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| The personal image that is constructed across media outlets to finesse public perception. |
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| Materials intentionally released by a studio in order to market a particular film, but which often construct a star's image in the process. |
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| "When a subculture appropriates a star's image, it often goes "against the grain," drawing a significance from that image that may be overlooked by mainstream, and some star images come to embody this value system. |
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| diagonal lines, horizontal, vertical lines |
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| Graphic elements that the human eye tends to responds to in decreasing degree of emphasis. |
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