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| Background sound that is so unobtrusive that people tend not to notice it. |
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| A lens that squeezes a wide image onto a film frame in a camera, making everything look tall and thin. On a projector, an anamorphic lens expands the image, returning it to its original wide shap. |
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| The adjustable opening in the camera lens that permits the operator to regulate how much light passes through the lens to the film. |
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| The proportion of the width to the height of the image on a TV or movie screen or on the individual frames of the film. Common examples are 1.33:1 and 1.85:1 (theatrical). |
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| A sound that either precedes or follows its on-screen source, such as words that are not synchronized with lip movements. |
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| Lighting from behind the subject. If backlighting is used alone or is the strongest light used, the subject may be obscured. Used in combination with other lighting, blacklighting may help set the image of the subject off from the background. |
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| A camera angle achieved when the camera films the subject from directly overheard. |
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| Music used to link two or more scenes, typically to enhance continuity. |
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| A brief role in a narrative entertainment performed by a well-known person, usually a famous actor, whose name is often not included in the credits or publicity. May play self or fictional character. |
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| The light from one or more sources that is visible in the pupils of a subject's eyes. By examining the Catchlight, one can discover the number and direction of some or all of the light sources. |
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| An actor who tends to specialize in well-defined secondary roles. |
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| The person responsible for the motion-picture photography during the making of a film. |
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| Motion-picture photography, including technical and artistic concern with such matters as choice of film stock, lighting, choice and use of lenses, camera distance and angle, and camera movement. |
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| Classical Hollywood Cinema |
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| Films that show one or more characters facing a succession of problems while trying to reach their goals and that tend to hide the manner of their making by means of unobtrusive filmmaking techniques. |
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| An image in which the subject fills most of the frame and little of the surroundings is shown. |
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| The arrangement of settings, lighting, and subjects within the frame. |
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| Film editing that maintains a sense of uninterrupted time and action and continuous setting within each scene of a narrative film. |
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| In photography and cinematography, the difference between the lightest and darkest parts of an image. |
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| In films and other texts, a subject or technique that makers of texts and audiences have grown to accept as natural or typical in certain contexts. |
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| In editing, to alternate between events occurring at different settings and often presumably transpiring at the same time. |
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| The most common transition between shots, made by splicing or joining the end of one shot to the beginning of the following shot. When projected, the transition from the first shot to the next appears to be instantaneous. |
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| A shot that briefly interrupts the representation of a subject to show something else. |
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| Photography in which subjects near the camera, those in the distant background, and those in between are all in sharp focus. |
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| The distances in front of the camera in which all objects are in focus. |
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| Drained, subdued color approaching a neutral gray. |
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| The person responsible for the appearance of much of what is photographed in a movie, including locations, architecture, sets, costumes, makeup, and hairstyles. |
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| A type and style of documentary filmmaking in which actions are recorded as they happen, without rehearsal. |
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| A film or video representation of actual subjects. |
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| A camera angle in which the vertical and horizontal lines of the film's image appear at an angle to the vertical and horizontal lines of the films frame. |
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| To select and arrange the processed segments of photographed motion-picture film or videotape. |
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| A shot, usually a long shot or an extreme long shot, used at the beginning of a scene to show where and sometimes when the events that are to follow take place. |
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| A film that rejects the conventions of mainstream movies and explores the possibilities of the film medium. |
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| A general observation included in a text about one or more of its subjects. |
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| A style of art, literature, drama, and film used to represent not external reality in a believable way but emotions in striking, stylized ways. |
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| An image that shows one subject and largely or completely excludes the background. |
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| A shot in which the subject appears to be far from the camera. |
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| A camera angle that creates the effect of the audience being on the same level as the subject. |
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| A transition between shots where the first shot shows a person or animal looking at something offscreen and the following shot shows what was being looked at from the approximate angle suggested by the previous shot. |
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| An effect in which the image changes by degrees from darkness to illumination. |
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| An effect in which the image changes by degrees from illumination to darkness. |
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| Editing characterized by frequent brief shots, sometimes shots less than a second long. |
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| Film stock that requires relatively little light for capturing images. |
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| A fictional film that is at least 60 minutes long. |
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| A soft light usually coming from a source near the camera and used to fill in unlit areas of the subject or to soften any shadows or lines made by other, brighter lights. |
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| Unexposed and unprocessed motion-picture film. |
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| Any aspect of filmmaking, such as the use of sets, lighting, sound effects, music, or editing. |
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| The last version of an edited film. |
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| A lens that captures nearly 180 degrees of the area before the camera and causes much curvature of the image, especially near the edges. |
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| A shot or a few shots, a brief scene, or a sequence that interrupts a narrative to show earlier events. |
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| A sound specialist who uses various objects such as different types of floor surfaces to simulate sounds and synchronize them with corresponding movie images. |
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| To position the camera so that the image is composed in a certain way. |
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| The width of a film, usually measured in millimeters. Most theatrical movies are gauged 35 mm. |
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| Light that has not been diffused or reflected before illuminating the subject. |
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| A view of a subject from above, created by positioning the camera above the subject. |
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| A high level of illumination on the subject. |
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| A film that is not exclusively fitional, documentary, or experimental but instead shares characteristics of two or all three of the major film categories. |
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| A generalization that a viewer or reader makes about a text or a subject in a text. |
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| Film made mainly or entirely without support or input from the dominant, established film industry. |
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| A transition between shots that causes a jarring or even shocking shift in space, time, or action. |
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| The main light in a shot, usually the sun or some sort of electric light. Also, the lighting instrument used to create the main and brightest light hitting the subject. |
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| A transition between shots in which one shot begins to fade out as the next shot fades in, over lapping the first shot before replacing it. |
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| Any place other than a film studio that is used for filming. |
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| A shot in which the subject may be seen in its entirety and much of its surroundings is visible. |
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| An image in which the main subject has ample space and does not seem hemmed in by the edges of the frame and the background. |
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| A view of the subject as seen from below eye level. |
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| Lighting with predominant dark tones, often deep dark tones. |
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| A technique used to block out part of an image temporarily. |
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| A shot usually made with a wide-angle lens that records an entire scene. |
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| A transition between two shots in which an object or movement at the end of one shot closely resembles an object or movement at the beginning of the next shot. |
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| An image in which the subject fills most of the frame, though not as much as in a close up. |
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| A shot in which the subject and surroundings are given about equal importance. |
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| Acting in which the performer studies the background of a character in depth, immerses himself in the role, and creates emotion in part by thinking of emotional situations from his own life that resemble those of the character. |
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| French for "staging." An image's setting, subjects, and composition. |
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| A series of brief shots used to represent a condensation of subjects and time. |
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| The alteration of a film image by degrees through the use of sophisticated computer software and multiple advanced computers. |
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| A representation of unified events situated in one or more settings. |
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| A film or video representation of an actual narrative or story. |
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| Editing that involves using a computer and software to select and combine digitized shots. |
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| A film or video that uses no narrative or story in its representation of mainly actual subjects. |
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| A camera lens that provides the least distortion of image and movement. |
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| The rate that the film's subjects are revealed or presented. |
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| Filming while the movie camera is pivoted horizontally, usually while the camera is attached to a stationary base or is being held by a stationary camera opterator. |
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| Editing that alternates between two or more events, often suggesting that the events are related to each other or are occurring simultaneously. |
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| As used by painters, photographers, and cinematographers, the relative size and apparent distances between objects in a created image. |
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| Camera placement at the approximate position of a character or person that gives a view similar to what that subject would see. |
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| A person in charge of the business and administrative aspects of making a film. |
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| Changing the sharpness of focus during a shot from foreground to background or vice versa. |
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| A shot, usually of a face, that shows someone or occasionally an animal presumably reacting to an event. |
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| The time that elapses when a complete film is projected. |
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| Intense, vivid, or brilliant color. |
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| A section of a narrative that gives the impression of continuous action taking place in continuous time and space. |
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| Characteristic of a text that refers to or comments on itself as a text. |
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| A series of related consecutive scenes, perceived as a major unit of a narrative film. |
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| A constructed setting where action is filmed. |
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| The place where a narrative's events occur. |
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| Photography with sharp focus in only a short distance between the foreground and the background. |
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| An uninterrupted strip of exposed motion-picture film or videotape that represents a subject, perhaps even a blank screen, during an uninterrupted segment of time. |
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| Editing characterized by frequent shots of long duration. |
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| Light that has been diffused or reflected before illuminating the subject. |
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| A transition between two shots in which a sound begins to fade out as the next sound fades in and overlaps the first sound before replacing it. |
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| A sound in film other than spoken words or music. |
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| A shot unobtainable by live-action cinematography. |
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| A lens that transmits the image to the film in the camera without squeezing or compressing the image. |
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| On screens with the standard aspect ratio, the ratio of the width to the height is 1.33:1 or 4:3. |
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| Stop-motion Cinematography |
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Definition
| The process of filming a two or three-dimentional subject, stopping the camera, making changes in the subject being filmed, and resuming filming, either in the same laborious manner or by filming continuously. |
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| A series of drawings of each shot of a planned film or video story, often accompanied by written dialogue, brief descriptions, or notes. |
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| The way that subjects are represented in a text, such as a film. |
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| Two or more images photographed or printed on top of each other. |
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| The shot that results when a movie camera is pivoted too rapidly during filming and blurred footage results. |
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| A lens that makes all subjects in an image appear closer to the camera than is the case with a normal lens. |
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| A shot in which there is little visible space around the main subjects. |
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| Pivoting a movie camera vertically during filming, uually while the camera is attached to a stationary base, or is being held by a sationary camera opterator. |
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| To film while the camera is being moved around. |
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| A camera lens that makes all subjects in an image appear farther from the camera and from each other than is the case with a normal lens. |
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| A film format with an aspect ratio noticeably greater than 1.33:1. |
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| A transition between shots, usually between scenes, in which one shot appears to be pushed off the screen by the next shot. |
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| A film movement in Italy during and after WWII that created films that combine imaginary and actual events, are usually located in actual settings, and show ordinary and believable characters caught up in difficult social and economic conditions, such as poverty and unemployment. |
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| A film movement made up of a loose grouping of untraditional movies made in France in the late 1950s and early 1960s. French new wave filmmakers reacted against carefully scripted products of the French film industry, explored more current subjects, and sometimes employed untraditional filmmaking techniques. |
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