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| Position of the frame in relation to the subject it shows: above it, looking down (a high angle); horizontal, on the same level (a straight-angle); looking up (a low angle) |
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| Imaginary line that passes from side to side through the main actors, defining the spatial relations of all elements of the scene as being to the right/left. Camera is not supposed to cross the axis at a cut and thus reverse those spatial relations. (also called the 180 degree line) |
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| A view in which the frame is not level, either the right or left side is lower than the other, causing objects in the scene to appear slanted out of an upright position. (Slanted) |
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| a cut that presents continuous time from shot to shot but that mismatches the positions of figures or objects. |
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| General term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase. |
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| Framing in which the scale of the object shown is relatively large; most commonly a person's head seen from the neck up, or an object of comparable size that fills most of the screen. |
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| Degree to which the ending of a narrative film reveals the effects of all the causal events and resolves (closes off) all lines of action. |
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| System of cutting to maintain continuous and clear narrative action. Continuity editing relies on matching screen direction, position, and temporal relations from shot to shot. |
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| A shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction. |
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| Editing that alternates shots of two of more lines of action occurring in different places, usually simultaneously. |
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Film Making: the joining of two strips of film together with a splice.
Finished Film: an instantaneous change from one framing to another. |
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| A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus. |
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| Arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one farthest away. Any or all of these planes may be in focus. |
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| Any voice, musical passage, or sound effect presented as originating from a source within the film's world. |
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| Any alternative system of joining shots together using techniques unacceptable within continuity editing principles. Possibilities would include mismatching of temporal and spatial relations, violations of the axis of action, and concentration on graphic relationships. |
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| A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition. |
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| A framing in which the scale of the object shown is very large; most commonly, a small object or a part of the body. |
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| Framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen. |
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| A cut obeying the axis of action principle, in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what he or she sees. If the person looks left, the following shot should imply that the looker is offscreen right. |
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1.) Fade-in: a dark screen that gradually brightens as a shot appears.
2.) Fade-out: a shot gradually disappears as the screen darkens. Occasionally, fade-outs brighten to pure white or to a color. |
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| An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown. |
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| An alteration of story order in which the plot presentation moves forward to future events and then returns to the present. |
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| A shot with framing that shifts to keep a moving figure on screen. |
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| A single image on the strip of film. When a series of frame is projected onto a screen in a quick succession, an illusion of movement is created. |
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| The use of the camera operator's body as a camera support, either holding it by hand or using a harness. |
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| Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
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| An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background whiles figures remain constant. |
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| A shot that continues for an unusually lenghtly time before the transition to the next shot. |
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| Illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light. |
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| A framing in which the scale of the subject shown is of moderate size; a human figure seen from the waist up would fill most of the screen. |
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| All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior. |
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| The process through which the plot conveys or withholds story info. The narration can be more or less restricted to character knowledge and more or less deep in presenting characters' mental perceptions and thoughts. |
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| Simultaneous sound from a source assumed to be in the space of the scene but outside what is visible onscreen. |
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| The six areas blocked from being visible on the screen but still part of the space of the scene: to each side and above and below the frame, behind the set, and behind the camera. |
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| A camera movement with the camera body turning to the right or left. On screen, it produces a mobile framing that scans the space horizontally. |
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| A framing in which the scale of the object shown is moderately small; the human figure seen from the shins to the head would fill most of the screen. This is sometimes referred to as a medium long shot, especially when human figures are not shown. |
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| A shot taken with the camera placed approximately where the character's eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking. |
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| Shifting the area of sharp focus from one plane to another during a shot; the effect on the screen is called rack focus. |
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| A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneously. |
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| Term commonly used for a moderately large segment of film, involving one complete stretch of action. In a narrative film, of ten equivalent to a scene. |
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| A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deeps focus. |
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1.) Shooting: one uninterrupted run of the camera to expose a series of frames. Also called a take.
2.) Finished Film: one uninterrupted image, whether or not there is mobile framing. |
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Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left, in the other framing, right.
Over the should framings are common in shot/reverse-shot editing. |
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1.) At the beginning of one scene, the sound from the previous scene carries over briefly before the sound from the new scene begins.
2.) At the end of one scene, the sound from the next scene is heard, leading into that scene. |
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| In a narrative film, all the events that we see and hear, plus all that we infer or assumed to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations. Opposed to plot, which is the film's actual presentation of events in the story. |
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| In film making, the shot produced by one uninterrupted run of the camera. One shot in the final film may be chosen from among several takes of the same action. |
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| A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically. |
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| A mobile framing that travels through space forward, backward, or laterally. |
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| A lens of short focal length that affects a scene's perspective by distorting straight lines near the edges of the frame and by exaggerating the distance between foreground and background planes. In 35mm filming, a wide-angle lens is 35mm or less. |
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| A transition between shots in which a line passes across the screen, eliminating one shot as it goes and replacing it with the next one. |
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| A lens with a focal length that can be changed during a shot. A shift toward the telephoto range enlarges the images and flattens its planes together, giving an impression of magnifying the scenes space, while a shift toward the wide-angle range does the opposite. |
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