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| The position of the frame in relation to the subject in shows: above it, looking down (a high angle); horizontal, on the same level (a straight-on angle); looking up (a low angle). Also called "camera angle." |
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| A framing in which the scale of the object shown in relatively large; most commonly a person's head seen from the neck up, or an object of a comparable size that fills most of the screen. |
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| Editing that alternates shots of two or more lines of action occuring in different places, usually simultaneously. |
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| A use of the camera lens and lighting that keeps both the close and distant planes being photographed in sharp focus |
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| In a narrative film, the world of the film's story. The diegesis includes events that are presumed to have occurred and actions and spaces not shown onscreen. |
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| Any voice, musical passage, or sound effect presented as originating from a source within the film's world. Also see "nondiegetic sound" |
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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 camera support with wheels, used in making tracking shots |
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1. In filmmaking, the task of selecting and joining camera takes. 2. In the finished film, the set of techniques that governs the relations among shots. |
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| A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene |
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| A framing in which the scale of the object is very large; most commonly a small object of a part of the body |
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1. Fade-in: A dark scene that gradually brightens as a shot appears 2. Fade-out: A shot gradually darkens as the screen goes black. Occasionally fade-outs brighen to pure while 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 the one already shown |
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| A shot with framing that shifts to keep a moving figure onscreen |
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| A framing in which the scale of the objct shown is small; a standing human figure would appear nearly the height of the screen |
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| A framing in which the scale of the object shown is of moderate size; a human figure seen from the weist up would fil most of the screen |
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| All 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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1. A synonym for editing 2. An approach o editing developed by the Soviet filmakers of the 1920s; it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either one by itself. See also discontinuity editing, intellectual montage. |
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| Sound, such as mood music or a narrator's commentary, represented as coming from a source outside the space of the narrative |
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| Simultaneous sound from a source assumed to be in the space of the scene but in an area outside what is visible onscreen |
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| A camera movement with the camera body turning to the right or left on a stationary tripod. On the screen, it produces a mobile framing which scans the space horizontally |
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In a narrative film, all the events that are directly presented to us, including their casual relations, chronological order, duration, frequency, and spatial locations. Opposed to story, which is the viewer's imaginary construction of all the events in the narrative. See also duration, elipsis, frequency, order, viewing time. |
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POINT-OF-VIEW SHOT (POV SHOT)
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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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Term commonly used for a moderately large segment of a film, involving one complete strech of action. In a narrative film, often equivalent to a scene |
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1. In shooting, one uninterrupted run of the camera to expose a series of frames. Also called a take. 2. In the finished film, one uninterrupted image with a single static or mobile framing |
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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 image and flattens its planes together, giving an impression of moving into the scene's space, while a shift toward the wide-angle range does the opposite. |
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