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| The visual arrangement of objects, actors, and space within the camera frame. May reiterate underlying themes and ideas of the film. p114 |
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| The place, time, and physical environment that informs the action of a film; the concrete substance that fills the frame and creates the mood and tone of the film. |
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| The illumination and tint of the film footage that reveals certain aspects and obscures others while also adding subtle meaning to the film’s overall effect. |
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Refers to the places where the films action unfolds. p93 |
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| Filming on location is when the cast and crew actually go out into the |
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| A large, warehouse like, structure that houses sets and provides optimum control over lighting, sound and weather when filming. p94 |
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Chroma key compositing (green screen):
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| Is a CGI technique for layering two video streams together based on color hues. p95 |
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| Repeatedly casting an actor in the same type of role; mostly a benefit of A-list star status and benefits studios. p101 |
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| Work of actors who remain themselves or always play themselves through the characters they portray; often they have scripts to exploit their particular traits. p102 |
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| Work of actors who seem to disappear into their roles; actors who are able to fully transform themselves into the characters they portray. p102 |
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| Acting that relies on the mastery of a specific external detail of a character, like an accent or a physical characteristic. p102 |
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| A style of acting, specifically for the stage, based on the theories of Russian theater director Constantin Stanislavski. This style depends on the actor’s immersion in the emotional and psychological reality of the character he or she portrays. It can be linked to the acting concept of impersonation. p102 |
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| Actors who play specific supporting roles, often recurring and less prominent than the protagonist. p103 |
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| Actors that are hired to fill crowd scenes, usually anonymous. p103 |
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| Brief appearances by well-known actors playing themselves. p103 |
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| A process of drawing attention to the filmmaking frameworks that create films in order to break the theatrical illusion; this in turn is meant to elicit an intellectual response from the viewer in which he or she pulls away from the reality of the film to question it. p103-4 |
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Light emitted from a relatively small source positioned close to the subject. p109
- Makes shadows
-Low key lighting |
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Light emitted from a larger source that is scattered over a bigger area or reflected off a surface before it strikes subject. p109
- No shadows
- High Key lighting |
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| Efficient lighting system involving a key, fill and back light. p111 |
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Definition
| Illuminates the subject. p111 |
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| Eliminates the shadows cast by the key light. p111 |
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| Illuminates the subject from behind to separate it from the background. p111 |
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A lighting scheme where the fill light almost matches the key light. 2:1 key to fill ratio or lower. p112
- creates Soft Light |
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| Key to fill ratio between 4:1 and 8:1 The fill light is not able to brighten every shadow. p113 |
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Very little fill light, ratio of 16:1 and higher. Creates strong contrast between light and dark. Strong shadows that obscure parts of the principal subjects. p113
- Creates Hard light |
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Available Light (Natural Light):
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| The process of using sunlight rather than artificial studio lights. p110 |
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Eye Lights (Obie Lights):
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| Aimed directly at the actor’s eye to produce a gleam. First developed for Merle Oberon, hence obie lights. p111 |
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| Images of actors altered in a variety of ways using computer graphics programs. |
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| Three-dimensional makeup attached to actors’ faces and bodies. |
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| Shots in which figures have a great deal of space around them; may suggest freedom or isolation. p116 |
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| An image in which the lack of space around the subject contributes to a sense of constriction. p116 |
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| The use of contrasting areas of lightness and darkness to create compositional effects. Named after a classical painting technique. p118 |
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| A color by name, such as blue, red, or green. p120 |
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| The strength of a hue. Desaturated colors appear closer to grey or more washed out. Highly saturated colors are brighter and stronger. p120 |
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German Expressionism: A style of mise en scéne usage that emerged in Germany after World War I, named after the artistic movement that began shortly before the war. This unrealistic style uses mise en scéne to depict “extreme states of subjectivity” and function as “drawings brought to life.” p121-122
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Definition
| A style of mise en scéne usage that emerged in Germany after World War I, named after the artistic movement that began shortly before the war. This unrealistic style uses mise en scéne to depict “extreme states of subjectivity” and function as “drawings brought to life.” p121-122 |
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| A more realistic style of mise en scéne originating in France. Many films in this style dealt with social issues, and utilized meticulously detailed sets to reflect that. This style also involved more camera movement to add to the three-dimensionality of the setting. p122-123 |
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