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| shot taken from crane, plane, helicopter; not necessarily moving |
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| filmmaker (director-producer-writer) with a distinctive style and coherent thematic vision, developed through a body of work. Primary creator of a movie, guides the collaborative project to express his or her creative intentions. |
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| Vehicle w/ boom at the end, w/ a camera platform so camera can be lifted and moved through the air |
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| aka "parallel montage". Cutting back and forth between two different actions/scenes (usually w/ similar thematic elements, or dramatic relevance) Implies they are taking place in different locations. |
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1. Instantaneous transition from one shot to another
2. Splice one shot to another
3. Way a version of the film has been edited "director's cut"
4. Instruction to stop shooting
5. Abridged |
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Visual field in sharp focus from foreground to background (DEPTH OF FIELD) and whose foreground and background planes appear to be widely separated (impression of a deep visual field, created by a wide-angle lens)
Used to accentuate composition in depth |
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aka "intellectual montage"
Variety of editing in which shots collide or conflict with each other, generating a synthesis in the mind of the viewer (THINK, EISENSTEIN.) |
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| 1. Transitional effect when image gradually evenly disappears into darkness or appears from darkness. Or to another monochromatic field. |
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| emphasis on form, structure, strategies of a work of art rather than the circumstances it was created in and the subject of the film |
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| Sudden stop of movement created by continual repeating of same frame |
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| Shot in which camera looks downward toward the subject |
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| Shot, scene, or element that is reminiscent of or pays tribute to work of earlier filmmaker |
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1 Inserting one or more shots into another series of shots or into a master shot.
2 Interweaving shots from serparate scenes to imply relatedness |
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1. A cut between two shots that are similar so that subject appears to jump from one part of the frame to the other.
2. A disorienting cut, a sudden transition that may be illogical, mismatched, or impatient with normal continuity and that - unlike the match cut - calls attention to itself. |
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| Shot that gives wide, expansive view of the visual field; camera appears to be far from the subject. In terms of human figure, person might be less than half of height of frame |
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| Shot that lasts longer than a minute |
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| Shot in which camera looks up toward subject |
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| Atmosphere, setting, decor, texture of shot. Way it was designed and set up for camera |
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!. dynamic editing of pic and sound
2. Intensive, significant abrupt juxt of shots.
3. Rapid cutting
4. Series of overlapping images. "Hollywood montage" when bridged with music, used as transition (overlapping images) |
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| Italy: location shooting, dialogue scripted to sound improvised, use of non-pro actors in roles. Emphasis on struggle of the common people. Rejection of bourgeois fantasy, placing characters in relation to their real social and political and economic conditions. |
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| France 1959: brilliant films by directors who never made films before (or were unknown) |
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1. Pivot camera horizontally, turning side to side.
2. Panoramic shot. Shot when cam pivots on a vertical axis, turns on horizontal plane |
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| Camera adopts a character's physical eye or literal gaze, showing what the person sees as what the camera sees |
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Shot from camera platform on wheels, on a train track
Smooth movement gentle curves. Camera goes forward, back, diagonally, to the side; MOVING CAMERA SHOT. Not zoom, pan, tilt, etc |
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| Any shot that moves the camera from one place to another. Excludes pans, tilts, zooms. |
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Adujust focal length of a zoom lens while camera is running.
Focal length shortened: more wide-angle, which emphasizes depth.
Zoomed-in: lens as telephoto, flattening depth relationships, increasing magnification, narrowing field of view. |
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