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| a tool used in planning film production, consisting of comic-book-like drawings of individual shots or phases of shots with descriptions written below each drawing. |
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| The process of replacing part or all of the voices on the sound track in order to correct mistakes or rerecord dialogue. |
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| The overall systems of relationships among the parts of the film and how they create meaning |
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| 1.Referential meaning: Allusion to particular items of knowledge outside the film that the viewer is expected to recognize. 2.Explicit meaning: Significance presented overtly, usually in language and often near the film’s beginning or end. 3.Implicit meaning: Significance left tacit, for the viewer to discover upon analysis or reflection. 4.Symptomatic meaning: Significance that the film divulges, often against its will, by virtue of its historical or social context |
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| The viewer’s activity of analyzing the implicit and symptomatic meanings suggested in a film. |
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| a relatively coherent system of values, beliefs, or ideas shared by some social group and often taken for granted as natural or inherently true. |
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| The role or effect of any element within the film’s form. |
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| The justification given in the film for the presence of an element. This may be an appeal to the viewer’s knowledge of the real world, to genre conventions, to narrative causality, or to stylistic pattern within the film. |
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| An element in a film that is repeated in a significant way. |
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| a type of filmic organization in which the parts relate to one another through a series of casually related events taking place in time and space |
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| In a narrative film, the aspect of temporal manipulation that involves the sequence in which the chronological events in the story are arranged in the plot. |
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| In a narrative film the aspect of temporal manipulation that involves the time span presented in the plot and assumed to operate in the story. |
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| In a narrative film the aspect of temporal manipulation that involves the number of times any story event is shown in the plot. |
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| Most minimally, any film displays a two-dimensional graphic space, the flat composition of the image. In films that depict recognizable objects, figures and locales, a three-dimensional space is represented as well. At any moment, three-dimensional space may be directly depicted, as onscreen space, or suggested, as off-screen space. In narrative film, we can also distinguish among story space, the locale of the totality of the action (whether shown or not), and plot space, the locales visibly and audibly represented in scenes. |
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| The process through which the plot conveys or withholds story information. 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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| 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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| all of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior. |
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| Illumination directed into the scene from a position near the camera. |
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| Lighting coming from one side of a person or an object, usually in order to create a sense of volume, to bring out surface tensions, or to fill in areas left shadowed by light from another source. |
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| illumination cast on to the figures in the scene from the side opposite the camera, usually creating a thin outline of high lighting on those figures. |
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| Illumination from a point below the figures in the scene. |
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| Lighting coming from above a person or object, usually in order to outline the upper areas of the figure or to separate it more clearly from the background. |
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| in the three point lighting system, the brightest illumination coming on to the scene. |
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| Illumination from a source less bright than the key light. Used to soften deep shadows in a scene. |
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| a common arrangement using three directions of light on a scene; from behind the subjects (backlighting), from one bright source (key light), and from a less bright source balancing the key light (fill light). |
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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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| Illumination that creates strong contrasts between light and dark areas of the shot, with deep shadows and little fill light. |
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| Monochromatic color design |
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| Color design that emphasizes a narrow set of shades of a single color. |
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| a cue for suggesting represented depth in the film image by placing objects partly in front of more distant ones. |
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| a cue for suggesting depth in the image by presenting objects in the distance less distinctly than those in the foreground. |
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| a cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground images. |
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| Staging the action in relatively few planes of depth; the opposite of deep space |
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| an arrangement of mise-en-scene elements so that there is considerable distance between the plane closest to the camera and the one farthest away. Any or all of thee planes may be in focus. |
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| a general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the development phase. |
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| The strip of material upon which a series of still photographs is registered; it consists of a clear base coated on one side with a light-sensitive emulsion. |
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| The adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperture. |
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| A piece of glass or gelatin placed in front of the camera or printer lens to alter the quality or quantity of light striking the film in the aperture. |
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| In shooting the number frames exposed per second; in projections the number of frames thrown on the screen per second. If the two are the same, the speed of the action will appear normal, whereas a disparity will create slow or fast motion. The standard rate in sound cinema is 24 frames per second for both shooting and projection. |
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| a shaped piece of transparent material (usually glass) with either or both sides curved to gather and focus light rays. |
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| a lens of short focal length that affects a scenes perspective by distorting straight lines near the edge of the frame and by exaggerating the distance between foreground and background planes. In 35mm filming, a wide-angle lens is 35 mm or less. |
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| A lens that shows objects without severely exaggerating or reducing the depth of the scene’s planes. In 35mm filming, a normal lens is 35 to 50mm. |
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| a lens if long focal length that affects a scene’s perspective by enlarging distant planes and making them seem close to the foreground planes. In 35mm filming, a lens of 75mm length or more. |
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| the measurement of the closest and farthest planes in front of the camera lens between which everything will be in sharp focus. A depth of field from 5 to 16 feet, for example, would mea everything closer than 5 feet and farther than 16 feet would be out of focus. |
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| The degree to which light rays coming from the same part of an object through different parts of the lens reconverge at the same point on the film frame, creating sharp outlines and distinct textures. |
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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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| 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 general term for various forms of photographic manipulation that create fictitious special relations in the shot, such as superimposition, matte shot, and rear projection. |
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| The exposure of more than one image on the same filmstrip or in the same shot. |
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| Any shot involving rephotography to combine two or more images into one or to create a special effect; also called composite shot. |
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| a technique fro combining foreground action with background action filmed earlier. The foreground is filmed in a studio, against a screen; the background imagery is projected from behind the screen. |
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| Composite process whereby footage meant to appear as the background of a shot is projected from the front onto a screen; figures in the background are filmed in front of the screen as well. This is the opposite of rear projection. |
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| - a type of process in which different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work. |
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| The use of the edges of the film frame to select and to compose what will be visible on screen. |
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| The relationship of the frame’s width to its height. The standard Academy ratio is 1.85:1. |
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| the standardized shape of the film frame established by the Academy of motion Picture Arts and Sciences. In the original ration, the frame was 1 1/3 times wide as it was high (1.33:1); later the width was normalized at 1.85 times the height (1.85:1). |
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| In exhibition stretches of black fabric that frame the theatre scene. Masking can be adjusted according to the aspect ration of the film being projected. |
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| - a lens for making widescreen films using regular Academy ratio frame size. The camera lens takes in a wide field of view and squeezes it onto the frame, and a similar projector lens unsqueezes the image onto a wide screen theatre. |
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| An opaque screen placed in the camera or printer that blocks part of the frame off and changes the shape of the photographed image, leaving part of the frame a solid color. As seen on the screen, most masks are black, although they can be white or colored. |
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| A round, moving mask that can close down to end a scene (iris out) or emphasize a detail, or that can open to begin a scene (iris in) or to reveal more space around a detail. |
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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. |
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| a 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 framing in which the scale of the object is small; a standing human figure would appear nearly the height of the screen. |
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| a framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically. See also plan americain, the special term for a medium long shot depicting human figures. |
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| a framing in which the scale of the object shown is of moderate size; a human figure from the waist up would fill most of the screen. |
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| A framing in which the scale of the object shown is fairly large; a human figure seen form the chest up would fill most of the screen. |
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| A 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 a comparable size that fills most of the screen. |
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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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| A camera movement with the camera body turning to the left or right. On the screen, it produces a mobile framing that scans the space horizontally. |
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| a camera movement with the camera body swiveling upward or downwards on a stationary support. It produces as 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 camera support with wheels, used in making tracking shots. |
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| a shot with change in framing accomplished by placing the camera above the subject and moving through the air in any direction. |
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| the use of the camera-operator’s body as a camera support, wither by holding it by hand or using a harness. |
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| short panning or tilting movements to adjust for the figure’s movements, keeping them onscreen or |
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| a shot with framing that shifts to keep a moving figure onscreen. |
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| a shot that continues for and unusually lengthy time before the transition to the next shot. |
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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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| 1.Fade-In: a dark screen that gradually brightens 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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| 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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| 1. In filmmaking, the joining of two strips of film together with a splice 2. In the finished film, an instantaneous change from one framing to another. See also jump cut. |
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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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| editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. |
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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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Definition
| 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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| Shot transition that omit parts of an event, causing an ellipsis in plot duration |
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| Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration |
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| a 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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| - In the continuity editing system, the imaginary line that passes from side to side throughout the main actors, defining the special arrangements of all the elements of the scene as being to the right or to the left. The camera is not supposed to cross the axis at a cut and thus reverse those special relations. Also called the 180 line. |
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Definition
| The right-left relationship in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the direction of movement, and by the character’s eye-lines. Continuity editing will attempt to keep screen direction consistent between shots. |
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| a shot, usually involving a distant framing, that shows the special relations among the important figures, objects, and setting in a scene. |
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| two or more shots edited together that alternates characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left, in the other framing, right. Over the shoulder framings are common in shot/reverse shot editing. |
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Definition
| 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 off-screen right. |
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Definition
| a return to a view of an entire space after a series of closer shots following the establishing shot. |
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| - a continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue to interrupt. |
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| in the continuity editing system, a cut that presents continuous time from shot to shot but that mismatches the positions of figures or objects. |
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| a segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or typical images. Frequently dissolves, fades, superimpositions, and wipes are used to link the images in a montage sequence. |
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| an elliptical cut that appears to be an interruption of a single shot. Wither the figures seem to change instantly against a constant background, or the background changes instantly while the figure remains constant. |
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| A shot or series of shots cut into a sequence, showing objects that are being represented outside of the world of the narrative. |
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| combining two or more sound tracks by recording them into a single one. |
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| in editing a scene, arranging a cut so that a bit of dialogue coming from shot A is heard under a shot that shows another character or another element in the scene. |
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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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| Sounds, 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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| Sound represented as coming from a physical source within the story space that we assume characters in the film also hear. |
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| Sound represented as coming from the mind of a character within the story space. Although the character and we can hear it, we assume that the other characters cannot. |
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| any sound that is not represented as coming from the space and time of the images on the screen. This includes both nondiegetic sounds and nonsimultneous diegetic sound. |
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| the sense of a sound’s position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information. |
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| Sound that is matched temporally with the movements occurring in the images, as when a dialogue corresponds to lip movements. |
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Definition
| Sound that is not matched temporally with the movements occurring in the images, as when dialogue is out of synchronization with lip movements. |
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| Diegetic sound that is represented as occurring at the same time in the story as the image appears. |
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| Diegetic sound that comes from source in time either earlier or later than the images it accompanies. |
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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 next 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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| The repeated and salient uses of film techniques characteristic of a single film or a group of films (for example, a filmmaker’s work or a national movement) |
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| an extremely fat movement of the camera from side to side, which briefly causes the image to blur into a set of indistinct horizontal streaks. Often an imperceptible cut will join two whip pans to create a trick transition between scenes. |
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