Considered by some to be the first movie projector. It was created by the photographic pioneer Eadweard Muybridge in 1879.

An early type of motion-picture camera designed by Thomas Edison and William Dickson in the United States.

An early type of motion-picture camera (which also serves as a film projector and printer) designed by the Lumière brothers in France.

The illusions or tricks of the eye used in films.

The father of special effects.

The illusion of disappearance, transportation, or transformation created when the camera stops recording, and an object is removed, moved, or replaced.

To put or lay on top of something else.

Exposing film to focused light more than one time to generate a picture consisting of superimposed images.

A method of manually adding color to a photograph.

A gradual transition from one image to another.

Showing respect to an artist, writer, musician, etc. by using their style or ideas in your own work.

Following traditional forms and genres.

Favoring or introducing experimental or unusual ideas without regard to the structures and demands of convention.

The existing state of affairs (the established system).

To disrupt the power and authority of an established system or institution.

A movement that began with experimentation in painting, graphic design, and film with artists including Hans Richter (Germany) and Fernand Léger (France) as well as filmmakers belonging to such avant-garde movements as Dadaism (officially founded in Switzerland) and Surrealism (officially founded in France).

A reaction against realism that began in Germany (1920s). Its practitioners use extreme distortions in expression to show an inner emotional reality rather than what was on the surface.

Art that is not related to recognizable images from the real world.

Art that seeks to tap into the unconscious mind to render the incoherent narratives of dreams directly in images.

An object is moved in small increments between individually photographed frames, creating the illusion of independent movement.

Cinéma Pur (French) A non-story, non-character film that conveys emotional experiences through unique cinematic devices such as montage, movement, angles, optical effects, and composition.

Juxtaposing found footage from disparate sources in order to re-contextualize it.

Archival footage from the past or stock footage.

To bring a feeling, memory, or picture into the mind.

Recording a series of single pictures (or a long video) over an extended period of time and then putting them together in a fast sequence to show the action happening very quickly.

Adjust playback speed and/or reverse a clip.

Used to determine how two layers are combined into one. Options including screen (100% black is ignored), multiply (100% white is ignored), darken, lighten, color burn (subtract color), linear burn (subtract brightness), color dodge (add color), and light dodge (add brightness).

Used to change the shape of your objects, warping, twisting, and pulling them in all directions.

Used to create a wide variety of geometric patterns from the simple to the complex. The image can be repeated and arranged into many new and exciting mosaics.

The combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene.

Used to remove a selected color, typically in the backdrop of the image (Chroma - green background, blue background) or a selected brightness level (Luma - black ground, white background).

Selectively blocking portions of the image. Originally they used a custom blackout layer in front of the lens to block a portion of the film from being exposed to light. Digitally, masks can be drawn, shaped, or even created from other images using chroma, alpha, or luminance values. Masks are often used with matte images.

A background image (hand painted, digitally painted, rendered in 3D, or photographed). Often used in conjunction with masks to fill in an image with a false, distant background.

The process of altering and enhancing the color of a video to generate artistic color effects.

A style of cinema that started in the late 1950s when young French cinephiles rejected studio-bound, script-centered filmmaking and began experimenting with techniques such as jump cuts, rapid editing, shooting on location, natural lighting, improvised dialogue and plots, direct sound recording, mobile (moving) cameras, long takes, moving frames, freeze frames, and breaking the fourth wall.