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| A type of filmic organization in which the parts relate to each other through repetition and variation of such visual qualities as shape, colour, rhythm and the direction of movement. |
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| The position of the frame in relation to the subject it shows: above it, looking down (high angle); horizontal, on the same level (a straight on angle); Looking up (low angle). Also a process called camera angle. |
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| A type of organization in which the film's parts are juxtaposed to suggest similarities, contrasts, concepts, emotions and expressive qualities. |
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| Sound that is not matched temporally with the movements occurring in the image, as when dialogue is out of synchronization with lip movements. |
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| The presumed or actual 'author' of a film, usually identified as the director. Also sometimes used in an evaluative sense to distinguish good film makers (auteurs) from bad ones. |
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| In the continuity editing system, the imaginary line that passes from side to side through the main actors, defining the spatial relations of all the elements of the scene as being to the right or left. The camera is not supposed to cross the axis at a cut and thus reverse those spatial relations. Also called the '180' line. |
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| Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures. |
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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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| In the continuity editing system a cut which presents continuous time from shot to shot but which mismatches the positions of figures or objects. |
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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 developing phase. |
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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 an comparable size that fills most of the screen. |
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Definition
| A system of cutting to maintain continuous and clear narrative action. Continuity editing relies upon matching screen direction, position and temporal relations from shot to shot. |
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| In cinematography, the difference between the brightest and darkest areas within the frame. |
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| A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction. |
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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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| 1. In film making, the joining of two strips of film together with a splice. 2. In the finished film, an instantaneous change from one framing to another. |
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Definition
| An instantaneous shift from a distant framing to a closer view of some portion of the same space. |
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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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Definition
| An arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one furthest away. Any or all of these planes may be in focus. |
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| The measurements 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 would mean everything closer than 5ft and further than 16ft would be out of 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 on screen. |
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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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| Music, noise and speech recorded from the event at the moment of filming. |
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| Any alternative system of joining shots together using techniques unacceptable within continuity editing. Examples: mismatching of temporal and spatial relations, violations of the axis of action. |
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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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| The apparent distance of the frame from the mise-en-scene elements. |
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| One of the three branches of the film industry; the process of supplying the finished film to the places where it will be shown. |
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| A camera support with wheels, used in making tracking shots. |
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Definition
| The process of replacing part or all of the voices on the soundtrack in order to correct mistakes or rerecord dialogue. |
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Definition
| 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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| 1. In film making, 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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| In a narrative film, the shortening of plot duration achieved by omitting intervals of story duration. |
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| Shot transitions that omit parts of an event, causing an ellipsis in plot and story duration. |
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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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Definition
| One of the three general areas of the film industry; the process of showing the finished film to audiences. |
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Definition
| Sound represented as coming from a physical source within the story space and which we assume characters also hear. |
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Definition
| A framing in which the scale of the object shown is very large; most commonly, a small object or part of a body. |
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Definition
| A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. |
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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. |
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Definition
| 1. Fade-In - A dark screen that gradually brightens as a shot appears. 2. Fade-Out - A shot gradually darkens as the screen goes black. |
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Definition
| Illumination from a source less bright than the key light, used to soften deep shadows in a scene. |
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Definition
| An alternation of story order in which the plot moves back to show events that have taken place before |
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Definition
| An alteration of the story order in which the plot moves back to show events that have taken place earlier than the one already shows. |
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Definition
| An alteration of the story order in which the plot moves forward to future events, then returns to the present. |
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Definition
| A shot with framing that shifts to keep a moving figure onscreen. |
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Definition
| The general system of relationships among the parts of a film. |
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Definition
| A single image on the strip of film. When a series of frames are projected onto a screen in quick succession, an illusion of movement is created by the spectator. |
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Definition
| 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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| Illumination directed into the scene from a position near the camera. |
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Definition
| The role or effect of any element within the film's form. |
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Definition
| Two successive shots joined so as to create a strong similarity of compositional elements e.g. colour, shape |
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Definition
| The use of the camera operator's body as a camera support, either it by hand or using a harness. |
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Definition
| Illumination that creates sharp edged shadows. |
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Definition
| The distance of the camera above the ground, regardless of the angle of framing. |
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Definition
| Illumination that creates comparatively little contrast between the light and dark areas of the shot. |
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Definition
| Sound represented as coming from the mind of a character within the story space. Although we can and the character can hear it, we assume that the other characters cannot. |
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Definition
| A round, moving mask that can close down to an end a scene (iris out) or emphasize a detail or it can open up to begin a scene (iris-in) or to reveal more space around a detail. |
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Definition
| An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background or the background changes instantly while the figures remain constant. |
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Definition
| In the three point lighting system, the brightest illumination coming into the scene. |
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Definition
| In a narrative, the clear motivation of a series of causes and effects that progress without significance digressions, delays or irrelevant actions. |
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Definition
| A framing in which the scale of the object shown is small; a standing human would appear nearly the height of the screen. |
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Definition
| A shot that continues for an unusually lengthy time before the transition to the next shot. |
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Definition
| Illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light. |
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Definition
| A continuity cut which places two different framings of the same action together at the same moment in the gesture, making it seem to continue uninterrupted. |
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Definition
| A framing in which the scale of the object shown is fairly large; a human figure seen from the chest up would fill most of the screen. |
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Definition
| A framing at a distance which makes an object about four or five feet high appear to fill most of the screen vertically. |
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Definition
| A framing in which the scale of the object shown is of moderate size; a human figure seen from the waist up would fill most of the screen. |
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Definition
| All the elements placed in front of the camera to be photographed; settings, props, lighting, hair & make up, costumes, actors. |
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Definition
| The effect on screen of the moving camera, a zoom lens or certain special effects; the framing shifts in relation to the scene being photographed. |
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Definition
| 1. Synonym for editing. 2.An approach to editing used by Soviet film makers of the 1920's; discontinous relationships between shots, juxtaposition of images to create ideas not present in either one by itself. |
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Definition
| A segment of film that summaries a topic or compresses a passage of time into brief symbolic or typical images. |
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Definition
| An element of film that is repeated in a significant way. |
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Definition
| 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 character's mental perceptions and thoughts. |
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Definition
| A type of filmic organization in which the parts relate to each other through a series of causally related events taking place in a specific time and space. |
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Definition
| A shot or series of shots cut into a sequence, showing objects represented as being outside the space of the narrative. |
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Definition
| 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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Definition
| Diegetic sound that comes from a source in time either earlier or later than that of the images it accompanies. |
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Definition
| Simultaneous sound from a source assumed to be in the space of the scene but in an area outside what is viable onscreen. |
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Definition
| The 6 areas blocked from being visable on the screen but still part of the space of the scene; to each side and above the frame, behind the set, and behind the camera. |
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Definition
| The continuity approach to editing dictates that the camera should stay on one side of the action to ensure consistent spatial relations between objects to the right and left of the frame. |
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Definition
| Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration. |
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Definition
| A camera movement with the camera body turning to the right or left on a stationary tripod. On screen it scans the space horizontally. |
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Definition
| A framing in which the scale of an object shown is moderaltey small; the human figure seen from shins to head would fill most of the screen. Can be referred to a medium long shot if no human figures used. |
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Definition
| In a narrative film, all the events that are directly presented to us, including their causal relations, chronological order, duration, frequency and locations. |
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Definition
| A shot taken with the camera placed approximately where the character's eyes would be, showing what the character would see. |
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Definition
| One of the three branches of the film industry; the process of creating the film. |
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Definition
| Shifting the area of sharp focus from one plane to another during a shot. |
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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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Definition
| Shot panning or tilting movements to adjust for the figure's movements, keeping them onscreen or centered. |
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Definition
| A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions. |
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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 directions of movement and by the characters eyeline. |
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Definition
| Moderately large section of film, involving one complete stretch of action. Equivalent to a scene. |
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Definition
| A restricted depth of field, planes close to the camera in sharp focus. Opposite of deep focus. |
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Definition
| Staging the action in relatively few planes of depth. Opposite of Deep Space. |
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Definition
| 1. In Shooting - one uninterrupted run of the camera to expose a series of frames (a take). 2. In the finished film - one uninterrupted image with a single static or mobile framing. |
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Definition
| Two or more shots edited together that alternate characters,typically in a conversation situation. |
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Definition
| Lighting coming from one side of a person or object, usually in order to create a sense of volume. |
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Definition
| Diegetic sound that is represented as occurring at the same time in the story as the image it accompanies. |
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Definition
| Illumination that avoids harsh bright and dark areas, creating a gradual transitions from highlight to shadows. |
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Definition
| 1. At the beginning of one scene, the sound from the previous scene carries over briefly before the sound from the new 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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Definition
| Any sound that is not represented as being directly audible within the space and time of the images on the screen. Includes non simultaneous diegetic sounds and nondiegetic sounds. |
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Definition
| The sense of a sound's position in space, yielded by volume, timbre and pitch. |
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Definition
| In a narrative film all the events that we see and hear, plus all those that we infer or assume to have occurred. |
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Definition
| The repeated and salient use of film techniques characteristic of a single film or group of films. |
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Definition
| Sound that is matched temporally with the movements occurring in the images, as when dialogue corresponds to lip movements. |
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Definition
| A common arrangement using three directions of light on a scene; backlight, key light and fill light. |
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Definition
| A camera movement with the camera body swiveling up and down on a stationary support. Is scans the space vertically. |
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Definition
| Lighting coming from above a person or object, usually in order to outline the upper areas of the figure or to separate it from the background. |
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Definition
| A mobile framing that travels through space forward, backward or laterally. |
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Definition
| Illumination from a point below the figures in the scene. |
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Definition
| An extremely fast camera movement from side to side, which causes the image to blur into a set on horizontal lines briefly. |
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Definition
| A transition between shots in which a line passes across the screen, eliminating the first shot as it goes and replacing it with the next one. |
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Definition
| A lens with a focal length that can be changed during a shot. |
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