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Definition
| simply what is recorded by a single operation of the camera; can be defined in terms of distance, area, or subject |
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| a head-and-shoulders shot |
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| a shot of a specific part if the body-an eye, a mouth |
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| Long Shot (LS) or Full Shot (FS) |
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Definition
| a shot of the complete human figure, with some of the background visible |
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| a shot that is a broad, panoramic view |
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| a shot that is neither a close shot nor a long shot but something in between |
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| a shot that defines an area; a type of long shot that is often broken down into its components |
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| a shot including two characters |
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| a shot that includes three characters |
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| a shot that consists of alternating shots of characters in a conversation so that we see first one character, then the other |
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| a shot where we look over the shoulder of character A into the face of character B; and then, over the shoulder of character B into the face of character A |
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| High-angle Shot, God's eye shot, Bird's eye shot |
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Definition
| a shot where the camera is positioned above, or sometimes "high above," the subject |
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| a shot where the camera shoots up at the subject from below; makes the subject appear larger than it actually is |
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| a shot that represents what the camera sees |
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| a shot that represents what the characters sees; sometimes referred to as subjective camera |
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| a shot that represents the POV of the character, or what the character sees |
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| a shot that represents the POV of the character, or what the character sees |
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Definition
| the camera moves horizontally on a fixed axis |
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| the camera moves vertically on a fixed axis |
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| shots where the camera is on a moving vehicle such as a dolly, a truck, or a crane, or on specially built tracks |
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| usually rapid and produces a momentary blur; can suggest a sudden change or transformation |
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| a shot where the camera moves on tracks |
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Definition
| a shot where the camera is mounted on a dolly |
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| a shot where the camera is moved up and down, in and out of a scene on a crane |
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Definition
| the camera does not move, instead a cameraperson employs a lens of variable focal length, which gives te impression of the camera moving close to, or far away from, the subject |
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Definition
| the distance from the center of the lens to the point where the image is in focus |
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| is a form of stopped motion and suggests stasis; all movement suddenly stops |
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| a unit of action that takes place in the same location and is made up of one shot or many shots |
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| a group of shots forming a self-contained segment of the film that is, by and large, intelligible in itself |
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Definition
| one action links up with another, creating a mini drama |
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| Elliptical Linear Sequence |
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Definition
| a linear sequence where certain details are omitted because viewers are expected to make the connections for themselves |
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Definition
| the scenes are linked together by an object or a series of objects |
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| a series of shots arranged in a particular order for a particular purpose |
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| time is collapsed as shots blend together, wipe each other away, or are superimposed on each other |
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| one of the earliest versions of a film |
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| is the film as the director envisioned it |
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| is the version audiences will see of a film |
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| one image instantaneously replaces another; most common kind of cuts |
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| the images replacing each other are dissimilar in nature |
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| Parallel Cutting, Crosscutting, intercutting |
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Definition
| presents two actions occurring simultaneously |
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| a break in continuity that leaves a gap in the action |
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| one shot compliments the other, following it so smoothly tat there seems to be no break in continuity as far as time and space are concerned |
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| a shot in which everything is blacked out except what is to be seen telescopically |
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| consists of opening up the darkened frame with a circle of light that keeps expanding until the picture fills the frame |
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| selecting and arranging the shots based on the following consideration: their place w/i the narrative, their contribution to the mood of a particular scene or to the film as a whole, their enhancement of the film's rhythm... |
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| most common form of editing in narrative film; entails assembling shots so that they each follow each other smoothly and without interruption |
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Definition
| most common form of editing in narrative film; entails assembling shots so that they each follow each other smoothly and without interruption |
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| a French phrase used to describe the staging of a play |
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| the act of composing a shot |
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| the subject appears to be confined within the horizontal and vertical borders of the frame, so there is not even a hint of offscreen space |
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| Canted shot, Dutch-angle Shot |
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Definition
| results in an oblique composition in which the frame looks lopsided |
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Definition
| foreground, middle ground, and background are all equally visible |
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| when the foreground is more distinct than the background |
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| first the background will be a blur and the foreground sharp; then the background will be sharp and the foreground blurry; a way of concealing a character's identity until the filmmaker is ready to reveal it |
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| a shot that lasts more than a minute |
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