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| the presumed or actual author of a film, usually identified was the director. also sometimes used in an evaluative sense to distinguish good filmmakers (auteurs) from bad ones. |
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| an element in a film that is repeated in a significant way |
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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 a stylistic pattern within the film. |
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| term commonly used for a moderately large segment of film, involving one complete stretch of action. in a narrative film, often equivalent to a scene. |
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| the overall system of relationships among the parts of a film |
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| in a narrative film, all the events that are directly presented to us, including their vausal reltaions, chronological order, duration, frequency, and spatial locations. opposed to tory, which is the viewer's imaginary construction of all the events in the narrative. |
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| in the narrative film, all the events that we see and hear, plus all those that we infer or assume to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations. |
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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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| sound, such as mood music or a narrator's commentary, represented as being outside the world of the narrative |
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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 he 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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| 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 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 contrast between light and dark areas of the shot, with deep shadows and little fill light. |
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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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| 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 ft, for example, would mean everything closer than 5 feet and father than 16 feet would be out of focus. |
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| a type of process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work |
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| a mobile framing that travels through space forward, backward, or laterally. |
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| a lens with a focal length that can be changed during a shot. a shift toward the telephoto range enlarges the image and flattens its places together, giving an impression of magnifying the scene's space, while a shift toward the wide-angle range does the opposite. |
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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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| the use of the edges of the film frame to select and to compose what wil be visible on screen |
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| the six areas blocked from being visible on the screen but still part of the space of the scene: to each side and above and below the frame, behind the set, and behind the camera. |
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| in filmmaking, the shot produced by one uninterrupted run of the camera. one shot in the final film may be chosen from among several takes of the same action. |
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| 1. in shooting, one uninterrupted run of the camera to expose a series of frames (take). 2. in the finished film, one uninterrupted image, whether or not there is mobile framing. |
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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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| fade-in: a dark screen that gradually brightens as a shot appears. 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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| system of cutting to maintain continuous and clear narrative action. relies on matching screen direction, position, and temporal relations from shot to shot. |
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| 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 offscreen right. |
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| 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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| Sans Toit ni Loi (Vagabond) |
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| a shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction |
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| a camera movement with the camera body turning to the right or left. on the screen, it produces a mobile framing that scans the space horizontally |
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| a camera movement wiht the camera body swiveling upward or downward on a stationar support. it produces a mobile framing that scans the space vertically. |
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