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| A shot of lengthy duration |
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| The joining of one shot (strip of film) with another. The shots can picture events and objects in different places at different times. Editing is called montage in Europe. |
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| Those images that are recorded continuously from the time the camera starts until it stops. That is, an unedited strip of film. |
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| A shot that includes an area within the image that roughly corresponds to the audience's view of the area within the proscenium arch in the live theater. |
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| A variation on a specific shot. The final shot is often selected from a number of possible takes. |
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| An abrupt transition between shots, sometimes deliberate, which is disorienting in terms of the continuity of space and time. |
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| Usually an extreme long shot or long shot offered at the beginning of a scene, providing the viewer with the context of the subsequent closer shots. |
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| A relatively close shot, revealing the human figure from the knees or waist up. |
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| A detailed view of a person or object, usually without much context provided. A close up of an actor generally includes only his or her head. |
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| A cut to a shot of a character's reaction to the contents of the preceding shot. |
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| A medium shot featuring two actors. |
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| An uninterrupted shot, usually taken from a long or full-shot range, that contains an entire scene. |
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| A single lengthy shot, usually involving complex staging and camera movements. |
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| The initial sequence of shots in a movie, often constructed by the director. |
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| The sequence of shots in a movie as it will be released to the public. |
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| Extra shots of a scene that can be used to bridge transitions in case the planned footage fails to edit as planned. |
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| The arrangement of visual weights and movements within a given space. In the live theater, the space is usually defined by the proscenium arch; in movies, by the frame which encloses the images. Cinematic mise en scene encompasses both the staging of the action and the way that it's photographed. |
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| A shot in which the camera photographs a scene from directly overhead. |
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| A shot taken from an angle 180 degrees opposed to the previous shot. |
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| Parallel editing (cross cutting) |
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| The alternating of shots from two sequences, often in different locals, suggesting that they are taking place at the same time. |
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| The positioning of the camera and lights for a specific shot |
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| A stylistic exuberance and subjectivity, emphasizing the senuous beauty of the medium and producing an intense outpouring of emotion. |
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| A type of editing propounded by the Soviet filmmaker Eisenstein, in which separate shots are linked together not by the literal continuity in reality, but by symbolic association. |
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| An editing technique that suggests the interruption of the present by a shot or series of shots representing the past. |
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| An editing technique that suggests the interruption of the present by a shot or series of shots representing the future. |
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| Any unobtrusive technique, object, or thematic idea that's systematically repeated throughout a film. |
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| An analytical methodology, derived from Hegel and Marx, that juxtaposes pairs of opposites-- a thesis and antithesis-- to arrive at a synthesis of ideas. |
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| A technique of photography that permits all distance planes to remain clearly in focus, from close up to infinity |
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| A non-synchronous spoken commentary in a movie, often used to convey the character's thoughts or memories. |
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| A movie image that has an aspect ratio of approximately 5:3, though some widescreens possess horizontal dimensions that extend as wide as 2.5 times the vertical dimension of the screen. |
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| Short for panorama, this is a revolving horizontal movement of the camera from left to right or vice verse. |
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| The shot taken from a special device called a crane, which resembles a huge mechanical arm. The crane carries the camera and the cinematographer and can move in virtually any direction. |
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| A shot photographed by a tilted camera. |
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| Tracking shot (dolly shot) |
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| A shot taken from a moving vehicle. |
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| The agreement or correspondence between image and sound, which are recorded simultaneously, or see so in the finished print. |
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| A soundproof camera housing that muffles the noise of the camera's motor so sound can be clearly recorded on the set. |
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| The addition of sound after the visuals have been photographed. |
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| An Italian film movement that produced its best works between 1945 and 1955. Strongly realistic in its techniques, neorealism emphasized documentary aspects of film art. |
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| A group of young French directors who came to prominence during the late 1950's. |
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| A pre-visualization technique in which shots are sketched in advance and in sequence. |
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| An overhead telescoping pole that carries a microphone, permitting the synchronous recording of sound without restricting the movement of the actors. |
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| The kind of logic implied between edited shots, their principle of coherence. |
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| A style of filmmaking that attempts to duplicate the look of objective reality as its commonly perceived, with emphasis on authentic locations and details, long shots, lengthy takes, and a minimum of distorting techniques. |
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| A style of filmmaking in which aesthetic forms take precedence over the subject matter as content. Formalists are often lyrical, self consciously heightening their style to call attention to it as a value for its own sake. |
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| Transitional sequences of rapidly edited images, used to suggest the lapse of time or the passing of events. |
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| A style of filmmaking that distorts time and space as ordinarily perceived in reality. Emphasis is placed on the essential characteristics of objects and people, not necessarily on their superficial appearance. Typical expressionist techniques are fragmentary editing, extreme angles and lighting effects, and the use of distorting lenses and special effects. |
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| The dividing line between the edges of the screen image and the enclosing darkness of the theater. Can also refer to a single photograph from the filmstrip. |
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| An avant-garde moement in the arts stressing Freudian and Marxist ideas, unconscious elements, irrationalism, and he symbolic association of ideas. |
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| A method of documentary filming using aleatory methods that don't interfere with the way events take place in reality. |
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| A shot composed of a single frame that is reprinted a number of times on the filmstrip; when projected, it gives the illusion of a still photograph. |
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| A type of film music that is purely descriptive and attempts to mimic the visual action with musical equivalents. |
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| A form of filmmaking characterized by photographing inanimate objects or individual drawings frame by frame, with each frame differing minutely from its predecessor. |
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| The crudely edited footage of a movie before the editor has tightened up the slackness between shots. A kind of rough draft. |
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| A recognizable type of movie, characterized by certain pre-established conventions. |
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| An elaborate machine used to create special effects in movies. |
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| The camera's angle of a view relative to the subjects being photographed. A high angle shot is photographed from above; a low angle from below the subject. |
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| A term used in drama and film to signify the dramatic implications beneath the language of a play or movie. |
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| A cut to a shot of a character's reaction to the contents of the preceding shot. |
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| The technique of exploiting the charisma of popular performers to enhance the box office appeal of films. |
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| A minutely detailed view of an object or person |
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| Any shot that is taken from the vantage point of a character in the film, showing what the character sees. |
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| From the Latin, "mask". An actor's public image, based on his or her previous roles, and often incorporating elements from their actual personalities as well. |
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| The principle production studios of a given era. |
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| Tends to play those roles that fit a preconceived public image. |
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| Play roles of greater range and variety than a personality star. |
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| The use of well-known cultural symbols or complex of symbols in an artistic representation. |
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| A set of ideological values, typically of a liberal in emphasis. |
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| An original model or type after which similar thins are patterned. |
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| An implied agreement between the viewer and the artist to accept certain artificialities as real in a work of art. |
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