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| A cut between shots which matches similar compositional elements. |
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| A cut in which the appearance of spatial and/or temporal continuity between shots is disrupted. |
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| A form of editing developed by Soviet filmmakers in the 1920's, often discontinuous, which emphasizes the graphic, rhythmic, and conceptual relations between shots. |
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| Sound that comes from within the narrative world of a film (including off-screen sound). |
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| Sound that comes from outside the narrative world of a film (must be off-screen sound). |
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| Sound from the mind of a character inside the narrative world that cannot be heard by other characters. |
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| A voice which comments upon the images on the screen (it can be diegetic of nondiegetic). |
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| Sound derived from one scene which briefly carries over to another scene. |
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| The sense of a sound's position in diegetic space, indicated by volume, pitch, and timbre. |
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| The organization of the contents of the shot with respect to the edges of the image. |
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| The arrangement of a character (or characters) in the image in a position equidistant from the edges of the image. |
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| The framing of a character in such a way that the space of the image appears to extend in to the surrounding off-screen space. |
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| The framing of a character in such a way that the space of the image does not appear to extend into off-screen space. |
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| A shot in Wwhich the camera looks down on character(s) in the mise-en-scene. |
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| A shot in which the camera looks up on character(s) in the mise-en-scene. |
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| A shot taken from directly above the mise-en-scene. |
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| A view in which the frame is not level, but slanted relative to the horizontal axis of the mise-en-scene. |
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| The ratio of the frame's height to its width. Old standard Academy ratio is 1:1.33 |
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| An aspect ratio wider that 1:1.22. New standard ratio is 1:1.85 (US); CinemaScope is 1:1.2.35 |
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| Mise-en-scene in which there is a large distance between the foreground plane and the background plane of a space. |
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| The distance between the foreground and backround of a shot which is in sharp focus. |
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| A shot in which only one plane of a shot is in sharp focus. |
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| A shallow focus shot in which the area of sharp focus shifts from one plane to another. |
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| A continuous shot of a scene that takes the place of editing within the scene (of longer than 'normal' duration). |
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| A smooth horizontal movement of the camera on a moving support, usually rals, forward or back, left or right. |
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| A smooth horizontal movement of the camera on a moving support in an irregular direction. |
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| A vertical camera movement in which the camera swivels on its axis up or down. |
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| A horizontal camera movement in which the camera swivels on its axis from side to side. |
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| A pan in which the camera moves quickly from side to side, blurring the image. |
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| A camera movement in which the camera appears to move freely above the ground. |
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| A shot in which the camera operator's body is used as the camera support. |
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| Optical motion, created by a lens with a variable focal length, which changes the size of image and the apparent distance between foreground and background planes. |
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| The main source of lighting in a scene. |
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| Illumination used to soften the key lighting in a scene. |
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| Illumination cast from behind a character to highlight their outline in the image. |
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| An arrangement of key, fill, and back lighting which serves to model the character while maintaining an even illumination in the shot. |
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| Illumination which creates sharp-edged shadows |
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| Illumination which diffuses the boundaries between light and shadow. |
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| The colors to the left of the visible spectrum: red, orange, yellow |
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| The colors to the right of the visible spectrum: blue, indigo, violet |
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| The degree of purity of a hue |
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| The degree of lightness of a hue (Represents a hue's relationship to black and white). |
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| A uniform expanse of color |
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| A scene or sequence showing events that have taken place earlier than the diegetic present of the film. |
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| A scene or sequence that departs from the diegetic present to show events that take place in the future, and then returns to the diegetic present. |
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