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- A picture's formal characteristics, its lines, shapes, masses, shadings, colors, textures, and their relationships, stripped of all representational meaning and signifying nothing
- Also, particular ideas when stripped of their particularity and restated as general categories and principles
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| * The "Golden Mean" relationship of a picture's width to its height established by the Academy of Motion Picture Arts and Sciences, 4 to 3, standard before 1950 and still used for TV |
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* American Cinema Editors
*The Guild which many professional film editors belong to
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| *Filmed versions of works originally produced in other media, typically literary or theatrical |
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| * The technician who operates "Automatic Dialogue Replacement" dubbing or looping |
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* American Society of Cinematographers
*The self-selecting guild or union of most of the best (in Britain, B.S.C) |
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| * "Live" background sounds creating the illusion that we are seeing and hearing a real world, such as the sounds of distant birds or cars, supposedly incidental but in fact functioning to enhance the drama |
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| * A three-quarter shot showing a human figure from the knees up, implying the ability to move at will, so-called by the French |
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| * Drawings, clay figures, and sand swirls, or various objects seemingly "animated" or brought to life, made to seem to move by photographing them one frame at a time with slight changes in position between frames |
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| Any character or force opposing the protagonist's desires, making for difficulties or dramatic conflict |
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| A nonfiction film appreciated more for its style, or for its aesthetic qualities, than for its subject, message, or truth |
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| The screens' width in relation to its height, classically 1.33 to 1, etc. |
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| One of several director's helpers as needed to assist with set-ups, secondary shots, car or crowd cueing and control, preliminary rehearsals of lesser performers, or other directorial chores |
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| A film's "author" or primary creative sensibility, supposedly the director, a term originating in French critical policy directed against impersonal films, now supporting the cult of the director as superstar |
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| Art films extending or violating film conventions in new ways, made by individual artists for their own noncommercial reasons, usually challenging viewers to find for themselves the appropriate ways to look at them |
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| Lights illuminating the main image from the rear, sculpting it from the background with highlighted edges, as with haloed hair |
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| A low budget movie usually shown as the second feature during the big-studio era in America; often took the form of popular genres, such as thrillers, westerns, or horror films |
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| A form of gangster film showing a team of skilled, usually admirable professional thieves gathering to plan a fabulous crime, then pulling it off |
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| A biographical picture dramatizing the personal life of some historical figure or recent celebrity, or a partial complete fiction about some such person, usually inspirational but occasionally disturbing |
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| A comedy in which the clowns' follies cause serious consequences, or a melodrama populated by destructive but amusing clowns, with the audience's usual moral response to the sight of people in trouble suppressed or suspended |
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| A director's primary responsibility, planning the positions and movements of actors, objects, and cameras during a shot, so the actors can "hit their marks" taped on the floor, remain in focus, and perform with max dramatic effectiveness |
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| A brief appearance of well-known star in a small role, sometimes unaccredited |
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| A portable device for recording whatever images are in front of it, consisting of a lens, a shutter, a film strip coated with light-sensitive chemicals, and some means for transporting the film strip past the lens for successive intermittent exposure to light, one frame at a time |
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| A shot made with the camera slanted off its vertical axis, showing a world somehow gone awry |
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| An imaginary line perpendicular to the camera's line of sight, basis of the 180-degree rule, determing the "picture plane" or plane of the action parallel to the screen, never crossed between shots without risking the viewer's sense of spatial relationship |
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| Computer-Generated Imagery; identifies special effects and images composed with computers |
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| The artist and technician responsible for the film's lighting and photography, an expert with lights, lenses, cameras, film stocks, and photographic processes who designs and tests different effects until they match the director's intentions for the film, then oversees the actual shooting |
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| A slate with a hinged clapper on top for labeling the beginnings of each take visually and aurally, for later synchronizing the film with sound track |
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| Critics' term for films in the prevailing Hollywood studio style, with continuity editing creating a credible screen reality, sets reinforcing that impression, plots built on lines of action finally resolving whatever the conflicts posed, and characters who elicit strong audience identification |
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| Plot construction based on a single problem or issue posed at the outset, developed through conflict and complication in a "rising" action, climaxed irreversabibly near the end, and resolved or fully comprehended after the climax, the structure assumed virtually all drama and storytelling in the Western world for the past 3000 years |
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The moment or scene near the end of a dramatic action when conflicting characters or forces confront each other and whatever will come of it is finally determined
(sometimes called "obligatory scene") |
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| A shot made with a camera position or lens setting filling the screen with the image of any object the size of a human face or smaller, generating strong viewer attentiveness and feelings of intimacy |
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| A major genre portraying varieties of fools in their folly, including in the audience distanced recognition, mutual relief from anxieties, and amused laughter |
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| The rectangular frame's patterns of lines, masses, and textures formed by the spatial relationships of the people and things making up the image |
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The confrontation and struggle of opposing charcters, forces, or principles basic to most narratives and all drama
(protagonist vs. antagonist) |
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| The spatial and temporal persistence and consistency of the world on film |
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| The systematic sequential arranging of shots so that an action seen on the screen seems to be occuring in real time and known space |
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| A "Master Shot" of a continuous action photographed without interruption, establishing relevant spatial relationships and protecting the planned narrative continuity in case other related shots are not usable |
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A shot displaying a flowing or floating movement up and across short distances
(camera mounted on a crane) |
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| An edit cutting from on action to another simultaneous action somewhere else |
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| The spliced place between two frames where on shot ends abruptly and another begins, literally cut by the editor |
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| A shot briefly interrupting one action to provide a glimpse of another also taking place |
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| A Hollywood Blockbuster opens at thousands of theatres around the world on the same date |
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| The film's chief artistic coordinator or authority, responsible for blocking the camera and cast and eliciting their performances, and for bringing in the film on time and within budget |
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| A noticeable fading of one shot while another superimposed on it grows stronger and finally replacing it |
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| Any film consisting of images of the actual world, shot and edited to warn, inform, impress, or entertain its audiences with the supposed truth thereby revealed |
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| A camera platform on wheels, sometimes with a small crane as well, for slow, rolling shots toward and away from, but also alongside whatever is being photographed |
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| A process that involved the selection images and sounds for the subsequent inclusion in the film and assemblage of this material to produce a finished film |
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| The person who receives work prints of the fim's takes, logs them, cuts and splices the preferred takes into a rough cut, then with the director trims shots and reconstructs sequences until a desired "final cut" of the work print has emerged |
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| Director of All Quiet on the Western Front? |
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| Screenwriter of All Quite on the Western Front? |
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| Erich Remarque or George Abbott |
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| Cinematographer of All Quite on the W. Front? |
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| Arthur Edeson and Karl Freund |
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| What year was All Quite on the W. Front released? |
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| Who was the Director of Modern Times? |
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| Who was the Screenwriter of Modern Times? |
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| Cinematographer of Mordern Times? |
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| Ira Morgan and Rollie Totheroh |
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| What year was Modern Times released? |
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| Screenwriter for Casablanca? |
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| Cinematographer of Casablanca? |
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| What date was Casablanca released? |
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| Director for Citizen Kane? |
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| Screenwriter for Citizen Kane? |
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| Herman J. Mankiewicz AND Orson Welles |
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| Cinematographer for Citizen Kane? |
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| What year was Citizen Kane released? |
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| First step in screenwriting; a 2-5 page outline of idea |
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| General rules of screenplays; about one minute per page |
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| The idea person or creator; makes more money |
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| Takes the idea and writes it |
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| When a script is "rented" out for a certain amount of time; cannot shop script around; should only last a year |
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| A one page summary of script with visuals |
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| First to establish the director as the star |
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| Developed the de-focal lens keeping everyone in focus even in the wide, establishing shots |
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| Director of The Public Enemy? |
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| Where did The Public Enemy take place? |
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