Film Art
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48 terms
Terms | Definitions |
|---|---|
 Editing | (1) In filmaking, the task of selecting and joining camera takes (2) In the finished film, the set of techniques that governs the relations among shots |
| Ellipsis | In narrative film, the shortening of plot duration achieved by omitting some story duration |
| Elliptical Editing | Shot transitions that omit parts of an event causing an ellipsis in plot duration |
| Establishing Shot | A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects and setting space |
| Exhibition | One of the three branches of the film industry; the process of showing the finished film to audiences |
| Exposure | The adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperture |
| External Diegetic | Sound represented as coming from a physical source within the story space that we assuem characters in the scene also hear. |
| Extreme Close-up | A framing in which the scale of the object shown is very large; most commonly a small object or part of the body |
| Extreme Long Shot | A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen |
| Eyeline match | A cut obeying the axis of action principle, in which the first shot shows the 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 off screen right. |
| Fade | (1) Fade-in: a dark screen that gradually brightens as a shot appears. (2) Fade out; a shot that gradually disappears as the screen darken. Fades into white too. |
| Fill Light | Illumination from a source less bright than the key light, used to soften deep shadows in a scene. |
| Film Noir | "Dark Film" A term applied by French critics to a type of American film, usually in the detective or thriller genre, with low key lighting and a somber mood. |
| Film Stock | The strip of material on which a series of still photographs is registered; it consist of a clear base coated on one side with a light sensitive emulsion. |
| Filter | A piece of glass or gelatin placed in front of the camera or printer lens to alter the quality or quantity of light striking the film in the aperture. |
| Flashback | An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown. |
| Flashfoward | An alteration of story order in which the plot moves forward to future events and then returns to the present. |
| focal length | The distance from the center of the lens to the point at which the light rays meet in sharp focus. The focal length determines the perspective relations of the space represented on the flat screen. |
| Focus | The degree to which light rays coming from the same part of part of an object through different parts of the lens reconverge at the the same point on the film frame, creating sharp outlines and distinct texture. |
| Following Shot | A shot framing that shifts to keep a moving figure onscreen. |
| Form | The overall system of relationships among the parts of a film. |
| Frame | A single image on a strip of film. When a series of frames is projected onto a screen in quick succession, an illusion of movement is created. |
| Framing | The edges of the film frame to select and to compose what will be visible onscreen. |
| Frequency | In a narrative film, the aspects of temporal manipulation that involves the number of times any story event is shown in the plot |
| frontal lighting | Illumination directed into the scene from a postion near the camera. |
| Frontality | In staging, the positioning of figures so that they face the viewer. |
| Function | The role or effect of any element within the film's form. |
| Gauge | The width of the film strip, measured in millimeters |
| Genres | Types of films that audiences and filmakers recognize by their familiar narrative conventions. Common genres are musical, gangster, and sci fi films. |
| Graphic Match | Two successive shots joined so as to create a strong similarity of compositional elements. (shape, color |
| Handheld Camera | The use of the camera's operators body as a camera support, either holding it by hand or using a harness. |
| Hard lighting | Illumination that creates sharp edged shadows. |
| Frame Rate | In shooting, the number of frames exposed per second; in projection, the number of frames thrown on the screen per second. If two are the same the actin appears normal. A disparity creates slow or fast motion. The standard rate in sound cinema is 24 frames per second. for both shooting and projection. |
| Front Projection | A composite process whereby footage meant to appear as the background of a shot is projected from the front onto a screen; figures in foreground are filmed in front of the screen as well. This is the opposite of rear projection. |
| Height of Framing | The distance of the camera above the ground despite the angle. |
| High-Key Lighting | Illumination that creates comparatively little contrast between the light and the dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
| Ideology | A relatively coherent system of values beliefs, or ideas shared by some social groups and often taken granted as natural or incoherently true |
| Intellectual Montage | The juxtaposition of a series of images to create an abstract idea not present in any one image. |
| Internal Diegetic Sound | Sound represented as coming from the mind of a character within the story space. Although we and the character can hear it, we assume that the other characters cannot. |
| Interpretation | The viewer's activity of analyzing the implicit and symptomatic meanings suggested in film. |
| Iris | A round, moving mask that can close down to end a scene(iris-out) or emphasize a detail, or that can open to begin the scene or to reveal more space around a detail. |
| Jump Cut | an elliptical cut that appears to be an interruption of a single shot. Either he figures seem to change instantly against a constant background, or the background changes instantly while the figures remain the constant. |
| Key Light | In the three-point lighting system, the brightest illumination coming onto the scene. |
| Lens | A shaped piece of transparent material (usually glass) with either or both sides curved to gather and focus light rays. MOst camera and projector lenses place a series of lenses within a metal tube to form compound lens. |
| Lineatity | In a narrative, the clear motivation of a series of causes and effects that progress without significant digressions, delays, or irrelevant. |
| Long Shot | A framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen |
| Long Take | A shot that continues for an unusually lengthy time before the transition to the next shot. |
| Low-key lighting | Illumination that creates strong constant between light and dark areas of the shot, with deep shadows and little full light. |
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