Ist part of cinema
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Created by:
janiestrick1 on June 14, 2010
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63 terms
Terms | Definitions |
|---|---|
 realism | particular style of film makin 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. |
| bird's eye view | shot at which camera photographs scene directly overhead |
| CGI | computer generated imagery |
| cinematographer | artist responsible for lighting of a shot and qualiy of photography |
| classicism | viewed as intermediate style that avoids extremes of realism and formalism |
| close-up shot | detailed view of person or object usually only head |
| deep focus shot | technique of photography that permits all distances plances to remain clearly in focus from close-up ranges to infinity |
| establishing shot | usually extreme long or long shot offered at beginning of scene providing viewer with content of subsequent closer shots |
| eye level shot | placement of camera 5-6 ft from the ground |
| film noir | French term black cinema refering a a kind of urban American genre that sprang up after WWII with emphasis on fatalistic despair universe where there is no escape from mean city streets, loneliness and death |
| formalism | style of filmmaking in which aesthetic forms take precedence over subject matter as content. time and space as ordinarily perceived are often distorted - high degree of manipulation stylization of reality |
| full shot | type of long shot that includes human body in full with head near top of frame and feet near bottom |
| F/X | special effects |
| high angle | shot where subject is photographed from above |
| high contrast lighting | style of lighting emphasizing harsh shafts and dramatic streaks of lights and darks. Often used in thrillers or melodramas |
| high key lighting | style emphasized bright and even illumination with few conspicuous shadows. Used mostly in comedies, musicals and light entertainment films |
| long shot | shot includes area within image that roughly corresponds to audiences view of area within the proscenium arch in live theater |
| low angle | shot photograph from below |
| low key lighting | diffused shadows and atmospheric pools of light used in mysteries and thrillers |
| medium shot | relatively close shot revealing human figure from knees or waist up |
| oblique angle | tilted camera |
| storyboarding | previsualization technique where shots are sketched in advance and in sequence like comic strip thus allowing filmmaker to outline the mise en scene and construct editing continuity before productio begins |
| telephoto lens | lens acting as telescope magnifying size of objects at gret distance |
| wide angle or shot lens | lens permits camera to photograph a wider area than a normal lens |
| mise en scene | arrangement of visual weights and movements within a given space. In movies, it is defined by frame. In live theater by proscenium arch - stage |
| dominant contrast | that area of an image that imediately attracts our attention cuz of a conspicuous and compelling contrast. It stands out. |
| letter boxing | simply to include entire movie image and block out top and bottom of TV screen |
| loosely framed | the mise en scene is so spaciously distributed within the confines of framed image that people photographed have considerable freedom of movement |
| frame | dividing line between edge of screen image and the enclosing darkness of theater |
| proxemic pattern | spatial relationships among characters within mise en scene and apparent distance of camera from subject photographed |
| subsidiary contrasts | a subordinated element of film image complementing or contrasting with dominant contrast |
| tightly framed | usually in close shots. The mise en scene is so carefully balanced and harmonized that the people photographed have little or no freedom of movement |
| kinetic | pertaining to motion or movement |
| pans | scan scene horizontally (moving camera shot) |
| tilts | vertical movements of camera round stationary horizontal axis (moving camera shot) |
| crane shots | mechanical arm 20 ft in length |
| dolly shots | taken from moving vehicle |
| zoom shots | zoom in or out of scenes |
| handheld shots | put on shoulders |
| aerial shots | taken from helicopter |
| classical cutting | developed by D.W. Griffith in which a sequence of shots is determined by a scenes' dramatic and emotional emphasis rather than by physical action alone |
| content curve | point in shot at which audience has been able to assimilate most of its info |
| cutting to continuity | technique used in most fiction films even today if only for exposition scenes - kind of shorthnd consisting of time honored conventions - someone leaving work, getting in car, going home |
| editing | joining one strip of film (shot) with another. Shots are joined into scenes. Editing eliminates unnecessary time and space |
| establishing shot | usually extreme long or long shot offered at beginning of a scene providing the viewer with context of subsequent closer shots |
| jump cut | abrupt transition between shots, sometimes deliberate which is disorienting in terms of continuity of space and time |
| master shot | an uninterrupted shot usually taken from a long or full shot range that contains an entire scene. Closer shots are photographed later and an edited sequence composed of a variety of shots is constructed on editor's bench |
| mixed flashbacks | flashbacks are not in chronological sequence, nor are they completed in any one scene. Rather they are jumbled and fragmented somewhat in a manner of a Faulkner novel |
| 180 rule | purpose is to stabilize the space of playing area so spectator isn't confused or disoriented. An imaginary axis of action line is drawn through middle of scene |
| parallel editing | switching of shots of one scene with another at a different location |
| reestablishing shot | return to opening long shot. In this way viewer is reminded of spatial context of closer shots |
| sequence shot | a single lengthy shot usually involving complex staging and camera movements - designates complex action photographed in continuous take without cuts - no editing at all |
| thematic montage | type of editing propounded by Soviet filmmaker Eisenstein in which separate shots are linked together not by their literal continuity in reality but by symbolic association. Most commonly used in documentaries in which shots are connected in accordance to filmmakers thesis |
| Andie Bazin | critic and theorist |
| Griffith | birth of nation 255 separate shots for about 20 mins of screen time |
| dubbing | adding sound after visuals have been photographed can be either synchronous or nonsynchronous. Foreign language movies are often dubbed in English for release in this country |
| interior monologue | conveys what a char is thinking |
| mickeymousing | type of film music that is purely descriptive and attempts to mimic the visual action with musical equivelants. Often used in cartoons |
| sounds montage or overlapping dialogue | dialogue of one char overlaps with that of another or several others |
| subtext | a term used in drama and film to signify the dramatic implications beneath the language of a play or movie. Often subtext concerns ideas and emotions that are totally independent of language of a text. |
| synchronous sound | agreement or correspondence between miage and sound which are recorded simultaneously or seem so in finished print. Appears to derive from abvious source in visuals |
| synthesized sound | sounds that are synthesized in a studio rather than recorded in reality for most film sounds are not even present during actual shooting |
| voice over | nonsynchronous spoken commentary in a movie often used to convey a characters thoughts or memories |
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