The theory that the director of the film is the author in the sense that a novelist creates a novel.
The mainstream style of movies characterized by strong story-lines, Stars, and production values
Extreme distortion in film used for artistic self-expression at the expense of objectivity. Ex: the Cabinet of Dr. Caligari
films in which the aesthetic concerns take precedence over subject matter and the emphasis is on the essential symbolic aspects of objects and people.
From the 1920s until the 1960s nearly all american movies were made by five production companies with extensive physical facilities and armies of artists bound by exclusive contracts in this system.
The implied agreement between audience and film-maker to accept artificialities like flashbacks.
The most common transitional device, these days, in which transition from one shot to another is instantaneous. This may occur within a scene or as a transition from one scene to another.
When there are cuts alternately between two scenes or setups that occur simultaneously.
Alternate (scenes or shots) with contrasting scenes or shots to make one composite scene in a film
When images are superimposed upon one another so that one gradually vanishes while the other appears.
The person responsible for the creative aspects, both interpretive and technical, of a motion picture.
A succession of scenes linked by time, location, or narrative continuity to for a unified episode.
Ex: Locomotive chase in The General
The basic grammatical unit of film, a continuously exposed piece of film providing an unbroken view of a situation or action.
Is also known as a take.