20 terms

Chapter 1: Looking at Movies

STUDY
PLAY

Terms in this set (...)

Editing
The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema
Low Angle Shot
Also known as low shot. A shot that is made with the camera below the action and that typically places the observer in a position of inferiority. Viewers' shared experience of literally looking up at powerful figures - people on stages, at podiums, memorialized in statutes, or simply bigger than them - sparks an automatic interpretation of movie subjects seen from this angle. Depending on context, we see these figures as strong, noble, or threatening
Cutting on Action
One of the most common editing techniques designed to hide the instantaneous and potentially jarring shift from one camera viewpoint to another. When connecting one shot to the next, a film editor often ends the first shot in the middle of a continuing action and starts the connecting shot at some point in the same action. As a result, the action flows so continuously over the cut between different moving images that most viewers fail to register the switch.
Implicit Meaning
An _ _ , which lies below the surface of a movie's story and presentation, is closest to our everyday sense of the word meaning. It is an association, connection, or inference that a viewer makes on the basis of the explicit meanings of the movie
Explicit Meaning
Available on the surface of the movie
Formal Analysis
The analytical approach primarily concerned with film form
Form
The means by which a subject is expressed
Theme
Our command of the film's explicit details alert us to another function of the scene: to introduce the recurring _ or (motif) - in in some ways defines - the story
Dolly in
Slow movement of the camera toward a subject, making the subject appear larger and more significant. Such gradual intensification is commonly used at moments of a character's realization and/or decision, or as a point-of-view shot to indicate the reason for the character's realization
Depth of Field
The cinematic property, known as _ _ _ , can be used expressively, or simply to emphasize the most significant action or subject in a particular composition
Eyeline Match Cut
Shots that convey or imply another person's point of view. When a sequence repeatedly cuts back and forth between these point of view shots, our automatic identification with each of the alternating characters (via the camera) can dramatically intensify our narrative experience
Cinematic Language
The accepted systems, methods, or conventions by which the movies communicate with the viewer
Shot
One uninterrupted run of the camera. A shot can be a short or as long as the director wants, but it cannot exceed the length of the film stock in the camera
Cut
A direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins; one result of cutting
Close-Up
A shot that often shows a part of the body filling the frame - traditionally a face, but possibly a hand, eye, or mouth
Fade-in/Fade-Out
Transitional devices in which a shot fades in from a black field on black-and-white or from a color field on color film, or fades out to a black field
Protagonist
The primary character whose pursuit of the goal provides the structural foundation of a movie's story
Motif
A recurring visual, sound, or narrative element that imparts meaning or significance
Duration
A quantity of time. In any movie, we can identify three specific kinds of duration: story duration (the time that the entire narrative arc - whether explicitly presented on-screen or not - is implied to have taken), plot duration (the time that the events explicitly shown on-screen are implied to have taken), and screen duration (the actual time that has elapsed to present the movie's plot, i.e., the movie's running time
POV
The position from which a film presents the actions of the story; not only the relation of the narrator(s) to the story but also the camera's act of seeing and hearing. The two fundamental types of cinematic point of view are omniscient and restricted