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Terms in this set (20)
The accepted systems, methods, or conventions by which the movies communicate with the viewer.
a single piece of film uninterrupted by cuts
The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema.
A direct change from one shot to another; that is, the precise point at which shot A ends and shot B begins
A shot that often shows a part of the body filling the frame—traditionally a face, but possibly a hand, eye, or mouth.
Transitional devices in which a shot fades in
from a black field on black-and-white film or from a color field on color film, or fades out to a black field (or a color field).
When camera location is below normal eye-level compared to the subject, makes the subject appear tall, powerful, dominating, or scary
Cutting on action
A continuity editing technique that smoothes the transition between shots portraying a single action from different camera angles.
The primary character whose pursuit of the goal provides the structural foundation of a movie's story
a meaning that is suggested though not directly expressed.
everything that a movie presents on its surface
Film analysis that examines how a scene or sequence uses formal elements—narrative, mise-en-scène, cinematography, editing, sound, and so on—to convey story, mood, and meaning.
The means by which a subject is expressed. The form for poetry is words; for drama, it is speech and action; for movies, it is pictures and sound; and so on.
A shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type.
A recurring visual, sound, or narrative element that imparts meaning or significance
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
the time that the entire narrative arc—whether explicitly presented on-screen or not—is implied to have taken
the time that the events explicitly shown on-screen are implied to have taken
he actual time that has elapsed to present the movie's plot, i.e., the movie's running time
Point of view (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.
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