Film & Culture Chapter 1
Terms in this set (16)
The accepted systems, methods, or conventions by which the movies communicate with the viewer.
cutting on action
A continuity editing technique that smoothes the transition between shots portraying a single action from different camera angles. The editor ends the first shot in the middle of a continuing action and begins the subsequent shot at approximately the same point in the matching action.
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. See also zoom-in. Compare dolly out.
The time a movie takes to unfold onscreen. For any movie, we can identify three specific kinds of duration: story duration, plot duration, and screen duration. Duration has two related components: real time and cinematic time.
The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema.
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). Compare dissolve.
Film analysis that examines how a scene or sequence uses formal elements to convey story, mood, and meaning.
An association, connection, or inference that a viewer makes on the basis of the given (explicit) story and form of a film. Lying below the surface of explicit meaning, implicit meaning is closest to our everyday sense of the word meaning.
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. Compare high-angle shot.
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. The two fundamental types of cinematic point of view are omniscient and restricted.
One uninterrupted run of the camera. A shot can be as short or as long as the director wants, but it cannot exceed the length of the film stock in the camera. Compare setup.
A shared, public idea, such as a metaphor, an adage, a myth, or a familiar conflict or personality type.
The techniques and strategies employed by the filmmakers that are hidden from the audience due to the passive experience and fast moving pictures of the film medium.
Just as the techniques of filmmaking can go unnoticed during a casual viewing of a movie, so too can the cultural mores and prejudices lurking under the surface of a movie. These are employed by the filmmaker to reinforce the casual viewer's subconscious beliefs or worldviews.
Everything that a movie presents on its surface. Compare implicit meaning. exposition The images, action, and dialogue necessary to give the audience the background of the characters and the nature of their situation, laying the foundation for the rest of the narrative.
The major character who serves as the "hero" and who "wins" the conflict. Compare antagonist.