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Terms in this set (63)
Narration by an actual character in the movie.
A form of narration in which an on-screen character looks and speaks directly to the audience.
Narration delivered from outside of the diegesis by a narrator who is not a character in the movie.
Providing a third-person view of all aspects of a movie's action or characters.
The primary character whose pursuit of the goal provides the structural foundation of a movie's story.
An outwardly unsympathetic protagonist pursuing a morally objectionable or otherwise undesirable goal.
The character, creature, or force that obstructs or resists the protagonist's pursuit of their goal.
Name the six sets of genre conventions used to define and classify film genre
Name the six film genres
The specific actions and events that the filmmakers select and the order in which they arrange those events and actions to effectively convey on-screen the movie's narrative to a viewer.
A small but significant role often played by a famous actor.
What are the three major elements of design?
In a movie, all the events we see or hear on the screen, and all that are implicit or that we infer to have happened but that are not explicitly presented.
The total world of a story -- the events, character, objects, settings, and sounds that form the world in which the story occurs.
Something that we see and hear on the screen that comes from outside the world of the story.
The passage of time within a movie, as conveyed and manipulated by editing.
A fictional history behind the cinematic narrative that is presented on-screen.
The amount of time that the entire narrative arc of a movie's story-- whether explicitly presented on-screen or not-- is implied to have taken to occur.
The elapsed time of the events within a story that a film chooses to tell.
The amount of time that it has taken to present the movie's plot on-screen, i.e., the movie's running time.
The actual time during which something takes place.
Objects used to enhance a movie's mise-en-scene by providing physical tokens of narrative information.
A time relationship in which screen duration is shorter than plot duration.
The amount of human and physical resources devoted to the image, including the style of its lighting.
The distance from the optical center of a lens the focal point when the lens is focused at infinity.
Depth of field
The distance in front of a camera and its lens in which objects are in apparent sharp focus.
A change of the point of focus from one subject to another within the same shot.
A shot whose purpose is to briefly establish the viewer's sense of the setting of a scene.
A shot that shows the full human body, usually filling the frame, and some of its surrounding.
Medium long shot
A shot that shows character from the knees up includes most of a person's body.
A shot showing the human body, usually from the waist up.
A shot that often shows a part of the body filling the frame-- traditionally a face, but possibly a hand, eye, or mouth.
Medium close up
A shot that shows a character from the middle of the chest to the top of the head.
Extreme close up
A very close shot of a particular detail, such as a person's eye, a ring on a finger, or a watch face.
Deep space composition
an approach to composition within the frame that places figures in all three planes (background, middle ground, and foreground) of the frame, thus creating an illusion of depth. often, though not always, shot with deep focus cinematography
The process of rendering the figures on all planes of a deep-space composition in focus.
Rule of thirds
A principle of composition that enables filmmakers to maximize the potential of the image, balance its elements, and create the illusion of depth. A grid pattern, when superimposed on the image, divides the image into horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds that break up those planes into additional elements.
- A shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance.
The size and placement of a particular object or a part of a scene in relation to the rest .
A time relationship in which screen duration is longer than plot duration.
The vertical movement of a camera mounted on the gyroscopic head of a stationary tripod
A person who works closely with the director, art director and director of photography, in visualizing the movie that will appear on the screen.
A soundproof enclosure somewhat larger than a camera, in which the camera may be mounted to prevent its sounds from reaching the microphone
A pole like mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction.
The member of the crew who is responsible for ensuring continuity throughout the filming of a movie.
A naturalistic acting style, loosely adapted form the ideas of Russian director Konstantin Stanislavsky by American directors Elia Kazan and Lee Strasberg, that encourages actors to speak, move, and gesture not in a traditional stage manner, but in the same way they would in their own lives. an ideal technique for representing convincing human behavior, ___ is used more frequently on the stage than on the screen.
A frame around a motion-picture image that, theoretically, characters and objects can enter an leave.
An actor who looks reasonably like a particular movie star (or at least an actor playing a major role) in height, weight, coloring, and so on, and who substitutes for that actor during the tedious process of preparing setups or taking light readings.
An approach to framing a shot that implies that neither characters nor objects may enter or leave the frame rendering them hemmed in and constrained.
A role even smaller than a cameo, reserved for a highly recognizable actor or personality.
the actual physical relationships among figures and settings.
The chief electrician on a movie production set.
Delivering lines based only loosely on the written script or without the preparation that comes with studying a script before rehearsing it-- Playing through moment, making up lines to keep scenes going when actors forget their written lines, stumble on lines, or have some other mishap.
An approach to acting that emphasizes the interacion of actors, not the individual actor; a group of actors work together continuously in a single shot. Typically experienced in the theater, this is used less in the movies because it requires the provision of rehearsal time that is usually denied to screen actors.
First assistant electrician to the gaffer on a movie production set.
A psychological distance between audience and stage for which, according to German playwright Bertolt Brecht, every aspect of a theatrical production should strive by limiting the audience's identification with characters and events.
All-round handy person on a movie production set, most often working with the camera crews and electrical crews.
What are the four properties of lighting?
The rate at which film must move through the camera to correctly capture an image.
perhaps the best-known lighting convention in feature filmmaking, a system that employs three sources of light - key light, fill light, and backlight - each aimed from a different direction and position in relation to the subject
High key lighting
Lighting that produces an image with very little contrast between darks and lights.
Name three of the four criteria for analyzing an actor's performance
Lighting that creates strong contrasts; sharp, dark shadows; and an overall gloomy atmosphere.