Combo with Film Art Ch 3 and 3 others

in medias res

in the middle of things

climax

high point of development

setup

first quarter or so of a film

dolly

a shot in which the camera is moved on a wheeled dolly that follows a determined course.

tatami shot

a shot in which the camera is placed at a low height, supposably at the eye level of a person kneeling on a tatami mat. Invented by Yasujiro Ozu.

long take

a shot of relatively long duration.

traveling shot

a shot or movement that changes the position of the point of view by moving forward, backward, or around the subject, usually on tracks that have been constructed in advance. AKA: track

track

a shot or movement that changes the position of the point of view by moving forward, backward, or around the subject, usually on tracks that have been constructed in advance. AKA: traveling shot

crane

a shot taken from a camera mounted on a crane that can vary distance, height, and angle.

overhead shot

a shot that depicts the action from above, generally looking directly down on the subject. The camera may be mounted on a crane.

point-of-view shot

a subjective shot that reproduces a character's optical point of view often preceded and/or followed by shots of the character looking.

American shot

a translation of the French film criticism "plan américain" and refers to a medium-long ("knee") film shot of a group of characters who are arranged so that all are visible to the camera.

special effects

a variety of illusions created during the filmmaking process through mechanical means (such as by building models, creating on-set explosions) or with the camera (slow motion, camera filters, process shots, matte shots). Sometimes used interchangeably with visual effects, which more often denotes digital effects added in postproduction.

story

all the events in the narrative; both the ones explicitly presented and the ones the viewer infers

tilt

an upward/downward rotation of the camera whose tripod or mount remains in a fixed position, producing a vertical movement onscreen.

masks

attachments to the camera or devices added optically that cut off portions of the frame so the image is black.

restricted

audience is limited to what they can see, hear, and know; often to what one character knows

goal-oriented plot

character takes steps to achieve a desired object or state of affairs

depth

continuum between objectivity and subjectivity

plot

everything visibly and audibly present in the film; non-diagetic material

medium close-up

framing that shows a comparatively larger area than a close-up, such as a person shown from the shoulders up; typically used during conversation sequences. AKA: MCU

close-up

framing that shows details of a person or object, such as a person's face. AKA: CU

acting style

how an actor plays a part. Ppl can be chose bc they have no acting experience

frequency

in a narrative film, the aspect of temporal manipulation that involves the number of times any story event is shown in the plot.

order

in a narrative film, the aspect of temporal manipulation that involves the sequence in which the chronological events of the story are arranged in the plot.

costumes

key to chars identity. Some films ab costuming and changing appearances through dress and makeup. Can suggest how chars view themselves or want to be viewed by others

space

most minimally, any film displays two-dimensional graphic space, the flat composition of the image. In films that depict recognizable objects, figures, and locales, a three-dimensional space is represented as well. At any moment, three-dimensional space may be directly depicted, as on sreen space, or suggested, as offscreen space. In narrative film, we can also distinguish among story space, the locale of the totality of the action (whether shown or not), and plot space, the locales visibly and audibly represented in the scenes.

exposition

portion of the plot that lays out important story events and character traits in the opening situation

zoom out

reversing the action of a zoom in so that objects that appear close initially are distanced and reframed as small figures.

range

scale between restricted and unrestricted narration

hierarchy of knowledge

scale of who (including audience, characters) know what

point-of-view shot

shots taken from a character's optical standpoint

onscreen space

space visible within the frame of the image

underlighting

Illumination from a point below the figures in a scene.

investigation

like goal-oriented but in which the goal is information

mise-en-scene

"what is put into the scene"; all those properties of a cienematic img that exist independently of camera position, camera mvmt, and editing

three-point lighting

A common arrangement using three directions of light on a scene: from behind the subjects (backlighting), from one bright source (key light), and from a less bright source balancing the key light (fill light).

aerial perspective

A cue for suggesting depth in the image by presenting objects in the distance less distinctly than those in the foreground.

overlap

A cue for suggesting represented depth in the film image by placing objects partly in front of more distant ones.

size diminution

A cue for suggesting represented depth in the image by showing objects that are farther away as smaller than foreground objects.

mise-en-scene

All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior.

deep space

An arrangement of mise-en-scene elements so that there is considerable distance between the plane closest to the camera and the one farthest away. Any or all of these planes may be in focus.

how space is constructed

Balance and imbalance of how scene is arranged and how actors and objects are in relation to it. Is 1 char always positioned above another? Is one always in shadows? Do catastrophes occur on land or in city?

sidelight

Lighting coming from one side of a person or an object, usually to create a sense of volume, to bring out surface tensions, or to fill in areas left shadowed by light from another source.

monochromatic color design

Color design that emphasizes a narrow set of shades of a single color.

backlighting

Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures.

frontal lighting

Illumination directed into the scene from a position near the camera.

fill light

Illumination from a source less bright than the key light, used to soften deep shadows in the scene.

high-key lighting

Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light.

low-key lighting

Illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light.

key light

In the three-point lighting system, the brightest illumination coming into the scene.

top lighting

Lighting coming from above a person or an object, usually in order to outline the upper area of the figure or to separate it more clearly from the background.

shallow space

Staging the action in relatively few planes of depth.

cinematography

a sequence of still photographs depicting motion. Produced by Eadweard Muybridge and Etinne-Juules Martey; the immediate precursors of the cinema.

high angle

a shot directed at a downward angle on individuals in a scene.

low angle

a shot from a position lower than the subject.

pan

a left/right rotation of the camera whose tripod or mount remains in a fixed position that produces horizontal movement onscreen.

normal lens

a lens that reproduces perspective that generally looks "natural" to a human observer. It has a focal length between 48 and 60 degrees, like the human eye.

telephoto lens

a lens with a focal length of at least 75mm capable of magnifying and flattening distant objects.

wide angle lens

a lens with a short focal length (typically less than 35mm) that allows cinematographers to explore a depth of field that can simultaneously show foreground and background objects or events in focus.

medium shot

a middle-ground framing in which we see the body of a person from approximately the waist-up.

following shot

a pan, tilt, or tracking shot that follows a moving individual or object.

film gauge

a physical property of film stock which defines its width. Traditionally the major film gauges in usage are 8 mm, 16 mm, 35 mm, and 65/70 mm (65 mm for the negative and 70 mm for the release print).

film contrast

a property of a film to record differences in density in relation to radiation intensity. It is dependent on the slope of the film's characteristic curve at the particular film density. AKA: exposure latitude

sequence shot

a shot in which an entire scene is played out in one continuous take.

narrative form

a chain of events in cause-effect relationship occurring in time and space

canted angle

a cinematic tactic often used to portray the psychological tension of the subject in which the camera is deliberately slanted to one side.

rack focus

a dramatic change in focus from one object to another. AKA: pulled focus

deep focus

a focus in which multiple planes of a shot are all in focus simultaneously. Usually achieved through using a wide-angle lens.

letterboxed

a format for video or DVD viewing that maintains the widescreen ratio of theatrical productions by masking the top and bottom of the frame with black bars.

extreme long shot

a framing from a comparatively greater distance than a long shot in which the surrounding space dominates human figures, such as distant vistas of cities or landscapes. AKA: ELS

medium long shot

a framing that increases the distance between the camera and the subject, compared with a medium shot it shows most of an individual's body. AKA: MLS

extreme close-up

a framing that is comparatively tighter than a close-up, singling out, for instance, a person's eyes or the petal of a flower. AKA: ECU

long shot

a framing that places considerable distance between the camera and the scene or person so that the object or person is recognizable but defined by the large space and background. AKA: LS

realism

a kind of mise-en-scene that makes us believe that the imgs are of an everyday world that is simply there-one we know and are familiar w/

shallow focus

a shot in which only a narrow range of the field is in focus.

zoom in

the act of changing the lens' focal length to narrow the filed of view of a distant object, magnifying it and re-framing it, often in close-up, while the camera remains stationary.

focal length

the distance from the center of the lens to the point where light rays meet in sharp focus.

offscreen space

the implied space outside the boundaries of the film frame

setting and sets

the location or construction of a location where the scene is filmed hero and heroine in North by Northwest climb the faces of the presidents on Mt. Rushmore. Movie is ab US security and govt so its central to the theme

narration

the plot's way of distributing story information in order to achieve specific effects

framing

the portion of the filmed subject that appears within the borders of the frame. It correlates with camera distance.

reframing

the process of moving the frame from one position to another within a single continuous shot.

depth-of-field

the range or distance before and behind the main focus of a shot within which the objects remain relatively sharp and clear.

film speed

the rate at which moving images are recorded and later projected, standardized for 35mm sound film at 24 frames per second (fps); also a measure of film stock's sensitivity to light.

causality

the relation between causes and effects

perceptual subjectivity

the use of visual and auditory point of view, such as through point-of-view shots or sound perspective, to give a degree of subjectivity

split screen

the visible division of the screen, traditionally in half, but also in several simultaneous images, rupturing the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye.

widescreen ratio

the wider, rectangular aspect ratio of typically 1.85:1 or 2.35:1

aspect ratio

the width-to-height ratio of the film frame as it appears on a movie screen or TV monitor.

diagesis

total world of the story; greek for recounted story

filters

transparent sheets of glass or gels placed in front of the lens to create carious effects

change-in-knowledge

type of plot development in which a character learns something in the course of the action

film stock

unexposed film consisting of a flexible backing or base and a light-sensitive emulsion.

lighting

various ways a char/object/scene can be illuminated either by nat sunlight or artificial sources

omniscient narration; unrestricted

we know more, see and hear more, than any of the characters can

mental subjectivity

when the plot plunges into the character's mind: inner images, voiceover, etc