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| All of the elements to be placed in front of the camera and photographed. |
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| An aspect of Mise-en-scene. The space in which a scene is set and the details of that space. |
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| An aspect of Mise-en-scene. The way the figures in a scene or dressed and the way the appearance of figures has been enhanced. |
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| An aspect of Mise-en-scene. They way lighting is manipulated to create the overall composition of each shot. |
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| An aspect of Mise-en-scene. Referring to the quality of lighting, creates diffused illumination. |
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| An aspect of Mise-en-scene. Referring to the quality of lighting, creates clearly defined shadows. |
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| An aspect of Mise-en-scene. The shadows that cover parts of the body, such as the face, or arms/legs. |
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| An aspect of Mise-en-scene. The shadows that are cast away from the body onto a wall, floor, or other background. |
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| An aspect of Mise-en-scene. The relative intensity of the illlumination ina scene. |
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| An aspect of Mise-en-scene. Referring to the path of light from its source or sources to the object lit |
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| An aspect of Mise-en-scene. Referring to the direction of lighting, when the figure is lit directly from the front, eliminating shadows. |
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| An aspect of Mise-en-scene. Referring to the direction of lighting, the figure it lit from behind and creates silhouettes. |
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| An aspect of Mise-en-scene. Referring to the direction of lighting, the subject is lit from directly below, distorting features or symbolizing a realistic light source. |
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| An aspect of Mise-en-scene. Referring to the direction of lighting, the subject is lit directly from above. |
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| An aspect of Mise-en-scene. Refers to an overall lighting design which uses fill and backlight to create low contrast between brighter and darker areas. Soft light quality. |
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| An aspect of Mise-en-scene. Creates stronger contrasts and sharper, darker shadows. Hard light quality. |
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| An aspect of Mise-en-scene. The way in which figures express feelings and thoughts. |
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| Literally means “writing in movement,” a general term for all the manipulations of the film strip by the camera in the shooting phase. Cinematographic qualities involve three factors: the photographic aspect of the shot, the framing of the shot, and the duration of the shot. |
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| Depth of Field (deep focus) |
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| An aspect of Cinematography. The range of distances before the lens withing which objects can be photographed in sharp focus. |
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| An aspect of Cinematography. When the top and bottom of the frame is 'masked' by the aperture plate in the projector, creating a wide-screen image. |
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| An aspect of Cinematography. On screen space is all the space visible in the shot. Off-Screen space is all the space that the audience imagines surrounds the shot, even though it can not be seen. |
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| An aspect of Cinematography. Framing supplies a sense of being far away or close to the mise-en-scene of a shot. |
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| An aspect of Cinematography. The human figure is barely visible - used mostly for landscapes. |
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| An aspect of Cinematography. Figures are more prominent, but the background still dominates. |
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| Full Shot (mediums long shot) |
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| An aspect of Cinematography. The human figure is framed from the knees up. Permit a nice balance of figure and surroundings. |
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| An aspect of Cinematography. Frames the human body from the waist up. Gesture and expression become more visible. |
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| An aspect of Cinematography. The face of a human figure, or some other small part of the body. |
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| An aspect of Cinematography. Singles out a single portion of the face, isolates and maginifies a detail. |
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| An aspect of Cinematography. When the frame positions us at some angle onto the shots mise-en-scene. |
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| bird’s-eye view (aerial shot) |
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| An aspect of Cinematography. Referring to the angle of framing, this framing positions us looking directly down at the framed materials, as if we were hoving above them. |
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| An aspect of Cinematography. Referring to the angle of framing, this framing positions us looking down at the framed materials. |
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| eye-level (straight shot) |
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| An aspect of Cinematography. Referring to the angle of framing, this framing positions us looking directly at the framed materials. |
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| An aspect of Cinematography. Referring to the angle of framing, positions us as looking up at the framed materials. |
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| Oblique angle (canted angle) |
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| An aspect of Cinematography. Referring to the angle of framing, it occurs when the horizon and poles are at diagonal angles. |
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| An aspect of Cinematography. Within the image, the framing of the object changes. This produces changes of angle, levle, height, or distance DURING the shot. |
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| An aspect of Cinematography. The whole camera changes position, traveling in any direction along the ground. |
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| An aspect of Cinematography. Rotating the camera on a horizontal axis. |
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| An aspect of Cinematography. Rotating the camera on a vertical axis. |
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| An aspect of Cinematography. The camera moves above ground level, rising or descending. |
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| An aspect of Cinematography. The time a single shot is left on the screen. |
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| An aspect of Cinematography. Unusually lengthy shots. |
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| An aspect of Cinematography. Unusually short shots |
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| An aspect of Cinematography. Motivated by figure movement, when one character moves in relation to another, the frame will adjust to the movement. |
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| An aspect of Cinematography. A camera movement that follows a figure's movement. |
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| In filmmaking, the task of selecting and joining camera takes; in the finished product, the set of techniques that govern the relations among the shots |
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| An aspect of editing. Editing the shots in a film to control the time of the action denoted in the piece. |
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| An aspect of editing. Editing shots to gether to relate any two points in space through similarity, difference, or development, letting an omniscient range of knowledge become visible as omnipresence. |
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| An aspect of editing. Editing the length of various shots in relation to each other controlling the rhythm of the film. |
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| An aspect of editing. Editing any two shots together permits the interaction of the purely pictorial qualities of the two shots. |
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| An aspect of editing. When two shots are linked by graphic similarities, such as color, shapes, etc. |
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| An aspect of editing. Editing presents an action in such a way that it consumes less time on the screen than it does in the story. |
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| An aspect of editing. The duration of the action on screen is prolonged through noticeably overlapping the movements from shot to shot. |
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| An aspect of editing. Joining one shot to another by gradually darkening the end of a shot to black. |
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| An aspect of editing. Joining one shot to another by lightening a shot from black. |
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| An aspect of editing. Joining on shot to another by superimposing the end of one shot witht the beginning of the next. |
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| An aspect of editing. Joining one shot to another by letting the next shot replace the previous by means of a boudary line moving across the screen. |
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| An aspect of editing. Joining one shot to another by splicing two shots together by means of cement or tape. |
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| A system of editing designed to maintain continuous and clear narrative action. |
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| An aspect of continuity editing. A shot that delineating the overall space of the action. |
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| An aspect of continuity editing. A shot that confirms the overall space from a new angle when the camera has moved in some way. |
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| An aspect of continuity editing. A rule that states that once an axis of action, a 180 degree area in which the action of a scene takes place, is established that camera can not corss that line. This ensures the relative positions in the frame remain consistent. |
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| An aspect of continuity editing. Shot A presents someone looking at something offsceen and shot B shows us what is being looked at. Even though neither shot contains both the looker and the object, we know through the match that this is the object the figure is looking at. |
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| An aspect of continuity editing. A device that carries a movement across the break between two shots. |
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| An aspect of continuity editing. Showin one end point of the 180 line and than the other in back and forth shots. |
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| Parallel editing (cross-cutting) |
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| An aspect of continuity editing. A editing technique that gives us unrestricted knowledge of casual, temporal, or spatial information by alternating shots from one line of action in one place with shots of other events in other places, creating a sense of cause and effect and temporal simultaneity. |
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| An aspect of Mise-en-scene. The way the filmmaker has staged the action on several different planes. |
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