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| the system of joining shots together to create the illusion of a continuous and clear narrative action |
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| in this type of shot a movement or gesture of a character begun in one shot appears to be seamlessly continued in the next |
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| in this type of shot the direction in which a person or object is moving is consistent across the splice |
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| the glances of characters in separate shots seem to meet |
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| shots alternate between two characters often in conversation; over the shoulder framings are often used |
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| the angle from which the camera shoots the action remains the same from shot to shot |
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| the position of an object or person remains in the same area of the frame from shot to shot |
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| any juxtaposition of graphically similar images |
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| any juxtaposition of images with actions moving at similar rates or speeds |
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| a continuity mismatch in which the rules of continuity are violated often resulting in the disorientation of the spectator |
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| a shot found most often in silent films that opens from darkness in an expanding circle of light |
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| a shot that begins in darkness and gradually brightens |
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| the superimposition of the end of one shot onto the beginning of the next |
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| a dissolve in which the superimposition of the two images lingers often to make a point about the relation of the two shots |
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| in its simplest form, a vertical line moves across the screen removing the contents of the last shot and replacing it with the next |
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| point of view shot (eyeline shot) |
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| the shot that immediately follows a shot in which we see a character looking at something offscreen or beyond the borders of the frame |
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| a shot following the POV shot revealing the reaction of the character from whose point of view we were looking |
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| a cut to another scene or line of action that is usually spatially remote from the original line or action but which seems to be happening simultaneously in time |
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| cutting back and forth btwn two contrasting actions so that one action strengthens the audience response to the other |
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| a cut made for symbolic purposes to an object which is not present in the world of the films story |
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| a cut which takes the action to a prior or future time in the plot |
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| a shot taken very close to a subject so that it fills most of the frame |
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| a shot so close it shows detail only or only a very close view of the object itself |
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| a shot framing the human subject from the level of the midchest up |
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| a shot framing the human figure from the waist up |
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| frames the body from the knees up |
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| the body appears in its entirety, approximately equal to the height of the screen |
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| the human character appears shorter than the height of the screen and a fair amount of setting is encompassed |
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| the human subject is tiny in relation to the size of the screen |
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| usually a long shot used near the beginning of a sequence used to establish the setting or the position of people or objects so that the viewer remains oriented when the sequence is later broken down |
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| the camera rotates from a fixed position along a horizontal plane |
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| a very fast pan that makes action appear blurred |
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| the camera rotates from a fixed position through a vertical plane |
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| the camera and whatever it is mounted on moves as it photographs the action |
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| a shot taken from a crane specially constructed for the camera |
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| the camera is located at eye level in relation to the subject |
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| the camera is positioned above the subject and shoots down at it |
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| the camera is positioned below the subject |
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| the camera is tilted so that the frame is not parallel to the horizon |
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| produces an image with perspective that seems comparable to that seen by the human eye |
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| gives a wider angle of vision than a normal lens |
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| an extreme wide angle lens that distorts the image so straight lines appear bent or bowed near the edge of the frame |
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| enlarges or magnifies distant planes making them seem close to the foreground |
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| a lens that can be changed gradually during a shot going from wide angle to telephoto or vice versa |
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| all objects from close foreground to distant background are seen in sharp definition |
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| the foreground is in sharp focus while the background appears diffuse and hazy |
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| a shot during which the focus changes bringing certain objects in and out of focus |
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| associated with the classic hollywood style, uses a key, fill, and back light |
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| brightest and primary light source of an image which casts the dominant shadows |
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| light which fills in to eliminate shadows created by the key light |
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| illumination coming from behind the objects photographed outlining or highlighting contours of the figure |
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| bright, even illumination with low contrast and few conspicuous shadows |
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| general low level of illumination with high contrast atmospheric pools of light |
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| the significant graphic characteristics of a shot (as in lines, positioning and framing) |
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| any element of a shot that seems to stand for more than its literal definition |
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| sound whose source comes from within the imaginary world of the film |
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| sound coming from the space outside the narrative |
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| sound coming from the mind of the character that we can see or hear but other characters cannot |
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| the source of the sound is diegetic but it is distorted to heighten the dramatic effect for the spectator |
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| the source of the sound is present within the shot |
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| diegetic sound that comes from beyond he frame |
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| sound which complements the image |
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| sound which goes counter to the image |
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| significant variations or effects achieved through the loudness of the soundtrack or characterization achieved through voice pitch, timber, or dialect |
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| means putting into the scene; the act of staging all the events for the camera |
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| literally, writing in movement |
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| the regulation of how much light passes through the camera lens |
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| slices of glass or gelatin put in front of the lens to reduce certain frequencies of light reaching the film |
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| ratio of the frame width to height |
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| sound from one scene lingers briefly while the image is already present in the next scene |
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Federico Fellini
Italy
1963 |
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| Edison and Lumiere Shorts |
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| Odessa Steps Sequence from The Battleship Potemkin |
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Definition
Sergei Eisenstein
USSR
1925 |
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Vittorio de Sica
Italy
1948 |
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| Les Quatre Cent Coups (The 400 Blows) |
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Francois Truffaut
France
1959 |
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| folk, fairy tale and backstage musicals |
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