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| The phase when a film project is in development, involving preparing the script, financing the project, casting, hiring crew, and securing locations. |
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| A writer of a film’s screenplay; the screenwriter may begin with a treatment and develop the plot structure and dialogue over the span of several versions; also called a scriptwriter. |
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| a short prose description of the action and major characters of the story |
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| The text from which a movie is made, including dialogue and information about action, settings, etc., as well as shots and transitions; developed from a treatment. Also known as a script. |
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| multi-layered activity in which industry, art, technology and imagination intertwine |
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| An uncredited individual called in to do rewrites on a screenplay. |
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| oversees all of the different operations in putting a film together |
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| connected to a film primarily in name, playing a role financing or facilitating a film deal but having little creative or technical involvement |
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| in charge of daily business of tracking costs and maintaining production schedule of a film |
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| responsible for reporting and managing the details of receipts and purchases |
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| A film’s initial costs of contracting the major personnel, such as directors and stars, as well as administrative and organizational expenses in setting up a film production. |
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| The technical and material costs—costumes, sets, transportation, and so on—involved in the actual making of a film. |
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| An evaluative term about the quality of the film images and sounds that reflects the investment expenses. |
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| The individual responsible for identifying and selecting which actors would work best in particular roles. |
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| An approach to film production established in the mid-1950s whereby the agent, producer, and casting director assembled a script, stars, and other major personnel as a key first step in a major production. |
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| Individuals who represent actors, directors, writers, and other major personnel employed by a film production by contacting and negotiating with writers, casting directors, and producers. |
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| Determining and securing suitable places besides studio sets to use for shooting particular movie scenes. |
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| The individual responsible for supervising the conception and construction of the physical environment in which the actors appear, including sets, locations, props, and costumes; see production designer and set designer. |
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| The person in charge of the film’s overall look. |
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| directors considered authors of their films |
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| different versions of a shot |
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| The arrangement and movement of actors in relation to each other within the mise-en-scène. |
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| The member of the film crew who selects the cameras, film stock, lighting, and lenses to be used as well as the camera setup or position; also known as the director of photography or D.P. |
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| A member of the film crew in charge of physically manipulating the camera, overseen by the cinematographer. |
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| A crew member who installs lighting and dollies. |
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| Formal experiments that are also nonrepresentational. These films use color, shape, and line to create patterns and rhythms that are abstracted from real actions and objects. |
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