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| The position of the frame in relation to the subject it shows: above it, looking down (a high angle); horizontal, on the same level (a straight on angle); looking up (a low angle); also called camera angle |
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| A framing in which the scale of the object shown is relatively large; most commonly a person's head seen from the neck up, or an object of a comparable size that fills most of the scene. |
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| A system of cutting to maintain continuous and clear narrative action. Continuity editing relies on matching screen direction, position, and temporal relations from shot to shot. |
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| 1. In filmmaking, the joining of two strips of film together with a splice. 2. In the finished film, an instantaneous change from one framing to another. |
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| A use of the camera les and lighting that keeps objects in both close and distant planes in sharp focus. |
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| Any voice, musical passage, or sound effect presented as originating from a source within the film's world. |
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| Any alternative system of joining shots together using techniques unacceptable within continuity editing principles. |
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| A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition. |
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| 1. In filmmaking, the task of selecting and joining camera takes. 2. In the finished film, the set of techniques that governs the relations among the shots. |
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| A framing in which the scale fo the object shown is very large; most commonly, a small object or a part of the body. |
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| A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen. |
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| An alteration of story order in which the plot moves back to show events that have taken place earlier than ones already shown. |
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| An alteration of story order in which the plot presentation moves forward to future events and then returns to the present. |
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| A single image on the strip of film. When a series of frames is projected onto a screen in quick succession, an illusion of movement is created. |
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| Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
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| A framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen. |
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| Illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and a little fill light. |
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| A framing in which the scale of the object shown is of moderate size; a human figure seen from the waist up would fill most of the screen. |
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| All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior. |
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| 1. A synonym for ediing. 2. An approach to editing developed by the Soviet filmmakers fo he 1920's; it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself. |
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| Sound; such as mood music or a narrator's commentary, represented as coming from a source outside the space of the narrative. |
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| A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing that scans the space horizontally. |
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| In a narrative film, all the events that are directly presented to us, including their causal relations, chronological order, duration, frequency, and spatial locations. Opposed to story, which is the viewer's imaginary construction of all the events in the narrative. |
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| A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions. |
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| A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deep focus. |
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| 1. In shooting, one uninterrupted run of the camera to expose a series of frames. Also called a take. 2. In the finished film, one uninterrupted image, whether or not there is mobile framing. |
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| In a narrative film, all the events that we see and hear, plus all those that we infer or assume to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations. |
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| In filmmaking, the shot produced by one uninterrupted run of the camera. One shot in the final film may be chosen from among several takes of the same action. |
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| A camera movement with the camera body swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically. |
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| A lens with a focal length that can be changed during a shot. A shift toward the telephoto range enlarges the image and flattens its planes together, giving an impression of magnifying the scene's space, while a shift toward the wide angle range does the opposite. |
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