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Type of depth cue
Creates depth by hazing background and keeping foreground sharp
Fog on background trees "The Wall" |
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Ratio of screen width to height
Academy Standard: 1.85:1
Original Standard: 1.33:1 |
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| Attached vs. Cast Shadows |
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Attached shadow: Shadow that is connected to its source
Cast Shadow: Shadow that is not connected to its source ie. cast onto a wall. |
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| Imaginary line passing through main actors that defines left and right spatial relations. |
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| Semi circle, whose straight edge is created by the axis of action line, that determines where the camera can be placed to shoot a scene |
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| Lighting cast onto figures in scene from opposite the camera, usually creates thin outline that highlights the characters |
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cut that presents continuous time but mismatches the positions of figures
"Jezebel" Chin Height |
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Purposeful color choice to emphasize things.
Limited Palette: using a few colors in the same range
Monochromatic: extensive use of one color. |
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| System of cutting to maintain clear narrative action. |
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| Expected elements of a type of film. |
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Clothing worn by actors in film
Time, place, culturally accurate |
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Editing technique of alternating between to different narrative actions
Parallel action: Implies action is happening at the same time |
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In film making joining two strips together
In finished film and instantaneous change from one frame to another |
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| Creates considerable distance between objects in shot, all planes are in focus |
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| Elements that create an impression of 3D space |
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| Angled shot composition to fit more into screen |
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| Alternative system of joining shots that is unacceptable within confines of continuity system |
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Definition
| Transition between two shots where first shot gradually disappears while second gradually appears |
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Definition
In film making the task of selecting and joining takes
In finished film the set of techniques that governs shot to shot relation |
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Definition
In film making the task of selecting and joining takes
In finished film the set of techniques that governs shot to shot relation |
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Definition
| Shot transitions that omit parts of an event causing an ellipsis in plot duration |
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| A shot usually involving a distant framing which shoes spatial relations among the important figures |
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| Overtly stated meaning, usually at beginning or end |
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Definition
A cut that obeys axis of action principle
First shot shows someone looking in a direction and then second shows space where they looked |
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Definition
In: Dark screen that brightens
Out: Shot disappears as screen darkens |
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| Lighting from a source less bright than the key light used to soften deep shadows in a scene |
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Definition
| Piece of glass of gelatin place infrom of the camera or printer lens to alter the quality or quantity of light striking the film |
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| Alteration of the narrative jumping back to show an earlier event |
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| Alteration of the narrative that jumps to future events |
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| Overall system of relationships among parts of the film |
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| Lighting directed into the scene from a position near the camera |
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| Role or effect of any element within the film's form |
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| Grouping of films based on similar conventions |
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| style developed in 1920's Germany which relied on symbolism and mise-en-scene to create deeper meaning |
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| two successive shots joined to create a strong similarity of compositional elements |
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| Lighting that creates sharp-edged shadows |
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Definition
| Lighting that creates little contrast between light and dark areas of a shot |
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Definition
Something removed from its original time and place
Not real |
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| Not directly stated in narrative, up to viewer to discover by analysis |
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| Titles between shots in silent films to inform viewer |
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| Elliptical cut that is an interruption of a single shot, either figures or background changes instantly while the other remains constant |
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| Main and brightest light in the 3 point lighting system |
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Early motion picture viewing device
Thomas Edison |
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Effect of film editing/montage shown by Kuleshov
Filmed expressionless faced and edited together with images of soup, dead woman, and a girl and audiences thought face had different expression depending on what it was just looking at |
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| Use of a few colors in a small range |
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Definition
Type of depth cue
Depth created when parallel lines converge at a distant point |
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Definition
| Lighting that creates strong contrast between light and dark areas of a shot, deep shadows, little fill light |
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Definition
| Continuity cut that splices two different views of the same action at the same time to show it uninterrupted |
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Definition
| All of the elements in a shot |
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Synonym for editing
Developed by Soviet film makers in the 20's
Emphasizes dynamic, usually discontinuous, relationships between shots and juxtaposition of images to create ideas |
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| A segment of a film that summarizes a topic or compresses a passage of time into brief symbolic or literal images |
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| Element in a film repeated to imply significance |
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| Story/plot created/conveyed by film maker |
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| A shot or series of shots cut into a sequence that are outside of the main narrative |
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Depth Cue
Depth created by overlapping objects |
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Definition
| Cuts the repeat part or all of an action, expanding its viewing time |
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| Film cues viewer to compare two or more elements by highlighting a similarity |
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| Way to judge Mise-En-Scene based on depiction of culture and time |
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| Return to establishing shot after seriers of closer shots |
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| The thing that is referenced |
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| Allusion to to knowledge outside the film that the viewer is expected to recognized |
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| Reverse of previous shot is shown next, typical example is one character looking at another off screen then that character looking back |
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| Connection between shots based off of rhythm of sounds, music, etc |
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| The right-left relationships in a scene, set up in an establishing shot and determined by the position of figures, directions of movement, and characters eye-line |
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| Study of sign processes and communication |
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| Staging action in relatively few planes of depth |
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| Lighting coming from one side of a figure to create volume, remove shadows, etc |
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| Lighting that avoids harsh bright and dark areas |
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| Typical or indicative meaning |
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| Lighting coming from above a person or an object, used to outline upper areas, or separate figure from background |
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Definition
| Common lighting technique using three sources, back light, key light, fill light |
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Definition
| Lighting from below figure |
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Definition
Depth Cue
Objects decrease in size as they get farther away |
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Definition
| Transition between shots in which a line passes across the screen eliminating one shot as it goes and replacing it with the next one |
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| Zoom out or in bringing figures further or closer away |
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