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Film > Vocab: > Flashcards

Vocab: Flashcards

1
Q

Film Form

A

System of relationships among the parts of the film

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2
Q

Referencial meaning

A

Meaning generated by objects outside of the direct film elements, which are refered to in the film.

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3
Q

Explicit Meaning

A

Significance presented overtly: language

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4
Q

Implicit Meaning

A

Significance left tacit, for the viewer to discover

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5
Q

Symptomatic Meaning

A

Significance that the film divulges by virtue of its historical or social context.

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6
Q

Motivation

A

Justification of a film for the presence of an element.

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7
Q

Motifs

A

An element of the film that is repeated in a significant way.

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8
Q

Development

A

A progression moving from beginning to middle to end, made up of the same elements.

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9
Q

Segmentation

A

The process of dividing film into parts for analysis.

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10
Q

Unity

A

The degree to which a film’s parts relate systematically to one another and provide motivations for all the elements included.

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11
Q

Complexity

A

A film which engages our interest on different levels with different patterns of feelings and meanings.

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12
Q

Coherence

A

A principle demanding that the parts of a film be arranged so that the meaning of the whole may be immediately clear.

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13
Q

Intensity of Effect

A

How emotionally engaging the film is.

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14
Q

Originality

A

Inventiveness making a work unique to other films

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15
Q

Variation

A

In film form, the return of an element with notable changes.

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16
Q

Parallel

A

Repetition working in tandem with and as the opposite to variation.

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17
Q

Narrative Form

A

A type of organization in which the parts relate to one another through a series of causally related events.

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18
Q

Narration

A

The process through which the plot conveys or with-holds story information. The narration can be more or less restricted to character knowledge and more or less deep in presenting characters’ perceptions and thoughts.

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19
Q

Story

A

In a narrative film: all the events that we see and here, plus ones that we infer or assume.

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20
Q

Plot

A

The elements of a film which are directly presented to us.

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21
Q

Diagesis

A

The world of the film’s story. The diegesis includes events that are presumed to have occurred and actions and spaces not shown onscreen.

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22
Q

Non-diagetic

A

That which is not within the world of the film. (credits, some music)

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23
Q

Temporal order

A

The arrangements of events in time.

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24
Q

Temporal Duration

A

The length of events

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25
Q

Temporal Frequency

A

The amount of occurrences of same instances.

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26
Q

In Media Res

A

Beginning in the middle of an event often followed by a flashback of how that event came into existence.

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27
Q

Exposition

A

Narrative device which provides necessary background information about the characters and their circumstances.

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28
Q

Set-up

A

The introduction in a plot of an element that will be useful to the story only later.

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29
Q

Point of View Shot

A

A shot where the camera is placed as if it is the character’s eyes, giving the audience the impression of viewing the story world as the character.

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30
Q

Shot

A

In shooting, one uninterrupted run of the camera to expose a series of frames; also called a take.

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31
Q

Sequence

A

Term commonly used for a moderately large segment of the film, involving one complete stretch of action; similar to scene.

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32
Q

Scen

A

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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33
Q

Classical Hollywood Cinema

A

Films that show one or more characters facing a succession of problems while trying to reach their goals.

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34
Q

Closure

A

The feeling of finality that is generated when the questions posed throughout the narrative are answered.

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35
Q

Parallelism

A

Narrative parallels as form of comparing like situations.

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36
Q

Mis-en-scene

A

All of the elements placed in front of the camera to be photographed: the settings and probs, lighting, costumes and makeup, and figure behavior.

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37
Q

Key Light

A

In the three-point lighting system, the brightest illumination coming into the scene.

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38
Q

Fill Light

A

Illumination from a source less bright than the key light, used to soften deep shadows.

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39
Q

Three-point Lighting

A

A classical Hollywood filmmaking convention of using three light sources, the key, fill, and back lights.

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40
Q

High Key Lighting

A

Illumination that creates comparatively little contrast between the light and dark areas of a shot.

41
Q

Low Key Lighting

A

Strong contrast between light and dark, deep shadows and little fill light.

42
Q

Aerial perspective

A

A cue for suggesting depth of the image by presenting objects in the distance less distinctly than those in the foreground.

43
Q

Linear Perspective

A

Parallel lines that recede into the distance appear to get closer together and converge.

44
Q

Deep-space Composition

A

An arrangement of mise-en-scene elements so that there is considerable distance between the plane closest to the camera and the one farthest away.

45
Q

Shallow-Space compistion

A

Staging the action in relatively few planes of depth, opposite of deep space.

46
Q

Focal Legnths

A

The distance from the center of the lens to the point where light rays meet a sharp focus. Determines the perspective relations of space represented on a flat screen.

47
Q

Wide-angle lense

A

A lens of short focal length that affects a scene’s perspective by distorting straight lines near the edges of the frame. (Fish tunnel) Background seems way further away

48
Q

Medium-angle (or normal) lens

A

A lens that shows objects without severely exaggerating or reducing the depth of the scene’s planes.

49
Q

Telephoto Lens

A

A lens of long focal length that affects a scene’s perspective by enlarging distant planes and making them seem close to the foreground.

50
Q

Zoom lens

A

A lens with a focal length that can be changed during a shot. (distance comes into focus) Magnifying the scenes space, or narrowing the space to a point on the foreground.

51
Q

Depth of Field

A

Thew measurements of the closest and farthest planes in front of the cameral lens which are in sharp focus.

52
Q

Deep Focus

A

A use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus. (large depth of field)

53
Q

Racking Focus

A

Changing the focus of the lens during a shot

54
Q

Superimposition

A

The exposure of more than one image on the same film strip. Overlaying effect

55
Q

Rear Projection

A

Background imagery is projected from behind the screen which foreground action was filmed in front of earlier.

56
Q

CGI

A

Computer generated imagery

57
Q

Aspect Ratio

A

The relationship of the frame’s width to its height. Standard = 1.85:1

58
Q

Framing

A

The use of edges of the film frame to select what is visible on screen.

59
Q

Canted-angle Shot

A

A view in which the frame isn’t level; either the right or left side are lower.

60
Q

High-angle shot

A

When camera is located above normal eye-level compared to subjects.

61
Q

Low-angle shot

A

When camera is located below normal eye-level compared to subjects.

62
Q

Straight on Angle shot

A

When camera is at eye level of the subjects.

63
Q

Extreme long shot

A

A framing in which the scale of object shown is very small; a building landscape, and crowd will all fit on screen.

64
Q

Long Shot

A

A framing which the scale of the object shown is small; human would appear nearly the height of the screen.

65
Q

Long-medium shot

A

Objects about 4/5 feet high appear to fill most of the screen.

66
Q

Medium shot

A

Scale of the object shown is of moderate size; a human figure seen from the waist up.

67
Q

Medium close up

A

Object shown is fairly large, chest up human would fill the screen.

68
Q

Close up

A

Object large: neck up human fits the screen.

69
Q

Extreme Close up

A

Small object or part of the body takes up the screen.

70
Q

Masking

A

In exhibition, stretches of black fabric that frame theater screen.

71
Q

Iris

A

A round, moving mask that can close down to end a scene, or emphasize a detail.

72
Q

Pan

A

Camera turning left to right projecting frame that scans horizontally.

73
Q

Tilt

A

A camera movement with the camera body swiveling upward or downward on stationary support. (vertical)

74
Q

Tracking or dolly shot

A

Camera is moving through space.

75
Q

Crane shot

A

Camera is placed above the subject and moving through the air.

76
Q

Handheld shot

A

The use of the camera operator’s body as camera support

77
Q

Refraiming

A

Short panning or tilting movements to adjust for the figures’ movements, keeping them onscreen or centered.

78
Q

Following Shot

A

A shot with framing that shifts to keep a moving figure on screen

79
Q

Long Take

A

Shot that continues for an unusually lengthy time before the transition to the next shot.

80
Q

Fade-out

A

A shot that gradually disappears as the screen darkens.

81
Q

Fade-in

A

Dark screen gradually brightens into shot

82
Q

Dissolve

A

A transition between two shots during which first image slowly dissapears as the second appears. Moment with both images is superimposition.

83
Q

Wipe

A

A transition between shots in which a line passes across the screen eliminating one shot and replacing it with another.

84
Q

Graphic Match

A

Two successive shots joined so as to create a strong similarity of compositional elements.

85
Q

Crosscutting

A

Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously.

86
Q

Intensified Continuity Editing

A

A combination of editing practices simulating persistent continuity while cutting between shots.

87
Q

Axis of Action

A

In continuity editing system, there is an imaginary line which the camera must stay on one side of. Also known as the 180 degree line.

88
Q

180 degree system

A

The continuity approach to editing dictates that the camera should stay on one side of the action to ensure consistent left-right spatial relations between elements from shot to shot.

89
Q

Establishing shot

A

A shot which shows the spatial relations among the important figures, objects, and setting in a scene.

90
Q

Re-establishing shot

A

A return to view of an entire space after a series of closer shots.

91
Q

Shot/reverse shot

A

Two or more shots edited together that alternate characters, typically in conversation.

92
Q

Eye-line match

A

A cut obeying the 180 system in which the first shot shows a person looking off in one direction and then the second shot showing what they see.

93
Q

Match on Action

A

A continuity cut that splices two different views of the same action together

94
Q

Montage

A

An approach to editing which emphasized dynamic, often discontinuous relationships between shots and juxtaposition of images to create ideas not rpesent in either shot by itself.

95
Q

Montage Sequence

A

A segment of a film that summarizes a topic or compresses a passage of time into a brief symbolic or typical image. Fades, dissolves are used often.

96
Q

Jump Cut

A

An elliptical cut that appears to be an interruption of a single shot.

97
Q

Non-diegetic insert

A

A shot or series of shots cut into a sequence showing objects being outside the world of the narrative.

98
Q

Cut

A

The joining of two strips of film together with a splice.

99
Q

Cut-in

A

An instantaneous shift from a distant framing to a closer view of some portion of the same space.

Film (1 decks)

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