Film Terminology

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108 Terms

1

Realist Mise-en-Scene

realistic style (MS)

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2

Stylized/ Artistic Mise-en-Scene

exaggerated style → not realistic (MS)

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3

aspect ratio

ratio between width and height (MS)

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4

pro-filmic elements

everything placed in front of the camera (MS)

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5

visual effects

imagery that’s made/ manipulated after live-action shot (MS)

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6

framing

the use of the edges of the film frame to select/ compose what’s visible on screen (MS)

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7

horizontal positioning

moving camera left to right on horizontal plane (MS)

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8

vertical positioning

moving camera up and down on vertical plane (MS)

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9

positioning in depth

move camera in and out to make a shot feel 3D (MS)

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10

proximal positioning

how close the camera is to the subject (MS)

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11

remote positioning

camera is placed somewhere else to accentuate some aspect of scene (ex. place in top corner of big room to show how big the room is) (MS)

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12

obstructed framing

part of subject is obstructed (MS)

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13

composition

how elements on screen appear in respect to one another and within the frame (MS)

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14

blocking/ staging

describes when, where, and how subjects are positioned and move within frame (MS)

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15

depth

adding layers to a shot to give it a 3D feel → makes audience feel more immersed in film (MS)

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16

Density

measure of how dark the film is after exposure and processing (MS)

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17

lighting

  • refers to the direction, quality, source, or color of the light

  • helps guide the viewer’s attention

  • creates atmosphere

  • MS

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18

color

used to set the tone of a scene (MS)

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19

extreme close-up (ECU)

focus on small details of a character (Cinematography)

<p>focus on small details of a character (Cinematography)</p>
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20

close-up (CU)

tightly frames character (Cinematography)

<p>tightly frames character (Cinematography)</p>
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21

medium close-up (MCU)

frames subject from just above head to just below chest (Cinematography)

<p>frames subject from just above head to just below chest (Cinematography)</p>
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22

medium shot (MS)

  • captured at medium distance from subject

  • shows body language and more of the setting

  • Cinematography

<ul><li><p>captured at medium distance from subject</p></li><li><p>shows body language and more of the setting</p></li><li><p>Cinematography</p></li></ul><p></p>
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23

medium long shot (MLS)

  • frames character from waist up

  • shows character alone in center of empty frame

  • Cinematography

<ul><li><p>frames character from waist up</p></li><li><p>shows character alone in center of empty frame</p></li><li><p>Cinematography</p></li></ul><p></p>
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24

long shot (LS)

shows subject from head to toe in their surroundings (Cinematography)

<p>shows subject from head to toe in their surroundings (Cinematography)</p>
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25

extreme long shot (ELS)

  • frames subject from a distance

  • focuses mainly on surroundings

  • establishing shot for location/ setting before focusing on character/ scene

  • Cinematography

<ul><li><p>frames subject from a distance</p></li><li><p>focuses mainly on surroundings</p></li><li><p>establishing shot for location/ setting before focusing on character/ scene</p></li><li><p>Cinematography</p></li></ul><p></p>
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26

one shot

one person in frame (Cinematography)

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27

two shot

  • two people in frame

  • captures subjects’ interactions, distance from one another, and body language

  • Cinematography

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28

wide shot

shows entire subject in relation to their surroundings (Cinematography)

<p>shows entire subject in relation to their surroundings (Cinematography)</p>
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29

POV shot

filmed through eyes of character (Cinematography)

<p>filmed through eyes of character (Cinematography)</p>
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30

OTS shot

camera placed over back shoulder/ head of character → used in conversation scenes (Cinematography)

<p>camera placed over back shoulder/ head of character → used in conversation scenes (Cinematography)</p>
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31

straight-on

camera place directly in front of subject on the same plane/ eye level (Cinematography)

<p>camera place directly in front of subject on the same plane/ eye level (Cinematography)</p>
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32

high angle

camera points down at subject (NOT directly over subject) → creates feeling on inferiority (Cinematography)

<p>camera points down at subject (NOT directly over subject) → creates feeling on inferiority (Cinematography)</p>
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33

bird’s eye shot

camera directly above subject (Cinematography)

<p>camera directly above subject (Cinematography)</p>
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34

low angle

camera below subject’s eye line → shows superiority/ intimidation (Cinematography)

<p>camera below subject’s eye line → shows superiority/ intimidation (Cinematography)</p>
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35

worm’s eye shot

camera beneath subject (Cinematography)

<p>camera beneath subject (Cinematography)</p>
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36

canted/ dutch angle

camera is tilted/ slanted to one side → shows disorientation/ confusion (Cinematography)

<p>camera is tilted/ slanted to one side → shows disorientation/ confusion (Cinematography)</p>
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37

shallow focus

small part of image is clear & everything else is blurry → directs viewer’s attention (Cinematography)

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38

deep focus

everything in frame is in sharp detail (Cinematography)

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39

soft focus

slightly blurred dream-like/ romantic atmosphere (Cinematography)

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40

rack focus

changes focus from one subject to another within same shot → shifts viewer’s attention (Cinematography)

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41

focal length

distance (in mm) between lens and image sensor in camera (Cinematography)

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42

wide angle lens

  • focal length less than 35 mm

  • wide field of view

  • Cinematography

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43

telephoto lens

brings distant subjects closer by using a long focal length (Cinematography)

<p>brings distant subjects closer by using a long focal length (Cinematography)</p>
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44

anamorphic lens

captures a wider aspect ration and creates a horizontal lens flare (Cinematography)

<p>captures a wider aspect ration and creates a horizontal lens flare (Cinematography)</p>
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45

zoom

  • ability to “zoom in” without moving camera

  • changing the focal length

  • Cinematography

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46

bokeh

  • the quality of the out of focus background

  • blurred lights

  • Cinematography

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47

lens flare

when a lot of direct bright light hits the lens which creates spots in an image (Cinematography)

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48

underexposure

  • very small amount of light

  • make images/ shots darker

  • less detailed and more grain

  • Cinematography

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49

overexposure

  • a lot of light

  • brighter images with less detail

  • Cinematography

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50

split diopter

lens attachment that focuses on objects at different distances in frame (has two focal lengths on either side of the lens) (Cinematography)

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51

pan

camera rotates horizontally from a fixed position (Cinematography)

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52

tilt

camera tilts up and down from a fixed position (Cinematography)

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53

handheld shot

camera held in had → more shaky look (Cinematography)

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54

dolly

the track a camera moves on (Cinematography)

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55

lateral tracking

camera moves sideways while mounted on a dolly (Cinematography)

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56

foward tracking

camera moves towards from subject while mounted on a dolly (Cinematography)

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57

backward tracking

camera moves away from subject while mounted on a dolly (Cinematography)

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58

crane shot

dynamic shot from mounted on a crane (Cinematography)

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59

drone/ helicopter shot

aerial shot → used as an establishing shot (Cinematography)

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60

steadicam shot

handheld auto stabilizing rig worn by operator (Cinematography)

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61

hard cut

  • standard cut

  • sudden change from one shot to another

  • changing shot between a scene

  • sounds and visuals cut at the same time

  • Editing

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62

dissolve

gradually fades from one image to another (Editing)

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63

fade

gradually fades from an image to black (or vice versa) (Editing)

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64

iris in/ out

circular “eye-like” transition (Editing)

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65

wipe

replace one shot with another by moving image across the screen (Editing)

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66

shot/ reverse shot

back and forth from one angle to another (Editing)

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67

180-degree rule

move camera back and forth staying in the same 180 degrees (Editing)

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68

30-degree rule

when changing camera angles there should be at least 30 degrees of a difference (Editing)

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69

match-on-action

cutting to a different camera angle at the same time to create the visual of a continuous action (Editing)

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70

match-on-dialogue

cutting between two shots and the dialogue is smooth (Editing)

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71

eyeline match

switching from a character looking at a thing to the thing they’re looking at (Editing)

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72

coverage/ cutaway

cutting away from main action to add more information and then cutting back (Editing)

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73

intercutting

  • cutting back and forth between two or more camera shots that show different actions

  • usually in different scenes/ locations

  • ex. cutting to and from a flash back

  • Editing

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74

crosscutting

cutting back and forth between shots in different locations that are happening at the same time (Editing)

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75

eisensteinian (Soviet) montage

umbrella term for five types of montages (tonal, metric, intellectual, rhythmic, overtonal) → soup example (Editing)

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76

intellectual montage

a bunch of images back to back to create one idea (Editing)

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77

montage sequence

collection of shots to present a lot of information in short amount of time (Editing)

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78

metric montage

cut between shots after predetermined number of frames (Editing)

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79

overtonal montage

the cumulation of metric, rhythmic, and tonal montage (Editing)

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80

surrealist editing

dreamy/ illogical sequence (Editing)

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81

elliptical editing

omits certain parts of a scene to show time passing (Editing)

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82

jump cut

a continuous shot is broken up by shots less than 30 degrees away (Editing)

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83

temporal discontinuity

linear flow of time is interrupted (flash backs/ flash forwards) (Editing)

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84

spacial discontinuity

disruption of visual continuity/ spacial relationships (Editing)

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85

graphic discontinuity

disrupts the visual flow of film by creating contrasting visual elements (colors, shapes, compositions) between shots (Editing)

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86

asynchronous sound

sound that doesn’t match up with what’s on screen (ex. Police sirens not on screen) (Sound & Music)

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87

synchronous sound

sound that matches up with what’s on screen (ex. People talking in frame) (Sound & Music)

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88

diegetic sound

  • Sounds that originate from within the film’s world

  • sound characters can hear it

  • Sound & Music

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89

non-diegetic sound

  • Sounds that are added after in editing

  • Sounds characters can’t hear

  • Sound & Music

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90

Internal Diegetic Sound

Sounds the audience can hear but the character cannot hear but is within the film world (ex. inner monologue) (Sound & Music)

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91

Realistic Sound

Corresponds with actions on screen (Sound & Music)

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92

Stylized Sound

Exaggerates on screen actions (Sound & Music)

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93

ADR (aka, “Looping” or “Dubbing”)

  • Automated dialogue replacement

  • Rerecording an actor’s dialogue in a quiet location after filming

  • Actor watches a looped scene of themselves to dub new dialogue

  • Sound & Music

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94

MOS

“mit-out-sound:” take where no sound is recorded (Sound & Music)

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95

Score

a film’s original music (Sound & Music)

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96

soundtrack

Selection of recorded songs that accompany a film that includes songs made for film and songs already made (Sound & Music)

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97

Diegetic Music

music that’s part of the fictional world (Sound & Music)

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98

Non-Diegetic Music

the movie’s score (Sound & Music)

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99

Leitmotif

Short recurring music motif associated with person or place (Sound & Music)

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100

auto dissolve

Transition technique used to smoothly blend two separate audio clips together (Sound & Music)

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