words i cant remember intro to cinema midterm

Selective focus

choosing to focus on only one plane and letting the other planes blur

Racking focus

shifting the area of sharp focus from one plane to another during a shot;

the effect on the screen is called rack-focus

tilt

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

constructive editing

kuleshov effect

analytical editing

cutting that provides an establishing shot and then breaks it into closer

views

anamorphic lens:

regular academy ratio using regular academy ratio frame size. The camera lens takes in a wide field of view and squeezes it onto the frame, and a similar projector lens unsqueezes the image onto a wide theatre screen

cheat cut

In the continuity editing system, a cut that presents continuous time from shot

to shot but that mismatches the positions of figures or objects.

shot/reverse shot

Two or more shots edited together that alternate characters, typically

in a conversation situation. In continuity editing, characters in one framing usually look

left; in the other framing, right. Over-the-shoulder framings are common in

shot/reverse-shot editing.

unrestricted (omniscient) narration

 we

know more, we see and hear more, than any of the characters can

mental subjectivity

 The filmmaker can go deeper, beyond the character's senses and

into her or his mind. We might hear an internal voice reporting the character's thoughts,-

or we might see the character's inner images, representing memory, fantasy, dreams, or

hallucination

monochromatic color design

an extremely limited palette involving a few colors in the

same range

performance capture

the process of recording high-resolution movement which

focuses on the face

motion capture

the process of recording high-resolution movement of objects, people,

or animals into a computer system through the use of capture dots

in media res

bringing us into a series of actions that has already started

rhythmic cutting

the control of shot lengths, cuts, and pacing to create a visual tempo

and emotional beat for the audience

depth cue

The elements of the image that create the impression of depth by suggesting

a space has both volume (it is solid and occupies a three-dimensional area) and several

distinct planes

normal lens

a lens

of medium focal length and shows objects without severely exaggerating or reducing the

depth of the scene's planes.

hard light

 light that creates clearly defined shadows, crisp textures, and sharp edges

diegesis

In a narrative film, the world of the film's story. The diegesis includes events

that are presumed to have occurred and actions and spaces not shown onscreen.

nondiegetic insert

A shot or series of shots cut into a sequence, showing objects that

are represented as being outside the world of the narrative.

ellipsis

In a narrative film, the shortening of plot duration achieved by omitting some

story duration.

elliptical editing

Shot transitions that omit parts of an event, causing an ellipsis in plot

duration.

size diminution

 figures and objects farther away from us are seen to get proportionally

smaller. This reinforces our sense of seeing a deep space with considerable distances

between the planes.

framing

the use of the edges of the film frame to select and to compose what will be

visible onscreen

frontality

 a staging and composition technique where actors position their faces and

bodies to face directly or mostly toward the camera

aspect ratio

the relationship of the frame's width to its height.

intra-frame editing

Digital filmmaking technique that allows the combination of parts of

different shots into a single shot.

flash frames

a very short shot (usually one frame, but occasionally several) appearing

in a sequence of images. Ex: cutting in a few frames of pure white to mark transitions

between segments or signal flashbacks or subjective sequenc

academy ratio

the standardized shape of the film frame established by the Academy of

Motion Picture Arts and Sciences The standard Academy Ratio is currently 1.85:1

aerial perspective

a depth cue defined by the hazing of more distant planes.

graphic editing

the process of selecting, cutting, and combining raw camera shots in

ways that engage specifically with arrangements of shapes and colors on screen

masking

covering movie theatre screen to change aspect ratio

mask

blacking out park of film frame on the camera

bilateral symmetry

Since the film frame is a horizontal rectangle, the director usually

tries to balance the right and left halves. The extreme type of such balancing is bilateral

symmetry where each side of the frame mirrors the other

deep focus

using lenses of shorter focal length, along with more sensitive film stock

and higher light levels, to yield a greater depth of field in which several areas are equally

visible.

narration

The process through which the plot conveys or withholds story information.

The narration can be more or less restricted to character knowledge and more or less

deep in presenting characters' perceptions and thoughts.

frequency

 In a narrative film, the aspect of temporal manipulation that involves the

number of times any story event is shown in the plot.

story order

In a narrative film, the aspect of temporal manipulation that involves the

sequence in which the chronological events of the story are arranged in the plot.

depth of narration

how far to plunge into a character's psychological states with a

spectrum between objectivity and subjectivity

perceptual subjectivity

the audience hears or sees what the character or characters

see or hear

backstory

actions that took place before the plot started

narrative

a chain of events linked by cause and effect and occurring in time and space.

What we usually mean by the term "story,

narrative form

A type of filmic organization in which the parts relate to one another

through a series of causally related events taking place in time and space.

temporal ellipsis

skipping over some less important moments with editing

elided duration

story time being greater than plot time and screen timein the course of a scene

shifting the axis

in the course of a scene the 180° line may shift as the characters

move around the setting. In some cases, the filmmaker may create a new axis of action

that allows the camera to take up a position that would have crossed the line in an

earlier phase of the scene.

intensified continuity

Today's editing practices that abide by the principles of

continuity but amplify them in certain ways. It obeys the 180° system but the cutting is

very fast, it utilizes close views of individual characters, rather than fuller, longer-held

shots, has fewer establishing shots, more frame mobility, and close shots are taken with

telephoto lenses

typage

 the 1920 soviet principal in which the actor was expected to portray a typical

representative of a social class or historical movement

planes

 Planes are the layers of space occupied by persons or objects. Planes are

described according to how close to or far away from the camera they are: foreground,

middle ground, background.

shallow composition

mise-en-scene that suggests little depth, and the closest and

most distant planes seem only slightly separated

cut

(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.

light direction

the path of light from its source or sources to the object lit

staging

directing of performers or figures actions on screen

monocular depth cues

the illusion of depth requires input from only one eye

overlap

when an object or figure seems closer to us because it masks things farther

away

special effects

a general term for various photographic manipulations that create

fictitious spatial relations in the shot, such as superimposition, matte work, and rear

projection

lighting quality

 the relative intensity of the illumination