CDM 001: Midterm Study Guide (3)

Cinematography

Art of capturing images on film or digital media through choices in camera movement, framing, lighting, and composition

Extreme Close-up

Shot showing a very small detail, such as a person’s eye or an object filling the frame

Close-up

Shot framing a subject’s face or object closely to emphasize emotion or detail

Medium Close-up

Frames subject from chest up, balancing facial expression and body language

Medium Long Shot

Frames subject from knees up, showing both gestures and some background

Long Shot

Frames entire body of subject within environment, establishing relationship between subject and setting

Extreme Long Shot

Shows subject from a great distance, emphasizing landscape or isolation

Zoom

Optical change in focal length to magnify or reduce subject size within frame, without moving camera

Two Shot

Shot featuring two characters within same frame, emphasizing their relationship

Camera Angle

Position of camera relative to subject; high angle looks down, low looks up, level is straight, canted is tilted

Deep Focus

All planes of the image (foreground, midground, background) remain in sharp focus

Shallow Focus

Only a specific part of image is in focus, directing attention

Pan

Camera movement horizontally on a fixed axis

Tilt

Camera movement vertically on a fixed axis

Tracking/Dolly

Camera physically moves along tracks or wheels to follow action or shift perspective

Crane/Boom

Camera mounted on crane or boom arm moves vertically or laterally through space

Steadicam

Stabilized camera rig for smooth movement

Handheld

Camera operated by hand, producing shaky or naturalistic effect

POV Shot

Shot representing what a character sees from their perspective

Unmatched POV

When the camera shows a view not directly tied to a character’s literal sightline

Depth of Field

Range of focus within image; can be deep (everything sharp) or shallow (selective focus)

Mise en scène

Everything placed in front of camera contributing to visual composition and meaning

Set Design

Physical environment or constructed setting for scene

Props

Objects used by characters that carry narrative or symbolic meaning

Costuming & Makeup

Clothing and makeup that reveal character, era, or theme

Composition and Space

Arrangement of elements and spatial relationships within frame

Character Blocking & Performance

Placement and movement of actors to express relationships or emotions

Lighting

Illumination setup shaping mood, visibility, and realism

Three-point Lighting

System using key, fill, and backlight to balance exposure

High Key Lighting

Bright, even illumination minimizing shadows

Low Key Lighting

High contrast lighting with deep shadows, often dramatic

Natural Lighting

Use of available light sources for realism

Editing

Process of selecting and joining shots to create continuity, rhythm, or meaning

Fade In/Out

Gradual transition to or from black signaling beginning or end

Dissolve

One shot gradually replaces another, often indicating passage of time

Wipe

Transition where one shot replaces another via directional movement

Mask

Portion of frame obscured to create shape or effect

Iris In/Out

Circular mask opens or closes to begin or end a scene

Jump Cut

Abrupt cut disrupting continuity or indicating time compression

Shot Duration

Length of time a shot lasts before cutting

Establishing Shot

Opening shot setting up scene’s location or context

180-Degree Rule

Maintains spatial consistency by keeping camera on one side of action axis

Match on Action

Cut between shots continuing same movement for seamless flow

Eyeline Match

Cut showing what character is looking at to establish spatial relation

Graphic Match

Cut linking two visually similar images to create connection

Shot/Reverse Shot

Alternating shots of two characters in conversation

Parallel Editing

Cutting between simultaneous actions in different locations

Discontinuity Editing

Editing that intentionally breaks spatial or temporal coherence

Soviet Constructivism

Early 20th-century film theory emphasizing editing to generate meaning

Graphic Clash

Juxtaposition of visually contrasting shots for effect

Hitchcock’s Pure Cinema

Idea that film’s essence lies in visual storytelling through editing and composition, not dialogue

Hitchcock’s Use of Single Set

Technique focusing entire film in one confined space to heighten tension

Film vs Theater

Contrast between film’s visual, spatial storytelling and theater’s live performance focus

Visual Patterning in Narrative Film

Repetition of visual motifs to structure meaning or emotion

Parallel Narrative Structures

Two or more interrelated storylines occurring simultaneously

Story vs Plot

Story is full chronological sequence of events; plot is how they’re presented

Diegetic Sound

Sound originating within film’s world (dialogue, footsteps)

Non-Diegetic Sound

Sound outside film’s world (score, narration)

Flashback/Forward

Temporal shifts showing past or future events

Kuleshov Effect

Meaning created through juxtaposition of unrelated images

Montage

Editing technique combining shots to create associations or ideas

Eisenstein’s Dialectical Montage

Theory that conflict between shots produces intellectual and emotional meaning

Metric Montage

Editing based on absolute length of shots

Rhythmic Montage

Editing guided by visual continuity and motion

Tonal Montage

Editing conveying mood or emotional tone

Associational Montage

Editing linking disparate images to suggest conceptual connection

Intellectual Montage

Editing combining symbolic shots to provoke abstract ideas

Sequence Shot

Entire scene captured in a single continuous take

Static Shot

Camera remains fixed

Cybernetic Camera

Camera dynamically reactive to scene or digital input

Internal Focalization

Viewpoint aligned with a character’s thoughts or perception

External Focalization

Viewpoint outside any one character’s perception

Biographical Analysis

Interpretation linking film to creator’s life

Historical Analysis

Interpretation linking film to historical context

Thematic Analysis

Interpretation exploring central ideas or motifs

Italian Neorealism

Postwar film movement emphasizing realism, location shooting, nonprofessional actors

Formal Elements

Visual and stylistic components of film form

Social Elements

Depiction of social conditions or class dynamics

Classic Hollywood Cinema

Studio-era style emphasizing continuity editing, clear narrative, and causality

Third Cinema

Political film movement from Latin America rejecting commercial cinema and colonial ideology

Imperfect Cinema

Anti-Hollywood style embracing raw, participatory aesthetics for social engagement

Formal, Social, & Historical Analysis

Comprehensive interpretation combining visual, social, and contextual approaches

Non-fiction Film

Film presenting factual subjects rather than fictional narrative

Documentary

Film telling stories with evidence and argument

Nichols’s Three C’s

Credible, Compelling, Convincing traits of strong documentary

Expository Mode

Uses narration and argument to convey information

Poetic Mode

Emphasizes mood, tone, or pattern over exposition

Observational Mode

Captures reality with minimal intervention

Participatory Mode

Filmmaker interacts directly with subjects

Reflexive Mode

Highlights filmmaking process and filmmaker’s role

Performative Mode

Expresses personal or emotional perspective of filmmaker

Ethnographic Film

Documentary exploring cultures through observation and representation

Modes of Address

Ways a film communicates and positions its audience

Film as Microcosm

Film reflecting broader social or ideological systems

Realism vs Formalism

Realism strives for natural representation; formalism emphasizes style and manipulation

Male Gaze

Concept from Laura Mulvey describing how cinema positions viewers to see women through heterosexual male perspective

Voyeurism

Pleasure derived from secretly watching others

Scopophilia

Pleasure in looking, central to cinematic experience

Fetishism

Obsession with object or body part as substitute for whole person

Fetishizing vs Modeling Desire

Fetishizing objectifies desire; modeling expresses it as mutual and dynamic