Originally made by my classmate on Quizlet.
Narrative
A chain of events linked by cause and effect and occurring in time and space
Narration
The moment-by-moment process that guides viewers in building the story out of the plot
Story
The chain of events in chronological order.
Plot
The same story can be presented
in different waysârendered as different plotsâand each variant is likely to have different effects on the audience story. The
filmmakers have built the plot from the story, but viewers build the story from the plot.
Diegesis
The total world of the story action.
Non-diegetic elements
Material that does not exist in the film world, ie. Music score, forms of narration, subtitles, credits
Flim credits
A list of people who contributed to the making of a movie or TV show
Intertitles
Mostly associated with silent film, images that present printed information or dialogue about the images before or after the intertitle
Cause and effect
By triggering events and reacting
to them, characters play causal roles within the film's narrative form.
Protagonist
Main character in a story
Antagonist
The antagonist is a character who opposes the protagonist.
Open-ended plot
One that leaves a lot of unanswered questions, like a trilogy
flashbacks and flashfowards
Narrative techniques that disrupt the linear flow of a story by showing events that happened before or after the current point in time:
Duration
Duration is the amount of time that it takes for events to occur.
Frequency
The aspect of temporal manipulation that involves the number of times any story event is shown in the plot.
Beginning/openings
Setup, backstory, exposition vs. in medias res
Development
Change in knowledge, goal-oriented plot, deadline, journey.
The end/closings
Climax vs. anticlimactic
Range: restricted or unrestricted
How much information we are telling the viewer. Restricted narration tends to create greater curiosity and surprise for the viewer.
Depth
What kind of information we are being told and its importance. Objective or subjective; perceptual vs. mental subjectivity
Mise-en-scene
Signify the director's control over what appears in the film frame, setting, lighting, costume and makeup, and staging and performance
Realistic mise-en-scene
A style of filmmaking that uses the physical environment to tell a story in a way that appears to be real and recognizable to viewers.
"theatrical" mise-en-scene
emphasizes the artificial or constructed nature of its world
--denaturalizes the locations and other elements of the mise-en-scene so that its features appear unfamiliar, exaggerated, or artificial
Setting
The real world (location) or studio
Costume and make-up
ivisible or invisible,
Props
Range of roles, consider instrumental, cultural and metaphorical
Lighting quality hard vs soft
Soft light is light that tends to "wrap" around objects, projecting diffused shadows with soft edges, whereas hard light is more focused and produces harsher shadows.
Lighting direction
Frontal lighting, sidelight, backlighting, underlighting, top lighting
Lighting source
Three-point lighting: Key light, backlight and fill light
Lighting color
realistic or artificial
Staging/acting
Actuality/realism
Screen space
balance and symmetry
Depth cues
Volume and planes, overlap, size diminution
Color design
Uses of different types of colors to showcase a specific image or feeling (monochrome, vibrant)
Deep space
An arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the
camera and the one farthest away. Any or all of these planes may
be in focus
Cinematography
The general composition of a scene; the lighting of the set or location; the choice of cameras, lenses, filters, and film stock; the camera angle and movements; and the integration of any special effects
Contrast
high vs low
Exposure
balanced, underexposed vs. overexposed
Filters, Tinting and Toning
A piece of glass or gelatin placed in front of the camera or
printer lens to alter the quality or quantity of light striking the film
in the aperture.
FPS
frames per second
Time lapse photography
Captures frames at a slower rate than they are viewed, making time appear to speed up.
Slow motion vs. fast motion; ramping
Used to create visual effects in flim
focal length; perspective
wide-angle (short), normal (middle) and telephoto (long)
Zoom
The amount of magnification used to show content onscreen; the higher the zoom, the larger the content.
Depth of lens
The distance between the closest and furthest points in a scene that appear sharp when a lens is focused on a subject
Selective focus
choosing to focus on only one plane and letting the other planes blur
deep focus
A use of the camera lens and lighting that keeps
objects in both close and distant planes in sharp focus.
Racking focus
shifting the area of sharp focus from one plane to another during a shot
Superimposition
the exposure of more than one image on the same film strip or in the same shot
rear projection
effects have images projected behind performers who are in the foreground
matte work
A type of process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work.
CGI
Computer-generated imagery: using digital software systems
to create figures, settings, or other material in the frame.
Framing
The way elements are arranged in the frame.
Aspect ratio
The relationship of width to height in a picture or shape.
Masks and Iris's
Cut outs or shapes put over scenes to portray certain moods
Split screen
an optical technique that divides the screen into two or more frames
On-screen vs off-screen
Things we see happening vs know are happening
Camera angles
straight on, high or low
Camera level
level/parallel or canted
Camera heights
low-angle shot, high-angle shot, canted angle (AKA Dutch angle)
camera distance
Extreme close-up
Close-up
Medium close-up
Medium shot
Medium long shot
Long shot
Extreme long shot
Camera pan
turning left or right
Camera tilt
turning up or down
Tracking or dolly shot
A mobile framing that travels through space forward, backward, or laterally.
Crane shot (also helicopters and drones)
Shots from above, birds eye like
Steadicam
A camera mount, worn by the operator, that allows the camera to remain level even when the operator moves, ensuring extremely smooth hand-held traveling shots.
Handheld camera
The use of the camera operator's body as a camera support, either holding it by hand or using a harness.
Reframing
Short panning or tilting movements to adjust for the figures' movements, keeping them onscreen or centered.
The long take
A shot that continues for an unusually lengthy time before the transition to the next shot.
Sequence shot
A shot in which an entire scene is played out in one continuous take
Editing: Cut
the most common type of transition in which one scene ends and a new one immediately begins
Fade-out vs Fade-in
fading into or out of scenes using a black screen
Dissolve
Briefly superimposes the end of
shot A and the beginning of shot B
Wipes
Wipes away shot A to shot B
Graphic relations, Graphic match, Graphic contrast
How scenes relate to one another
Rythmic relations
Length of shots in relation to the shots around it
Spatial relations
Shots use all of the resources of tracking, panning, craning, zooming, and racking focus to sculpt plastic, ever-changing spatial relations.
Kuleshov effect
a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation
Constructive editing
Editing that suggests a scene's space by providing only portions of it, without an establishing shot
Temporal relations
Chronology, Flashbacks, Flashforwards
Parallel editing/crosscutting
cutting together two or more lines of action that occur simultaneously at different locations
Repetition
the action of repeating something that has already been said or written.
Elliptical editing
shot transitions that omit parts of an event, causing an ellipsis in plot duration
Condensing or expanding
Making a shot wider or smaller to portray perspectives
Overlapping editing
Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration.
180Âș line or axis of action (images on 231 and 232); consistent screen direction
This axis of action determines a
half-circle, or 180Ă
ĂŁ area, where the camera can be placed to present the action. The filmmaker will plan, stage, shoot, and edit the shots so as to maintain the axis
of action from shot to shot.
Establishing shot
A shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene.
Eyeline match
A cut obeying the axis of action principle, in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what he or she sees. If the person looks left, the following shot should imply that the looker is offscreen right.
Match on action
A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.
Reestablishing shot
a return to a view of an entire space after a series of closer shots following the establishing shot
Constructive editing
Constructive editing builds up
each line of action.
Two shot
a scene between two people shot exclusively from an angle that includes both characters more or less equally. It is used in love scenes where interaction between the two characters is important.
Shot/reverse shot
(often moving closer to the subject as the scene reaches its climax)
Intensified continuity
(faster, more close- ups, frame mobility)
Shifting or crossing the axis/the 180Âș line
To make a statement/make the scene feel off or askew
Jump cut
An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant.
Non-diegetic insert
A scene that is outside the story world which is "inserted" into the story world
Montage
A quick succession of scenes or impressions used to express an idea.
Realism
An artistic approach and narrative style that aims to represent life, characters, settings, and events as closely as possible to their real-world counterparts.
Speech
oral expression of language