film study terms

Scene: One or more shots that depict continuous (uninterrupted) space and time in narrative action, such as a conversation between two characters or a fistfight. If space or time alter, a new scene begins.

Sequence: Any number of shots that are unified as a coherent action or an identifiable motif, regardless of changes in time and space. Ex: Class to office hours

Segment: Process of dividing a film into large narrative units for the purpose of analysis.

Change in motif/action in a segment (no coherent/identifiable connection)

Tip: Sentence (Scene)/Paragraph (Sequence)/New Paragraph (Segment

Continuity Editing (Invisible Editing):

Dominant mode of Hollywood editing, Each shot maintains a continuous relationship to the next shot and variables are introduced to maintain this relationship, Transitions between edits appear “invisible” and therefore maximize the realism of the film for the viewer, In short, the viewer does not “notice” the cutting.

180 degree rule-Imaginary line is drawn across the “axis of action,” creating a 180- degree area, the camera must pick a side of the “axis of action” and should not ever film from the other side of the axis.

30 degree rule- If the camera cuts to the same character or object in another shot, the second shot must be positioned at least 30 degrees away from the first camera setup.

shot/reverse shot: Reverse shot is a reaction shot, Sole goal is to create the effect that characters are looking/speaking at each other, Used with conversations or characters interacting with each other in some type of capacity.

Crosscut: camera cuts back and forth between actions in separate locations to imply simultaneous occurrence, Continuity editing, despite disruption in space, Two scenes transpiring at the same time, each often shot in continuity editing.

Disjunctive editing: In short, defined as visible editing that calls attention to the cut and harms the realism of the film, Featured throughout Hollywood film, but not the dominant mode of editing in this film industry.

Jump cut: creates gap in action’

Overlapping: two or more shots of the same action across several cuts (see the same thing over and over again), extend narrative duration.

Montage:Juxtaposes two or more distinct shots and suggests that the viewer will make sense of these contrasting images via other cinematic elements

Sound Bridge: (Godfather) often links the images together for viewer

Fade-Out: Image gradually darkens to black

Fade-In: Black image gradually brightens to an image

Shot- continuous point-of-view between two edits. Camera does not cut away from the images, it may move but not cut.

frame-An individual, still image that determines the portion of the filmed subject. If the camera moves, the image is re-framing.

Pan = Horizontal Movement (most common)

Tilt = Vertical (Gendered)

Zoom: change lens focal image to magnify/minimize image

Dolly (outdated): camera is mounted and physically moved to provide a larger 3- dimensional field

Tracking: physically moving the camera —whether on a dolly or not—to track a subject (1:49-2:04).

Extreme close up-Singles out a Certain thing in a much tighter manner than a close up

close-up-Emphasizes intimacy and emotional severity of the scene. Popular in melodrama/horror.

Medium close up- shoulders/chest up

Medium shot-body from waist up

Medium long shot-legs up

Long shot-Considerable distance between the camera and the scene, person, object being filmed.

Extreme long shot- Extensive distance between camera and object of filming. Often used as an establishing shot to establish setting. Typical of Western genre or films where the land operates as a character.

Subjective POV-Perspective of the character when seen through the camera.

Objective POV- Not associated with any character’s point-of-view (nonpartisan).

Mask- Often used for telescope or shooter scenes. Attachments placed over the lens to occlude the frame.

Auteur theory- Argues that films are a byproduct of a director’s “artistic” style and taste, which are incredibly distinct. In other words, what makes a film “art” is the director’s creative control and role.

CGI-Reliance on visual effects compensates for a lack of creativity and artistic talent.

Mise en scene/four formal elements- • Composition, • Setting, • Lighting, • Actors/Actresses.

Three-point lighting is a common lighting technique that uses three sources: key lighting (to illuminate the object), backlighting (to pick out the object from the background), and fill lighting (to minimize shadows) [Figure 3.191.

• Key light is the main source of non-natural lighting in a sceme. It may be balanced with little contrast between light and dark in the case of high-key lighting or the contrasts between light and dark may be stark, as in low-key lighting. These terms indicate the ratio of key to fill lighting: high-key lighting is even (low ratio of key to fill) and used for melodramas and realist films; low-key lighting is dramatic (high ratio of key to fill) and used in horror films and film noir [Figures 3.20 and 3.211.

• Fill lighting is a tchnique that uses secondary fill lights to balance the key lighting by removing shadows or to emphasize other spaces and objects in the scene [Figure 3.22].

• Highlighting describes the use of the different lighting sources to emphasize certain characters or objects (Figure 3.23].

• Backlighting is a highlighting technique that illuminates the person or object from behind, tending to silhouette the subject [Figure 3.24].

• Frontal lighting, sidelighting, underlighting, and top lighting are used to illuminate the subject from different directions in order to draw out features or create specific atmospheres around the subject