DOCSLIB.ORG

Page 1 Glossary – Selected Terms for Film Analysis General Film Terms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Page 1 Glossary – Selected Terms for Film Analysis General Film Terms >>>>> Working with Films >>>>> Selected Terms for Film Analysis E / Lo Glossary – Selected Terms for Film Analysis General film terms backlighting filming a person or event against a background of light, especially the sun, which produces an idealized or romantic effect caption words that are shown on a cinema screen to establish the scene of a story composition the arrangement of people or things in a film scene credits the list of people who were involved in the making of a film director the person responsible for the artistic production of a film, e.g. the lighting, camera work, action, and the actors' interpretation of their roles feature film film which tells a story (as compared, for example, to a documentary film) motion picture the North American term for 'film' / movie producer the person responsible for the overall organization, especially the financing and marketing, of a film scene a shot or series of shots that usually deal(s) with a single action screenplay the script of a film, including the dialogue and directions of the setting, camera range, camera movements, etc screenwriter the person who writes the screenplay shot a length of film, however short or long, taken by a single camera without cuts soundtrack the recorded music from a film voice-over an explanation or account given in a film by someone who is not seen (or is not seen talking) Camera range the distance between the camera and object long shot (1) a view of a situation or setting from a distance medium long shows a group of people in interaction with each shot (2) other, e.g. a fight scene, with part of their surroundings in the picture full shot (3) a view of a figure's entire body in order to show action and/or a constellation of characters E:\Schule\Englisch\video analysis\Glossary.doc Page 1 >>>>> Working with Films >>>>> Selected Terms for Film Analysis E / Lo medium shot shows a subject down to his or her waist (4) close-up (5) a full-screen shot of a subject's face, showing the finest nuances of expression e.g. 'the director uses a long shot of the group so we can see them and the setting …'; 'there is a medium long shot of them so the viewer can see how they interact …'; 'we see a full shot of x as he walks down the street …'; 'the director uses medium shots of x and y to show their reactions to …'; 'x is shown in close-up, so that we see the reaction in her face when …'; 'the viewer sees y in close-up as …'; 'at this point close-ups are used of x and y to show their differing reactions …' Camera angles establishing often used at the beginning of a scene to indicate shot the location or setting, it is usually a long shot taken from a neutral position point-of-view shows a scene from the perspective of a character shot over-the- often used in dialogue scene, a frontal view of a shoulder shot dialogue partner from the perspective of someone (6) standing behind and slightly to the side of the other partner, so that parts of both actors can be seen reverse-angle a shot from the opposite perspective of a shot that shot came before, e.g. in a dialogue between two people facing each other, the camera shoots the conversation directed at one actor and then at the other e.g. 'the establishing shot of the film shows the setting …'; 'this scene is shot from x's point of view …'; 'the director often makes use of point-of-view shots so the viewer sees the story from different perspectives …'; 'there is an over-the-shoulder shot of x …'; 'we see x through an over-the-shoulder shot …'; 'the director uses a reverse-angle shot of the dialogue …'; 'we see x and y in reverse-angle shots …' Point of view high-angle shows people or objects from above, i.e. higher shot than eye level low-angle shot shows people or objects from below, i.e. lower than eye level eye-level shot views a subject from the level of a person's eyes / straight-on angle e.g. 'the director uses a high-angle / low-angle shot of x …'; 'there is an eye- level / straight-on shot of x …'; 'we see a low-angle / high-angle shot of the characters …' E:\Schule\Englisch\video analysis\Glossary.doc Page 2 >>>>> Working with Films >>>>> Selected Terms for Film Analysis E / Lo Camera movement panning shot the camera pans (moves horizontally) from left to right or vice versa across the picture tilt shot the camera tilts up (moves upwards) or tilts down (moves downwards) around a horizontal axis tracking shot the camera follows along next to or behind a moving object or person zoom the stationary camera appears to approach a subject by 'zooming in', or to move farther away by 'zooming out' e.g. 'in this scene the camera pans from left to right …'; 'in this scene the camera tilts up/down'; 'we first see x as the camera tilts up from her shoes to her face'; ' there is a tracking shot in this scene as the camera follows …'; ' the camera zooms in on x's face …'; 'the camera zooms out to reveal …' Punctuation the distance between the camera and object cut a switch from one image or shot to another e.g. 'the director makes use of lots of cuts in this scene …' cross-cutting alternating between shots from two or more scenes or parallel which are taking place at the same time action e.g. 'the director uses cross-cutting to show y coming to the rescue while x is tied to the bomb'; 'parallel action is used to show x approaching the house, while y is still there, unaware that x is soon going to arrive' flashback a scene or sequence dealing with the past which is inserted into a film's 'present time' e.g. 'there is a lot of use of flashbacks in the film …'; 'immediately after this scene there is a flashback to x's past …' flash-forward a scene or sequence which looks into the future e.g. 'there is then a flash-forward to …'; 'this scene is followed by a flash- forward to …' match cut two scenes connected by visual or aural parallelism, e.g. one door closing and then another one opening e.g. 'the director uses a match-cut to link …'; 'between these two scenes there is a match-cut' fade-in from a black screen or ground, the gradual emergence of an image, which slowly becomes brighter until it reaches its full strength e.g. 'the fade-in at the beginning of the film …'; 'the director uses a fade-in …'; 'the scene fades slowly in to show …' fade-out the gradual disappearance of an image until the screen or ground is completely black; a device used to end a scene e.g. 'the scene fades out slowly …' dissolve or following a fade-out with a fade-in in order to move cross-fade slowly from one scene to the next e.g. 'the use of the dissolve / cross-fade between these two scenes makes the connection between the two scenes stronger / produces a contrast that is comic …' E:\Schule\Englisch\video analysis\Glossary.doc Page 3 .
Load more

Recommended publications
  • Techniques of Cinematography: 2 (SUPROMIT MAITI)
    Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 2 on Techniques of Cinematography (Some other techniques) A close-up from Mrinal Sen’s Bhuvan Shome (1969) For SEC (English Hons.) Semester- IV Paper- SEC 2 (Film Studies) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) Techniques of Cinematography (Film Studies- Unit II: Part 2) Dolly shot Dolly shot uses a camera dolly, which is a small cart with wheels attached to it. The camera and the operator can mount the dolly and access a smooth horizontal or vertical movement while filming a scene, minimizing any possibility of visual shaking. During the execution of dolly shots, the camera is either moved towards the subject while the film is rolling, or away from the subject while filming. This process is usually referred to as ‘dollying in’ or ‘dollying out’. Establishing shot An establishing shot from Death in Venice (1971) by Luchino Visconti Establishing shots are generally shots that are used to relate the characters or individuals in the narrative to the situation, while contextualizing his presence in the scene. It is generally the shot that begins a scene, which shoulders the responsibility of conveying to the audience crucial impressions about the scene. Generally a very long and wide angle shot, establishing shot clearly displays the surroundings where the actions in the Prepared by: Supromit Maiti.
    [Show full text]
  • DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
    DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry.
    [Show full text]
  • Basic Film Terminology
    Basic Film Terminology Shot Designations Apparent camera-subject distance Camera appears far away Apparent camera-subject distance Camera appears far away = LONG SHOT Apparent camera-subject distance Subject seen from head to toe Apparent camera-subject distance Subject seen from head to toe = FULL SHOT Apparent camera-subject distance Subject seen from waist up Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Alternate term = WAIST SHOT Apparent camera-subject distance Only head & shoulders are seen Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT or SHOULDER SHOT Apparent camera-subject distance Subject’s face fills the frame Apparent camera-subject distance Subject’s face fills the frame = CLOSE SHOT or CLOSE-UP Apparent camera-subject distance A portion of the subject’s face fills the frame Apparent camera-subject distance A portion of the subject’s face fills the frame = EXTREME CLOSE SHOT Apparent camera-subject distance Camera too far away to identify subject Apparent camera-subject distance Camera too far away to identify subject = EXTREME LONG SHOT Apparent camera-subject distance Closer when facial expression is important… Apparent camera-subject distance Farther away when environment is important Angle of camera’s viewpoint From below looking up at subject Angle of camera’s viewpoint From below looking up at subject
    [Show full text]
  • Camera Shots
    Shot Types and Implied Proximity Establishing shot A shot of a location, helping the audience understand where they are. Usually a long shot in a film or video used at the beginning of a sequence to establish an overview of a scene that follows Harry Potter Prisoner Of Azkaban ( 2004 ) Alfonso Cuaron Wide Shot ( ws ) Can be used as an establishing shot ( not always ) This shot can be used to show a subjects surroundings Harry Potter Deathly Hallows Part 2 2011 David Yates Long shot Taken from a distance that is used to show a sense of space or locate action in a specific place. You will be able to see the whole body of a character when using this shot. Harry Potter Deathly Hallows Part 2 2011 David Yates Medium long shot ( mls ) This shot will show a character from knee’s to head with some background Harry Potter and The Order Of The Phoenix 2007 David Yates Medium shot This camera shot should show the waist up of a character This should also include some background, which may or may not affect the meaning / outcome of the shot. Harry Potter and The Order Of The Phoenix 2007 David Yates Medium close up ( mcu ) This camera shot should show the head and shoulders of a character. Harry Potter and The Deathly Hallows part 2 2011 David Yates Close up ( cu ) This shot closely frames a character, object, or any aspect of action Harry Potter and The Deathly Hallows Part 2 2011 David Yates Big close up ( bcu ) This shot will show the characters forehead to chin.
    [Show full text]
  • Camera Angles and Definitions
    Camera Angles and Definitions Framing What’s included and excluded in an individual shot. Extreme wide shot A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place. Can also be used to make a person appear isolated or small. Wide Shot A shot in which a figure can be seen from head to toe. (tighter than an extreme wide shot) Mid Shot Shows the figure from approximately head to waist. In a mid shot, you can easily recognize an individual but you can also see what they are doing with their hands. Close-up Head and shoulders, enabling you to easily see facial expressions, which gives the audience a better impression of what your characters are thinking and feeling. Extreme close-up From just above the eyebrows to just below the mouth, or even closer: used to emphasize facial expression or to make the subject appear threatening. Over-the-Shoulder Shot A shot in which we see a character or main object over another’s shoulder, often used in interviews or dialogues. Depth of field - This refers to how much of the shot seems to be in focus, in front of and behind the subject. Two Shot Any shot with two people in it. (not necessarily the same person twice as pictured here, unless part of the plot) Point of view shot - A shot from a character’s point of view Reaction shot - A shot showing a character’s expression as they react to something Wide-angle shot (taken with a wide-angle lens) - This has the effect of seeming to exaggerate perspective.
    [Show full text]
  • Media Studies a Level
    Media Studies A Level The below are a selection of materials designed to give you an insight and introduction to the technical and visual codes you’ll have to apply during the course. Reading them and carrying out the activities will help prepare you for studying Media A level. There are also some articles for you to read to give you a brief overview of different aspects of the course. Introduction Read this article for some reasons why Media Studies gives you invaluable skills https://www.bournemouth.ac.uk/news/2019-07-30/media-studies-should-be-made-mandatory- schools-tackle-fake-news-research-finds Technical and visual codes: Cinematography Different types of shots create different types of impact on the viewer and help guide the viewer through the story. We are shown where events happen, what is important in each location. Close-up shots on faces can help show emotion and reaction to what is happening. So the two key elements to cinematography are the framing of a shot (what is included in the cinematic space, what we see on screen) and the movement of the camera. Framing: Filmmakers define shot types in this way: extreme close-up (ECU) A small object or part of an object shown large (a speaking mouth, a telephone receiver; frame 1). This often shows a plot-relevant object - a piece of jewellery, a telephone number on an envelope, a character’s eyes at a moment of high tension. Close-up, (CU) Full view of, typically, a human face, etc.Long shot (LS) Typically this will be of a landscape, a view of a house or street.
    [Show full text]
  • Film Terminology
    SHELLHORN Film Terminology Framing What’s included and excluded in an individual shot. Very long shot/wide shot A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place; also used to make a figure appear small or isolated. Long shot A shot in which a figure can be seen from head to toe. Mid shot Shows the figure from approximately the waist to the head. In a mid shot, you can easily recognise an individual but you can also see what they are doing with their hands. Medium close up From chest to head Close-up Head and shoulders, enabling you to easily see facial expressions, so you can see what characters are thinking and feeling Big close up Head only, used when expressions are important Extreme close-up From just above the eyebrows to just below the mouth, or even closer: used to emphasise facial expression or to make the subject appear threatening. Other useful terms for shots are: Two shot Any shot with two people in it. Point of view shot A shot from a character’s point of view. Reaction shot A shot showing a character’s expression as they react to something. Noddy A type of reaction shot used in interviews, where we see the interviewer apparently reacting to the interviewee. Over-the-shoulder shot A shot in which we see a character over another’s shoulder, often used in interviews or dialogues. Lens The type of lens, and how it’s used, can make a big difference to the meaning of a shot.
    [Show full text]
  • Pan Tilt Developing Shot Blocking
    actived Film vocabulary Pan abbreviation for panorama shot; refers to the horizontal scan, movement, rotation or turning of the camera in one direction (to the right or left) around a fixed axis while filming. Tilt a camera tilted up or down on a diagonal along a vertical axis; a vertical camera movement from a fixed position often used to suggest an imbalance, or strangeness; also known as tilt pan, tilt up or tilt down (or reveal). Developing shot camera shot wherein the entire camera moves. Blocking the process of figuring out where the camera goes, how the lights will be arranged, and what the actors' positions and movements - moment by moment - are for each shot or take; often, the specific staging of a film's movements are worked out by the director, often with stand-ins and the lighting crew before actual shooting. Cut an abrupt or sudden change or jump in camera angle, location, placement, or time, from one shot to another; consists of a transition from one scene to another (a visual cut) or from one soundtrack to another (a sound cut); cutting refers to the selection, splicing and assembly by the film editor of the various shots or sequences for a reel of film, and the process of shortening a scene; also refers to the instructional word 'cut' said at the end of a take by the director to stop the action in front of the camera; cut to refers to the point at which one shot or scene is changed immediately to another; also refers to a complete edited version of a film (e.g., rough cut); also see director's cut; various types of cuts include invisible cut, smooth cut, jump cut, shock cut, etc.
    [Show full text]
  • Grammar of the Shot, Second Edition
    Grammar of the Shot This page intentionally left blank Grammar of the Shot SECOND EDITION Roy Thompson Christopher J. Bowen AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2009, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: ( ϩ 44) 1865 843830, fax: ( ϩ 44) 1865 853333, E-mail: [email protected] . You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “ Support & Contact ” then “ Copyright and Permission ” and then “ Obtaining Permissions. ” Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-52121-3 For information on all Focal Press publications visit our website at www.elsevierdirect.com 09 10 11 12 5 4 3 2 1 Printed in the United States of America Contents Acknowledgments ix Introduction xi Chapter One – The Shot and How to Frame
    [Show full text]
  • Video Storytelling Guide Harness the Power of Visual Communication!
    Video Storytelling Guide Harness the Power of Visual Communication! © 2007 Atomic Learning, Inc. 1 © 2007 Atomic Learning, Inc. 2 Contents Introduction …………………………………………………… 4 Composing…………………………………………………....... 5 Basic camera shots Start out playing by the rules: visual composition rules Moving right along: camera Movement Playing the angles: what’s your perspective? Creative camera placement The horizon line Screen depth The Camera ………………………………………………………. 15 Camcorder types Camera basics Now hear this: audio for your video Sizing up the screen Get a handle on it: controlling your camcorder Getting it Together: The Editing Process ………………………… 23 Transitions: making connections The storytelling power of editing The Hollywood touch: classical shooting style Shooting sequences can be as easy as 1, 2, 3 The multiple camera look: playing the match game Visual and sound continuity issues Making “sound” decisions A refreshing change of pace Titling your videos Interviewing: “Can I ask you a few questions?” Some bright ideas on lighting So you want to . editing for effect The Story ………………………………………………............... 41 Generating story ideas Story planning 10 Tips for Better Video ……………………………………….. 48 Video Examples List ……………………………………............ 49 Glossary …………………………………………………………. 52 Model Release Form ……………………………………............ 59 Duplication Restrictions Notice! ………………………............ 60 © 2007 Atomic Learning, Inc. 3 An Introduction to Video Storytelling: Atomic Learning Style! Good news! It’s never been easier to shoot and edit video. Video cameras are commonplace in homes and schools. Better yet, digital video (DV) has become the standard. Thanks to personal computers and programs like Apple’s iMovie and Microsoft’s Movie Maker, editing video no longer means dealing with complicated videotape systems. Editing digital video on a computer, called non-linear editing, makes it easy to combine images, sounds, music and narration into a single finished production.
    [Show full text]
  • Camera Shots/Angles & Movement Editing Techniques Sound
    Camera Shots/Angles & Movement Mise-En-Scene & Editing Techniques - Unit 1 - Knowledge Organiser Editing Techniques Sound Transitions - Fade In: The volume, usually of the music in the scene, is gradually increased Low Angle Shot: Used to make those on screen look powerful and Key Terms Fade Out: The volume, usually of the music in the scene, is gradually decreased dominant Mise-en-scene: The term mise-en-scene refers to everything you Sound Bridges: When the sound from the succeeding shot is heard, before the previous shot has disappeared High Angle Shot: Used to make those on screen look weak and can see and hear in a scene/image/media text from the screen inferior Representation: The way in which people, groups, places and events Edit on the Beat: When sound added into the scene matches the movement on screen, for example when Over the Shoulder Shot: Used to make audiences feel involved in are re-presented to the audience through the media text, how have music notes play every time that a character takes a step the scene, as if those on screen are talking to you they been made to look through the use of media techniques. Edit on the Cut: When the sound from the previous scene abruptly stops as the new scene is introduced Reverberation: Reverberation refers to the persistence and continuation of sound, after the original sound is Medium Shot: Used for the majority of scenes to show the Denotation: An explanation of the object itself, for example a green produced characters gestures and movements as well as their facial piece of fruit, an apple.
    [Show full text]
  • 1 Basic Shot Types
    Basic Shot Types EWS: Extreme Wide Shot or CS: (cover shot) This shot is often used as an establishing shot. In this shot, the ` subject is not visible. VWS: Very Wide Shot The subject is barely visible. This shot is also an establishing shot that places the subject in her environment. WS: Wide Shot or LS: Long Shot The subject takes up the full frame. Notice the amount of foot and head room are equal. This type of shot is good for showing action. It is a "safe" shot when you are not sure how the subject will be moving. MS: Medium Shot Shows more detail. Notice that there is not much "head" room. It gives the impression of the whole subject while being able to place the subject in an environment. Camera Techniques – NWOCA Video Academy 1 ECU: Extreme Close Up (tight shot) Shows expression and gives the viewer an intimate relationship with the subject. While it is used for effect in some cases, many television interviews use the ECU routinely. CA: Cutaway A Cutaway is often a shot of something related to the action but from a different perspective. It can be used to provide either an anticipated or reactionary action by the subject. It can also be used to relieve the monotony of a prolonged shot. CI: Cut-In Used to show some part of the subject in detail. This is different from the cutaway because the shot is directly related to the subject. In a video of a train speeding down the track, a cut-in would be a tight shot of the wheels turning.
    [Show full text]