FILM PRODUCTION TERMINOLOGY:
AN ENGLISH, FRENCH AND ROMANIAN DICTIONARY
RAMONA DIACONESCU
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF ARTS
GRADUATE PROGRAM IN TRANSLATION
YORK UNIVERSITY,
TORONTO, ONTARIO
MARCH 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition
395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada
Your file Votre reference ISBN: 978-0-494-45933-1 Our file Notre reference ISBN: 978-0-494-45933-1
NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats.
The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission.
In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these.
While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada ABSTRACT
This paper includes a 60-entry sample for a trilingual film dictionary in English, French and Romanian for the use of film technicians, film school candidates and translators of film books; as well as a series of practical and theoretical considerations regarding the development of such a dictionary. This paper will focus on lexicographical issues such as: word collection and filing, corpus development, variations of the subject tree specific to each of the three cultures, structure of dictionary entries, and methods of classification. Nation-specific production practices, labour division, theoretical approaches to film and linguistic hegemony are questioned as key factors that shape the structure and evolution of film terminology and influence the way vocabulary is mapping reality.
iv ACKNOWLEDGMENTS
I am deeply thankful to my professors at York University and Glendon College: Prof. Marie-Christine Aubin whose Documentation and Translation classes inspired the idea for this paper; for her patience, the interest she took in my paper, for her insightful suggestions and her encouragements; Prof. Tereza Barta for sharing so honestly with us her thoughts on North American and European filmmaking, for encouraging me to include Romanian language within the scope of the dictionary and helping with the verification of Romanian technical words and expressions; Prof. Daniel Simeoni, whose course on Translation of Social Sciences and Humanities texts inspired many of the theoretical reflections in this paper.
Many thanks to my dear friend Alexandra Maria Anca, to George Anca and Victor Citiriga for their incredible efforts in helping me find most of the books in the Romanian corpus.
To the Romanian film technicians Andra Barbuica, Toni Cartu, Elena Ene, Marian Tanase, and Andreea Tudose who so generously helped me put together my Romanian word collection. And most of all, I am grateful to Monica Garbur and to my dear friend Simona Costea whose contribution was extremely valuable.
Many thanks to Castel Film Studio for offering me the opportunity to work in Romania; to the cast and crew of Ghouls for making me feel so welcome and for sharing their knowledge with me. I'm also grateful to York University for the Fieldwork Grant that covered a part of my travel expenses to Romania.
Many thanks to the French film technicians Susanne Benoit and Jean-Pierre Messinelle for their help in the verification of French technical words and expressions; to Jennifer Cook for proofreading and reviewing the English text.
Many thanks also to Daniela Saioni and Margaret Tanod, two script supervisors who have constantly helped me in my career. I am also grateful to the Canadian Film Centre, where it all started.
Many thanks to all those who, over the years, made a contribution to my understanding of filmmaking and its language.
v TABLE OF CONTENTS
Abstract iv Acknowledgements v
Parti
1. Introduction 1 Proj ect background 1 Project typology 2 Structure 3 Work evolution and method of research 4
2. The subject field and the subject tree 6 Delimitation of the subject field 6 The subj ect tree 7 Relations with other disciplines 10 Differences across cultures 12
3. Research justification and intended users 16 Assessment of previous work in the field 16 A response to linguistic hegemony 19 Intended users 21 Film crews 21 Translators and the book market 23 Film and literature students / Language for special purposes 27
4. Lexicography, terminography and pragmatics 29 Main and secondary fields 29 Approach 29 Headword classification 30 Entry structure 31
5. Corpus development and reflections on source text selection 41 Types of documents for a balanced corpus 41 Texts created by specialists 45 Texts representative of the subject field 47 Assessment of original texts 49 vi Translations versus original texts 50 Oral sources: Getting feedback from film technicians 52
6. Language as a way of mapping reality 55 Methodological considerations 55 New word formation: Noun modifiers 57 Changes in word extension under the influence of Hollywood 59 Language-specific degrees of lexicalization 61 Language games and double entendres 64 Language as illustration of aesthetic approaches to cinema 66
7. Conclusion. 70
Part 2
Abbreviations 73
Dictionary entries 74
Bibliography 140
Corpus bibliography 147
Appendix A Film subject tree 150
Appendix B Romanian film books 152
Appendix C English index 157
Appendix D French index 161
Appendix E Romanian index 165
vii OK, locution americaine utilisee d'une maniere exclusive par les cineastes franqais, et qui signifie: OK - Jean Vigo
Boy, those French: They have a different word for everything! - Steve Martin
It's too cerebral! We're trying to make a movie here, not a film! - Steve Martin, Bowfinger Parti
1. Introduction
Project background
This project originated seven years ago, when, as a film student at York University, having some knowledge of film terminology in French and none in English, I started to build a list of English specialized words and expressions much needed for writing my term papers. In 2003, wishing to complement my theoretical knowledge of film with
hands-on experience, I began volunteering in Canadian Film Centre productions. I
enlarged my list of English words and expressions, at first as a way to familiarize myself
with the often puzzling jargon, and later, with the intent of finding their equivalents in
French - an attempt to open myself to a bigger market in a moment when the Toronto
film industry was in deep crisis.
During a trip to Romania in 20061 noticed, in contrast with the growth of the film
industry, there was a lack of film books (Romanian works and translations alike), as well
as a need for more comprehensive dictionaries in this field. It is at that time that the
project of an English-French-Romanian film dictionary took shape.
1 Project typology
This project is a sample for a future trilingual dictionary of specialized film vocabulary. Its main users will be translators. As such, while providing equivalents and adaptations of the English entries, it is meant to improve the knowledge of the film subject field (which explains the inclusion, occasionally, of encyclopaedic information1).
In discussing bilingual dictionaries, A. M. Al-Kasimi identifies four types according to their purpose:
1) comprehension or 2) production of a text in the source language of the
dictionary which is the first language of the translator - in our case: Romanian /
French speakers who wish to understand / produce texts in English, English being
used as a source language;
3) comprehension or 4) production of a text in the target language of the
dictionary which is a second language for the translator - in our case: English
speakers who wish to understand / produce texts in Romanian / French, English
being used as the source language.
One may add yet another category, to which the present project belongs -
dictionaries that help translators improve the production of a text in their native language.
This might look like the description of what monolingual dictionaries usually do;
however, the same can be said about multilingual dictionaries when the user comes to
1 Pertaining to practical knowledge, as opposed to linguistic information. 2 A. M. Al-Kasimi, "The Interlingual/Translation Dictionary: Dictionaries for Translation", London, New York: Academic Press, 1983) 157. 2 find out domestic terms by means of a second language. It is a phenomenon recurrent in bilingual communities, which was pointed out by several terminologists in relation to
Quebec: "Les francophones [au Canada] connaissent mieux les terminologies anglaises que les terminologies francaises. II faut apprendre alors aux francophones le mot francais a partir du mot anglais, situation tout a fait paradoxale."
Structure
The theoretical component of the paper is structured as follows: Chapter 2 discusses the film subject field and points out some of the differences across languages.
Chapter 3 justifies the existence of this project and stresses its main purpose by assessing the previous terminological and lexicographical works in all three of the languages considered, English, French and Romanian. The intended users of the dictionary are also discussed in Chapter 3. The targeted groups of users determine the selection of the corpus and the strategies employed in the fieldwork. These are discussed in Chapter 4. They also impact the internal organization of the dictionary: its entry structure, the inclusion of analogical words and expressions, the inclusion of collocations, the types of definitions and notes (touched upon in Chapter 5). Chapter 6 discusses the relationship between technical words / expressions and ways of mapping reality specific to each of the three languages. In the conclusion, I discuss the possibility of further developing the project towards other subject fields and possibly other languages.
3 Josette Rey-Debove, "La lexicographic terminologique bilingue," ed. J. Blais Beaudoin et al., Actes du colloque Problemes et methodes de la lexicographie terminologique (Universite du Quebec a Montreal, 1985) 51. This phenomenon was also discussed by Guy Rondeau, Introduction a la terminologie (Chicoutimi: Gaetan Morin editeur, 1983) 118. 3 The dictionary sample is composed of 60 entries with definitions and contexts of usage for each language. Cross-references were also created. They will be an important aspect of the final dictionary.
Work evolution and method of research
Some English and Romanian technical words / expressions were collected during my work on film sets, while French words were only extracted from written sources. The
corpus of texts for all three languages was selected on the basis of my previous
knowledge of the subject field, both as a film studies graduate and as a script supervisor,
while keeping in mind the needs of the target readers: film technicians, film students,
translators and instructors of language for special purposes. While English and French
texts were numerous and readily available, allowing for symmetry of text types, subject
matter and language register in both languages, the Romanian corpus was hard to compile
-1 often had to include older texts, translations and sources belonging to a rather limited
number of text types (academic film criticism rather than didactic film production books).
Both electronic and manual methods of word extraction were considered in terms
of their compatibility with the modes of expression in humanities texts. Computer-aided
terminology extraction proved very useful in drawing statistics - i.e. deciding which,
among a word's multiple graphic variations, is the most common, or among synonymous
words, which is the preferred one. While allowing for very fast retrieval, electronic
collection of words proved inadequate when applied to texts such as Pat Miller's Script
Supervising. Miller's definitions included long descriptions that were often spread out
4 over a whole page, but without reusing the word being defined;4 this technique made it difficult to identify contexts properly through computer-assisted research.
Manual retrieval of technical words / expressions was preferred in such texts.
However, the manual method has some downsides too; after collecting a word's first contexts of use (and the first contexts are not necessarily the most illustrative ones), the researcher could become desensitized and less perceptive to "spotting" subsequent instances of use of the word.
English words / expressions collected initially amounted to more than 400. These were recorded into a table made of three columns, one per language. Contexts of use were added as soon as they became available. English being the language with the greatest number of retrieved words / expressions, it served as the source language. The aligned display of terms in the three languages was preferred to the separation of words into individual documents for each language because it allowed for a quick identification of lexical gaps in French and Romanian and also pointed to phenomena such as polysemy
(i.e. multiple concepts are designated by the English word "cut" while, in the other two languages, each of these concepts is designated by different words).
The consultation of field technicians and the use of written texts were carried out simultaneously. I was hoping to fill as many gaps as possible. Given the limited scope of this paper, only 60 words / expressions were included in this project based on how representative they are of the topic to be covered in the final dictionary.
See the definition of the term "blocking" in Pat Miller, Script Supervising and Film Continuity, (Boston: Focal Press, 1999) 59.
5 2. The subject field and the subject tree
Delimitation of the subject field
A subject tree (Appendix A) was included to give an idea of what the finalized, complete dictionary will look like. The selection of a limited number of entries for the present project is explained in Chapter 4. Just like theatre, dance and music, film may be included under the macro-subject of Performing Arts. It could also be listed along television shows under Audiovisual Presentations.
The delimitation of the subject field is dictated in our case by a pragmatic approach: it was determined keeping in mind the main target user - translators of English or French language filmmaking books into Romanian. Some of the most popular books of this kind share a common aspect: they talk about film as an art, as an industry, as a technique, as a cultural product to be assessed in all its stages of production diachronically and synchronically. Among those are the following:
1) Bordwell, David and Kristine Thomson. Film Art: an Introduction. New York: The McGraw-Hill Companies, 1997.
The title of this book is in fact misleading since the book does not only deal with aesthetics, but also with technical and social factors in film production, distribution and film history.
2) Rabiger, Michael. Directing: Film Techniques and Aesthetics. Amsterdam; Boston; London; New York: Focal Press, 2003.
6 This book covers all stages of filmmaking mainly from an aesthetic stance. It also gives extensive information with regard to on-set working practices, technical equipment, budgeting, insurance and film scheduling.
3) Mamer, Bruce. Film Production Technique: Creating the Accomplished Image. Belmont, CA: Thomson / Wadsworth, 2006.
This book takes a more technical approach, but always explains the aesthetic effect obtained by using a specific technology or by choosing a particular production practice.
Hence, the subject field of film could be defined as a set of activities ranging from putting a story idea into a written form (screenwriting) and transposing it into an audiovisual form (production) to assembling (post-production) and then delivering it to the public for consumption (distribution) and assessment (film analysis, theory, criticism).
The subject tree
Film as a subject field thus covers the sub-topics of the above-mentioned books as well as manuals and handbooks specializing in more specific stages of filmmaking, such as:
1) McKee, Robert. Story: Substance, Structure, Style. New York: Regan Books, 1997. 2) Jeffrey, Tom, ed. Film Business: a Handbook for Producers. Crows Nest, N.S.W.: Allen & Unwin, 2006. 3) Arijon, Daniel. Grammar of the Film Language. London; New York: Focal Press, 1981. 4) Stam, Robert. Film Theory: an Introduction. Maiden, Mass: Blackwell, 2000. 5) Corrigan, Timothy. A Short Guide to Writing about Film. New York: Pearson / Longman, 2007. 7 6) Wright Wexman, Virginia. A History of Film. Boston: Pearson / A & B, 2006. 7) Bordwell, David and Kristine Thomson. Film History: an Introduction. New York: The McGraw-Hill Companies, 2003.
The main categories {From page to screen, Distributing the film, Assessing the film) represent key steps in the chronological process by which film becomes a final
product. Each category is further divided into sub-categories chronologically related
(Screenwriting, Pitching, Production, Post-production) or thematically linked (Film
analysis, Film criticism, Film theory). The larger boxes, which contain representative
words / expressions for each branch, are sometimes also divided into sub-categories: the
Departments present at the production stage are grouped into Crew and Cast; the various
actions, techniques and tools used are department-specific. The Shot design category
lends itself to a breakdown based on size, angle, function, juxtaposition, optical
manipulation, etc. of the shot.
Film criticism, analysis, theory and history are all different ways of talking about
film. We can classify them into diachronic (historical) and synchronic (all other) types of
assessment. Film history could be sub-divided into, for instance, trends / movements,
national cinemas, and words / expressions designating culture-specific occurrences (i.e.
production code, Hollywood blacklist).
Even though terminologists recommend that the subject tree be structured so that a
given concept is not repeated on different branches, I have found that there were
problems with the delimitations between the various branches and the fair partition of
some words / ecpressions that belong to more than one branch. For instance, Shot
8 description occurs in several stages of filmmaking: pre-production (on the shot list or the storyboard), principal photography (in director's communication with the crew), editing
(in the shot log) and film assessment (in film segmentation and analysis). Shot design / grammar is therefore included in a detailed manner under the Making the film -
Production branch as well as under the Assessing the film - Film analysis branch because these are the two stages in which shot descriptions are most commonly used.
Film genre is listed directly under Film assessment -film theory and criticism, as it is one of the ways of evaluating and classifying films. However, film genre could also belong to Screenwriting - script development, as it refers to film not only as a final product, but also as a project in the course of its development. Indeed, the principles of pitching stipulate that the screenwriter should have a clear idea of the genre the story belongs to. Story editors base their analysis of script proposals on their conformity (or lack of conformity) to certain genres. The American pragmatic conception of film as a product that will be positioned on a given market is one of the reasons why filmmakers are so aware of film genre in the early stages of filmmaking.
The various departments involved in the making of a film were separately listed under pre-, post- and production, as they start their activities at different stages. Film budgeting does not repeat these words, although film budgeting paperwork is heavily reliant on the classification of the various departments (devis in French / deviz in
Romanian, a breakdown of all the expenses according to human and technological needs for each department).
9 Relations with other disciplines
Screenwriting, story editing, film analysis and adaptation theory bear similarities with narratology. Specific concepts include business, beat, synopsis, treatment, fade out or multiple unit expressions such as "film X meets film 7" (normative pitching formula).
Concepts such as exposition, set-up /pay-off, character arc, red herring, character- driven and talking heads, although reflecting realities of any narrative work, are almost exclusively used in respect to film. Many other concepts are common in all these disciplines (i.e. character, plot, dramatic irony, conflict, narrator, crisis, climax, point of view, back-story). Concepts that belong to other aspects of narratology (in literature or advertising) and do not concern film will not be part of the final dictionary.
It is sometimes difficult, however, to separate these concepts completely from the other categories mentioned above for at least two reasons: a) even if a narratological word / expression is not commonly used in respect to film, a new direction in film analysis or screenwriting theory could bring it into the discourse; b) in social sciences and subsequently in narratology, scholars have the tendency to propose new words / expressions for concepts previously denominated. As Fred Riggs points out, "Even when they become aware of the fact that a particular concept has been used and named in another context, they may suspect that the concept is not really the same, or that the existing words carry undesired connotations, leading them to propose their own
10 idiosyncratic terminology."5 It is the case of Story / Plot (more common with English language theorists, for instance Seymour Chatman) and Fabula / Suzjet (terms proposed by the Russian formalists, used by theorists such as Umberto Eco).
The phenomenon happens in screenwriting theory as well: theorists may choose to name the same concept (for instance, a story's central idea) with different words / expressions (Controlling idea, Theme). Other times one wonders if what may seem to be a new denomination should be considered as a lexicalized item or not - for example
Robert McKee's distinction between idealistic, pessimistic and ironic controlling ideas; or Marcel Martin's distinction between pictorial, theatrical and architectural expressionism, and of descriptive, expressive and dramatic pan shots. In humanities it is more difficult to draw clear-cut limits between terms / lexicalized items and idiosyncrasies of individual styles, as the writing styles of humanities texts are conceived in opposition to standardization.
Drawing a demarcation between Film production planning (budgeting and scheduling) and its related disciplines (marketing, accounting, insurance, law) is arguably easier. Terms have a higher degree of stability / fixity. The use of standard specialized software in generating the financial paperwork, as well as the use of standard forms for scheduling and budgeting, contributed to the uniformization of terminology and hence to an easier identification of terms.
Fred Riggs, "Social Science Terminology: Basic Problems and proposed Solutions," Terminology: Applications in Interdisciplinary Communication, ed. Helmi B. Sonneveld and Kurt L. Loening (Amsterdam / Philadelphia: John Benjamins Publishing Company, 1993) 202.
11 The terminology of each department mentioned in the Film production branch could be extended towards other disciplines - the terminology specific to the camera department will intersect with that of optical physics. Sound terminology will extend into acoustics. The criterion for the delimitation of film terminology and related disciplines could be based on the recurrence of film specialized words / expressions in the selected corpora; the focus will be on words / expressions that can be included under the humanities / social sciences area.
Differences across cultures
Even though the subject tree is not provided for French and Romanian, comments will be made on the differences that occur in the way film is perceived in each culture.
Aesthetic values underpinning national cinemas theoretical writings will impact the language used for film. For instance, the French view of the director as an author of the film (the same way writers are considered to be the authors of their books) led to the coining of expressions such as ecriture cinematographique, or camera stylo.6 These expressions affirm that unique directorial styles remain recognizable despite the collaborative nature of film production.
In Romanian, ecriture could be translated by scris (someone's handwriting), scriere
(a literary work; orthography) and scriitura (figuratively, an author's personal style).
6 Several other terms may be mentioned to reinforce the argument: Cinecriture coined by Agnes Varda: "La cin6criture? C'est le style cindmatographique, ce qui s'6crit par le son et l'image d'un film: les mouvements de la camera, la maniere dont le film est raconteY' quoted in Montvalon 94. Also, the credits of Sans toit ni loi (1985) mention: "film cinecrit et realise par Agnes Varda". And, poet and filmmaker Jean Cocteau coined the term encre de lumiere (quoted in Montvalon 167) to describe cinema as a new way of writing using the camera as a writing device. 12 Scriitura cinematografica, will hence, unproblematically translate ecriture
cinematographique. In English however, film writing or screen writing are literally
designating the activity of writing a film's script (ecriture de scenario, scenarisation).
Neither film language would be a proper translation as it designates the totality of the
audiovisual means of expression and their rules and conventions. As such, film language
is often conceived in light of the categories traditionally used to describe natural
languages such as tense, syntax, grammar, while ecriture cinematographique and camera
stylo see film as an individual use of film language by a particular artist (in a Saussurean
sense: film as parole). Hence, one may choose to translate such expressions by
directorial style (a less imaginative phrase) or by borrowing the French expressions.
Ideology also plays an important part in how films are produced, promoted and
consumed, and consequently in the concepts used to describe the various practices
associated with such activities.
Mainstream American films are treated like any other product meant for
consumption, they can be tested, they can be adjusted to fit what is believed to be the
public demand and expectations, and they can be promoted through elaborate advertising
campaigns. The fact that the distribution budget of mainstream Hollywood films may
sometimes exceed the film's production budget7 should be no surprise. In Europe, on the
contrary, the concept of the auteur as an artist and an educator rather than a follower of
the public's taste, along with the view of film as a cultural product not necessarily meant
for "consumption" but rather for appreciation of its artistic and creative value, are at the
7 Laurent Creton, Economie du cinema: perspectives strategiques, (Paris: Nathan, 2003) 98. 13 origin of the incompatibility between cinema and marketing practices. France took a very firm stance on this matter by forbidding film advertising on television8 and by implementing the principles of the "exception culturelle".9
A closer look could be taken at the division of labour across cultures as source of discrepancies between subject trees. For example, in France, dialogues may not be written by the screenwriter, but by someone called a dialoguiste. English will have to borrow this word or find some adaptation to translate the concept.
Also, France spends only 2.2% of the total production costs on script development, while the United States invest more than 10%' of a film production budget on it. The
American practices of script assessment and re-writing lead to a proliferation of technical words / expressions, out of which only some have an equivalent in French and Romanian.
An example would be the personnel involved in the process {reader, story analyst, story editor, script consultant) or stages of the work (first / second draft, polish, revision, rewrite, shooting script).
In conclusion, the main factors that must be acknowledged when drawing the subject tree of the discipline of film are among others: idiosyncrasies of individual writing styles; discipline-specific styles (i.e. the more we advance towards a purely technical area such as optical physics, the more standardized the terms become); attitudes
8 Claire Moriset, "Les mutations du secteur cinematographique ou le marketing comme outil d' entree a l'analyse des secteurs marchands du film de cinema," Observatoire des mutations des industries culturelles, novembre 2005, date de consultation: 10 fevrier 2008
Hollywood leading to the standardization of resulting products11).
11 The tendency of mainstream Hollywood producers to favour the already tested, safe recipes, resulting in formulaic films is sarcastically criticized by David Mamet in Bambi vs. Godzilla: on the Nature, Purpose, and Practice of the Movie Business, (Pantheon Books, New York, 2007) 53-54: "[the producers] observe that which has been successful and attempt to duplicate it. They want, in effect, to find the script for the hit of last year. But (...) in the new script, instead of being a cod, it will be a mackerel. (...) Yes, yes, yes, say these entrepreneurs - yes. A mackerel. Great, let me run with it. Now we have act 2. My, what will happen? Oh, no. The producer is returning to the starry-eyed, unpaid, and biddable screenwriter. (...) Could the mackerel live in a tank in a restaurant rather than in the Indian Ocean? (...) Instead of the restaurant, could it be Mars, and instead of a mackerel, could it be Woodrow Wilson, etcetera." 15 3. Research justification and intended users
Assessment of previous work in the field
While there is a wide range of monolingual or bilingual French and English film dictionaries, we can only count two Romanian monolingual film dictionaries and two
English-Romanian film dictionaries. Besides, their scope does not always respond to the needs of either film technicians or translators.
Cornel Cristian and Bujor T. Rapeanu's Dictionar cinematogrqfic, Editura
Meridiane, Bucure§ti, 1974 is a composite type of dictionary, comprising personalities, films, as well as technical terms (pertaining mostly to the aesthetics of film, as the authors stress in the preface). A rough count of such terms indicates approximately 170 film terms out of more or less 2,000 entries. Some definitions are accompanied by drawings, which visually enhance the information. This dictionary could be useful to the film school candidate in search of information about film trends or individual artists, but does not do much for the film technician and / or the film translator.
Lucian Pricop's Engleza producdtorului defilm: Dictionar englez-romdn de termeni speciflci din cinematografle §i televiziune (The English of the Film Producer:
English-Romanian Dictionary of Film and Television Terms), Editura Fundatiei Pro,
Bucure§ti, 2006 is an excellent dictionary. It is very comprehensive, and covers film genre, theory, production, management, distribution, institutions and professional
16 associations. Given its explanatory12 nature, paraphrases are used to translate most of the
terms, even in the case of those having Romanian equivalents.
Along the same lines, we can mention Lucian Ionica's Dictionar explicativ de
televiziune Englez-Romdn (English-Romanian explanatory dictionary of television)
Editura Tritonic, Bucuresti, 2004. Some terms - such as flare (reflexie parazita), rack focus (schimbare de sarf), high angle (plonjeu), cue (semnal), second unit (echipa a
doua), blocking (repetitie tehnica) - are only explained, without being translated,
although a Romanian equivalent exists. The entries do not contain graphic or semantic
variants, nor synonyms (for example, framing is translated by cadrare only, while the
more commonly used incadraturd could have been mentioned also). Some definitions are
vague: "Eyeline: pentru a reda senzatia de continuitate in cazul montajului de tip classic
este necesar sa se respecte anumite reguli, astfel incat privirile sa fie puse intr-o relafie de
comunicare".13
Both these dictionaries could be useful to the potential translator, if no other
resources were available. In many instances, when a word is not found or is insufficiently
explained in one dictionary, chances are it will be in the other one. However,
insufficiently elaborated definitions of some terms in both dictionaries often give what
seems to be contradictory information: in Lucian Ionica rig is "any type of support for
A dictionary "which is intended to help with decoding (but not necessarily translating) foreign-language texts". R.R.K. Hartmann and Gregory James, Dictionary of Lexicography (London/New York, Routledge, 1998)54. 13 Eyeline: to give the sense of continuity in a classical type of editing it is necessary to respect certain rules, in order for the gazes to be engaged into a relation of communication, (my translation) 17 lights or their accessories", while according to Pricop, rig is a chariot. They are both right, but incomplete.
Tehnica fllmului de la AlaZ,a collective work coordinated by Alexandra Marin
(Editura Tehnica, Bucuresti, 1979) is a monolingual Romanian dictionary of technical terms. Very technical (all its authors are engineers), excellent in its scope, topic and use
of visuals, this dictionary may be a useful tool for the verification of information and
further clarification of technical words / expressions, once the equivalences are known to
the translator.
A cinema site with rich information on film, a film dictionary, and a forum can be
found at http://www.cinemarx.ro/info/termeni.php (information retrieved on June 5,
2007). The terms - 250, according to the site - seem decently defined. However, the
topic is very vaguely delimited, and most of the terms have been part of everyday
language for a long time now (actor, cascador). Some terms also seem to be literally
translated from English (see shot/reverse shot, usually plan contrapian, is translated as
unghi-opus-unghiului).
There are no French-Romanian dictionaries - therefore the presence of French
technical words / expressions in this project is an attempt to address a real need. Although
the majority of foreign productions being shot in Romania are English-speaking
productions, quite a few big-budget French films and television miniseries were produced
or co-produced by Romanian studios (Joyeux Noel, Train de vie, Les rois maudits, Haute
tension). Hence, the need for a French dictionary for crew members.
18 Moreover, France has generated rich documentation pertaining to the discipline of film theory, film analysis, theory of literary adaptation and narratology: Andre Bazin, one of the key figures of film theory; George Sadoul, the author of Histoire generate du cinema; Jean Mitry, known for his studies on the aesthetics and psychology of cinema;
Marcel Martin; and all the Nouvelle vague filmmakers / theoreticians, as well as the more recent French theorists such as Francis Vanoye, Michel Chion, Jacques Aumont, Alain
Bergala, Jeanne-Marie Clerc, Andre Gardies, Francois Chevassu and French-Canadian film theorist Andre Gaudreault. Most of their works still remain untranslated into
Romanian.
A response to linguistic hegemony
Attitudes towards language renewal are usually strongly polarized. Romania has, on one side, the traditionalist-purist promoters of language renewal through internal linguistic resources (i.e. formation of neologisms by derivation or word-composition), and, on the other side, those who see borrowings as a sign of emancipation and a normal aspect of language evolution. The latter trend is itself divided into "Latinists" (those who advocate that the borrowings should mainly originate in a Romance language, since
Romanian has a higher affinity with those languages, and hence a higher capacity to assimilate Latin-origin foreign words) and, more recently, "Anglophones" - they are not a school, but rather a wide spread phenomenon. The proportions of this phenomenon and
19 its promotion by mass media made the anglicization of Romanian seem normal and the few attempts to question it were met with mordant sarcasm.14
Resistance to the invasion of anglicisms was commonly perceived as a regression to a previous stage in the development of Romanian language. This attitude is symptomatic of contemporary Romanian society's mistrust of domestic solutions and lack of awareness of the long-term effects of American cultural hegemony. Romanian society seems to be far from understanding that "replacing borrowings with genuine forms of a language is indicative of the vitality of a language, of the attitudes its speakers have with respect to language survival, and the hierarchical relationship that exists among languages, which all express political, economic, and social relations".15
Some efforts have been made to address Romanians' lack of resistance to anglicization: so far, TermRom (The Romanian Association for Terminology), founded in 1991, has created a terminological data base in 7 languages; Comisia de terminologie pentru stiinte exacte a Academiei Romane (the Romanian Academy's Commission of
Terminology for Sciences), founded in 1997, has published a series of bilingual and multilingual technical dictionaries in the fields of electro-technics, energetics and the textile industry. However, to my knowledge, there was no systematic effort to address the inflation of anglicisms in the humanities.
14 Such is the case of the language bill initiated in 1997 by George Pruteanu, which called for all texts with public character to be written in Romanian or accompanied by a translation into Romanian. Intellectuals and general public alike associated the proposal with the late 19 century purist school that proposed the use of derived words (which at the time might have sounded neutral, but today tend to make people laugh) such as gdt-legau (neck-tier) and nas-stergdu (nose-wipener) instead of their borrowed equivalents cravata (tie) and batista (handkerchief). 15 Teresa Cabre, Terminology: Theory, Methods and Applications. Trans. Janet Ann DeCesaris. (Amsterdam / Philadelphia: John Benjamins Publishing Company, 1998) 90. 20 This dictionary is an attempt in this direction. It is less a matter of replacing borrowings with new domestic forms, and more a question of reminding the public that perfectly functional Romanian equivalents16 of English words / expressions already exist and can be preserved. Being designed as a tool for translators of film books, this dictionary is part of the effort of stressing the importance of translation for the enrichment of languages.
Intended users
The intended users of this dictionary may be found at all stages of filmmaking conception, production and consumption. The dictionary intends to help those teaching film, working in film production, or assessing film as a final product.
Film crews
Foreign film production in Romania began developing in the 1990s - Buftea Film
Studios was acquired by MediaPro Pictures in 1998, and Castel Film started its activity in
1995. Most of the productions are American and English, some French. Crews are obviously required to speak English.
The dictionary could be of interest to those who have a functional knowledge of
English / French and wish to acquire a better understanding of English / French technical words / expressions. Film production is a fast-paced, profit-driven work environment, with a production-line type of labour organization; therefore communication among the
16 Mostly borrowed fromFrench , at the origins of the Romanian filmindustry . 21 numerous departments of a film crew has to be concise and accurate. Knowing the proper film terminology is hence crucial.
Besides, film production - especially in English - has a very particular slang. Kill the blonde, bring the red head, strike the set, give me a half apple, bring the baby legs,
Hollywood it are just a few examples of what one might hear on a film set with an
English speaking crew. Just like in the movies themselves, nothing is what it seems and the beginner production assistant might feel lost. This is why film unions include a list of slang expressions in the documents they hand out to their aspiring members during orientation workshops.
During my research in Romania, I was working on an American film production. I could then observe some of the effects that the simultaneous use of English and
Romanian could have: even if the crew was mostly Romanian, English was the main language used for giving instructions and assigning tasks. Production meetings were held in English, paperwork (from the call sheet to the production reports) was written in
English as well. The first assistant director or the department heads occasionally translated director's instructions into Romanian for those members of the crew who didn't speak English. Pressured by the need to communicate quickly, those who translated often had the tendency to mix English and Romanian. English terms were romanized on the spot by adding the article "-a" or "-ul" such as in focus-pullerul.
Sometimes the literal translation of English technical expressions has a ludic function,
17 The blonde and the red head are two types of lights; to strike the set refers to dismantling the decoration after the shooting is finished; half-apple is a wooden box used by the grips; the baby legs are a low tripod; to Hollywood a shot means to have a crew member hold a prop (a tree branch for example) in the shot while the camera dollies in, as soon as the camera passes the "tree", the branch can be dropped. like in the case of camera on sticks (instruction meaning that the camera must be put on a tripod) which became in translation camera pe sticsuri (the word sticsuri already exists in
Romanian in the sense of bread sticks). But most of the time, the literal translations of
English expressions were no longer acknowledged as such by the speakers: the first assistant director used to announce lunch time by saying Spargem pentru masa (we are breaking for lunch) instead of Pauza de masa. This dictionary might therefore be used by those who know the English technical words / expressions and wish to find out their
Romanian equivalents.
Translators and the book market
To assess the number of translations of film books published in Romania I consulted the main libraries and publishing houses' online catalogues; I read various forums in which information on film-related bibliography was shared18, and I checked the main bookstores (selling new and used books) in Bucharest. The following is a list of film books translated into Romanian over the past 50 years:
The 1960s: eleven books. 1) Pudovkin, Vsevolod. Despre artafllmului. Bucuresti: ESPLA, 1959. 2) Sadoul, Georges. Istoria cinematografului mondial. Bucuresti: Editura §tiintifica, 1961. 3) Reisz, Karel si Gavin Millar. Tehnica montajului cinematografic. Bucuresti: Editura Studioul cinematografic Bucuresti, 1963. 4) Aristarco, Guido. Cinematografia ca arta. Bucuresti: Editura Meridiane, 1965.
The most informative was, by far, the forum of UNATC (Universitatea Nationals de Arta Teatrala si Cinematografica)
The 1970s: six books. 1) Agel, Henri. Din tainele cinematografului. Bucuresti: Editura Meridiane, 1970. 2) Boyer, Pierre si J. M. Galceran. ABC-ul cineastului amator. Trad. Constantin Pivniceru si Florin Vasilescu. Bucuresti: Editura Tehnica, 1970. 3) Faure, Elie. Functia cinematografului. Bucuresti: Editura Meridiane, 1971. 4) Delamare, Gil si Franck Dominique. Meseria mea e riscul. Trad. Iulia Giroveanu si Sanda Mihaescu-Boroianu. Bucuresti: Editura Meridiane, 1971. 5) Capek, Karel. Cum seface teatru; Cum se face film: Oprivire in culise; Schife umoristice. Bucuresti: Editura Meridiane, 1971. 6) Morin, Edgar. Starurile: Oprivire istoricd, sociologies si estetica asupra stelei de cinema. Bucuresti: Editura Meridiane, 1977.
The 1980s: two books. 1) Martin, Marcel. Limbajul cinematografic. Bucuresti: Editura Meridiane, 1981. 2) John, Lawson. Film si creatie. Bucuresti: Editura Meridiane, 1987.
The 1990s: two books. 1) Vanoye, Francis si Anne Goliot-Lete. Scurt tratat de analizafilmica. Bucuresti: ALL Educational, 1995. 2) Leutrat, Jean-Louis. Cinematograful de-a lungul vremii: O istorie. Bucuresti: Editura ALL, 1995.
After 2000: five books. 1) Stok, Danusia. Kieslowski despre Kieslowski. Bucuresti: Editura ALL, 2000. 2) Burch, Noel. Un praxis al cinematografului. Bucuresti: Editura Meridiane, 2001. 3) Stok, Danusia. Scorsese despre Scorsese. Bucuresti: Editura ALL, 2001. 4) Levy, Emanuel. Totul despre Oscar. Bucuresti: Editura ALL, 2004. 5) Jaz Schneider, Steve. 1001 defilme de vazut intr-o victfa. Bucuresti: Editura RAO, 2005.
Books published in the 1960s are representative of the main international trends in film theory, while from the 1970s onward the choice of translated authors and book types does not seem to fit any particular pattern. The importance of Editura Meridiane appears clearly in the 1970s and 1980s. Created in 1962, Editura Meridiane specialized in art books and published most of the Romanian books on film. After it was taken over by the
Ministry of Culture in 2004, Editura Meridiane went bankrupt because of a privatization i 19 that went wrong.
Until quite recently, French was the main foreign language spoken and understood in Romania. Thus it should be no surprise that prior to 2000 more books were translated from French (fourteen) than from other languages (one was translated from Russian, one from Italian, four from English and one from Czech). With the proliferation of English in business environments after 2000, French gradually lost its prominent place. The ratio of film book translations published in the past seven years shows the new importance of
English source texts.
There are no additional editions of any of the above-mentioned titles. With the exception of the most recent publications by Danusia Stok and Steve Jaz Schneider, the editions are out of print and only available in selected libraries.
See Iulia Popovici, "Editura Meridiane in pericol," Ziua 9 ianuarie 2004, data de acces: 20 iulie 2007
Romania and the development of film programs in Romanian universities, the need for film manuals, dictionaries, and how-to books becomes obvious. Film books written in
Romanian during the past 50 years (Appendix B) cannot compensate for the lack of translated materials. Domestic books were published in limited editions and went rapidly out of print. Judging by their titles, these books satisfy the need for a few types of texts only: film criticism and history books are the most numerous, dictionaries of films and filmmakers can also be found; however, out of 66 books, there are only 5 production manuals and they mostly concern lighting and cinematography; screenwriting, acting and management are represented by one book each, while nothing has been published on preproduction practices, set communication or editing.
Some publications deliver something different from what their title suggests. loan
Lazar's book Cum seface unfilm? (How to make a movie) is rather a collection of stylized film criticism and structural analysis writings. In his analysis of numerous films, the author identifies narrative patterns based on a classifying system pertaining to logic and to the laws of pictorial composition (i.e. symmetry, repetition, difference, contrast, rhythm), as well as to the use of autobiography as a source for inspiration, or to the recurrence of a theme in a director's filmography. It is a good example of a particular approach in film analysis, but it is of little interest to those who would like to learn how a film is actually made.
A trilingual film dictionary, aside from being a reference tool, will hopefully encourage the translation of film books from French and English into Romanian. Film and literature students / Language for special purposes
Unlike in France, where film is more frequently taught outside film programs, and where film studies may be taught at the high school level20, in Romania film can only be studied at the university level, and only in film departments. Film school candidates face a challenge: their high school education does not offer them the opportunity to acquire the technical vocabulary that is specific to film, while they are expected to be familiar with the specialized language of the discipline for the entrance examination. From March to June, the UNATC (National University of Stage and Film Art, the main film school in
Romania) offers an orientation course to help its candidates understand the filmmaking process and acquire film analysis techniques - an admirable initiative, which does not help candidates living outside the capital city however. A trilingual dictionary of film terminology with definitions and contexts of usage could, therefore, be of interest to those candidates.
Students of language and literature programs could also benefit from such a dictionary. Comparing literary works with their film adaptations is a common exercise in such programs. The curriculum includes courses on the theory of literature, linguistics, pragmatics and discourse analysis, while film analysis, not studied outside film schools, is practiced at an intuitive, impressionistic level, with little recourse - if any - to film-
20 Education a I'image au college, date de consultation: 30 decembre 2007
Languages for special purposes - mainly taught within language and translation programs - constitute another field where a trilingual dictionary of film terminology could be useful. .
28 4. Lexicography, terminography and pragmatics
The intended readership will be the most important factor in determining the choice of the dictionary's main and secondary subject fields, its entry structure and the typology of its definitions.
Main and secondary fields
Intended to be a tool for potential translators of filmmaking books, the final dictionary will include the subject fields already mentioned in Chapter 2: screenwriting, film production, film consumption and assessment. Given the scope of this project, the subject fields will be limited to film production - directing and editing.
Approach
As shown in Chapter 3, a user-oriented approach was adopted for the delimitation of the dictionary's scope.
Two main approaches exist for conducting lexical / terminological inquiries: the semasiological approach, mostly used in lexicography, goes from the signifier (the word) to the group of entities signified, and tries to answer the question: "What is the meaning of the word...?"; and the onomasiological approach, preferred in terminography, which starts with the signified (the concept) and tries to find the term that signifies it. In other 29 words, in this approach, the questions one tries to answer are rather: "What is the term
designating the object which...?" and "What do we call the action / operation consisting
of...?" In the present project, an onomasiological approach was used for term retrieval,
(see Chapter 5 - Oral sources: Getting feedback from film technicians).
The entry structure is concept-oriented, a practice prevalent in terminographical
works. Hence, separate entries were provided for each of the meanings of polysemic and
homonymic terms (i.e. to cut, to match), as well as for derivative words (to frame / framing) or multiword lexical units (direct cut/jump cut / cutaway). The nested (or
niched) entries preferred in lexicography (several related words / expressions are listed
inside one entry, under a common headword) although very efficient in monolingual
dictionaries, proved impractical in a trilingual dictionary.
Headword classification
Given the fact that targeted users are more likely to know English film terminology
than French or Romanian terminology, the chosen source language is English. For those
in need of finding an English word / expression starting from a French or Romanian
word / expression, indexes are offered in these two languages in Appendix D and E. Each
French / Romanian headword is followed by the English entry number.
21 Robert Dubuc, Manuel pratique de terminologie (Quebec: Linguatech, 1985) 18. 22 Other indexing methods could be applied: Robert Dubuc, in his Vocabulaire bilingue de la production television: Anglais-Frangais, Frangais-Anglais. Montreal: Lemeac, 1982, proposes an index of French terms followed by their English equivalents. Pierre Laroche, in Lexique technique de television Anglais- Frangais. Montreal: Lemeac, 1984, uses an index of French terms and page numbers of corresponding English entries. 30 Both systematic and alphabetic classification of entries have been considered.
Alphabetic classification was finally chosen, in keeping with the structure of most
dictionaries. The systematic method of classification is not well suited for users
unfamiliar with the discipline's subject tree. Moreover, the subjectivity involved in the
delimitation of fields and sub-fields would slow down the consultation process. However,
a systematic classification would have had the advantage of better reflecting the position
of each word / expression within the discipline's conceptual system. This will be
compensated by including the headword's main and secondary fields in each entry and by
providing the subject tree in Appendix A.
Entry structure
Each entry includes, for each of the three languages, the elements discussed below.
Headwords were included with the following linguistic information: part of speech and
gender. Occasionally information was provided on inflection, when further clarification
was considered necessary (for instance, in plural, Romanian nouns of neutral gender
could end in -e as well as in -uri.) The word plonjeu (high angle) was entered along its
appropriate plural form.
Though many disciplines are mostly described by nouns or (less frequently) verbs,
film terminology includes a great number of expressions, or multiple-word lexical units,
such as those Guy Rondeau refers to as "syntagmes terminologiques"2 . Some of the
Rondeau, Introduction a la terminologie 78-79. 31 expressions included in this project are out of continuity, day for night, to cue dialogue, to cross the axis.
The method chosen for classifying expressions consists of classifying them in alphabetical order, using their fixed elements as the main entry - i.e. the fixed components of the expression to shoot out of continuity are out of continuity, since the first elements (to shoot) are variable (to film out of continuity, to take out of continuity, to be out of continuity, to occur out of continuity). Another way of classification, equally valid, could consist of listing the entries in alphabetic order, using the phrase's key word
(in our case: continuity, day, cue) while providing a link to the full expressions listed alphabetically in their fixed form in an index such as suggested by Louise Lariviere24.
Eyeline CONTINUITY Film CONTINUITY Filming out of CONTINUITY Shooting out of CONTINUITY CONTINUITY editing CONTINUITY girl CONTINUITY mistake CONTINUITY script
Such a method may prove useful when considering collocations. It has not been used here because the purpose of this dictionary is not to emphasize collocations.
Nature of words /expressions. Special attention will be given to the specific communicative situations in which some film terminology is used, especially in the case of the set communication protocol. For example, anybody taking a picture with the flash
Louise Lariviere, "La constitution d'un repertoire de collocations verbales: une hierarchisation a trois niveaux", Traduction et langues de specialite: approches theoriques et considerations pedagogiques, ed. Z£lie Guevel and Egan Valentine (Quebec: Centre international de recherche en am^nagement linguistique, 1998). 32 on must announce it by saying "Flashing!". Unless they are told what the source of the flash is, the electricians working on the film set may think that one of their lights burned out. Similarly, cut on rehearsal / cut on blocking / cut / action, etc. are expressions which are performative in nature and I believe that the uniqueness of their usage situation should suffice to grant them headword-status. As Teresa Cabre noted, terminography remains reluctant to include such uses: "performative, expressive, communicative, poetic or metalinguistic uses, which are so pervasive in communication as a whole, are usually quite rare in terminological discourse" . A more flexible, lexicographical approach was chosen, as it is better adapted to include such entries.
Definitions. In terminological data banks, definitions are provided for each of the languages of the data bank and are usually borrowed from reference works such as dictionaries. Such is the case of Termium, the Government of Canada's terminology and linguistic data bank. In this case, definitions are obviously different in content, structure and size, according to the nature of available sources. In this project, the definitions were written rather than collected from previous sources. By proceeding this way, the intention was to shape definitions in accordance with the specific needs of the intended users. Also, the scarcity of reference sources in Romanian would have rendered this task impossible.
Another way of dealing with definitions in bilingual dictionaries is to provide definitions in the target language only. This is the approach adopted by Robert Dubuc in
Cabr6, Terminology 113. 33 several of his lexicographical works as well as by Pierre Laroche . This is an example drawn from Dubuc's Vocabulaire bilingue de la production television:
[English word] focusing [French equivalent(s)] mise au point miseau foyer [Definition in French] Ajustement du systeme optique d'une camera pour obtenir l'image la plus nette possible.
In this project, definitions have been written in all three languages starting from multiple contexts in each of the three languages, wherever possible. Having definitions for each language will allow users to spot possible differences in the word's semantic extension. The definitions presented as aligned texts will also provide equivalences in all three languages of fixed expressions most commonly employed within the various sub- fields. Finally, a definition in each language will allow users to skip the languages in which they are not interested and still have a complete entry.
The existence of identical definitions indicates that the essential characteristics of a concept in all three languages are identical. Differences between concepts from one language to the next were reflected either within the text of the definition itself- (see entry 18, cutting in the camera/mise en scene enprofondeur /mizanscena in profunzime, or entry 38, to mark/ marquer / apune semne) or mentioned under
Observation.
26 Robert Dubuc, Vocabulaire bilingue de la production television: Anglais-Francais, Francois-Anglais (Montreal: Lemeac, 1982), Vocabulaire bilingue du theatre: Anglais-Francais, Franqais-Anglais, (Montreal: Lemeac, 1979). Vocabulaire bilingue de lapublicite anglais-francais,franqais-anglais, Vocabulaire bilingue, (Longueuil, Quebec: Linguatech, 1991). 27 Pierre Laroche, Lexique technique de television Anglais-Francais (Montreal: Lem6ac, 1984). Occasionally, because film is an artistic medium, definitions might also include referrals to the aesthetic effects of a particular shooting technique. Giving examples of films in which such techniques were used could also be considered. Andre Roy does this in his monolingual Dictionnaire dufilm:
plan-sequence Prise de vue d'une scene en continuite, sans coupures (sequence shot). (...) II est frequemment utilise par Kenji Mizoguchi. Alfred Hitchcock utilise cette technique d'une autre facon dans La corde (1948) en voulant dormer l'impression d'un film tourne en un seul plan- 28
sequence.
Cross-references could be created when a word / expression is used in a definition to better show the relations between concepts and to make consultation faster in a potential electronic version of the dictionary.
Etymology / coinage. For our purposes, tracing back the words' derivations and/or origins are not a priority. As Sidney I. Landau mentions, etymology could prove useful in diachronic, historical dictionaries, but is of little relevance to synchronic dictionaries, concerned with the current meaning of a word. However, on some situations, knowing the particular context behind the coining of a word / expression could considerably help translators preserve, in the target language, as much as possible of the original word's connotations. For instance, for the directors of the Hollywood studio era, cutting in the camera (shooting a minimal amount of coverage and hence, limiting the number of editing options) was not an aesthetic choice, but a political one. This shooting style was a
28 Andre Roy, Dictionnaire dufilm: tous les termes de la technique, de I'industrie, de I'histoire et de la culture cinematographique (Outremont, Quebec: Editions Logiques, 1999) 238. 29 Sidney I. Landau, Dictionaries: The Art and Craft of Lexicography (Cambridge, New York, Port Chaester, Melbourne, Sydney: Cambridge University Press, 1989) 98-101. 35 way of preventing the studio executives from taking creative control of the movie. Later, the expression started to be used in the sense of "shooting without coverage". It can
unproblematically be translated in French by "mise en scene en profondeur" and in
Romanian by "mizanscena in profunzime". However, the translator of a text in which
cutting in the camera is used with its original meaning ought to find a way of reflecting
the political connotations of the expression in the translation.
Contexts are short excerpts of text that show the main entry's usage. They have
been chosen, within the limits of the available resources, to clarify a concept's
characteristics and/or to show collocations and phrases in which the main entry may be
used. Terminological and lexicographical sources have not been used for the extraction of
contexts.
Abbreviations are indicated, as they are very common in most of the paperwork
during production and also in set communication. Personnel that may be particularly
interested in abbreviations include: script supervisors, production managers, production
coordinators, second assistant directors.
Sometimes it happens that words belonging to the same family such as incadratura,
cadraj, cadrare - all derivatives of cadru (frame) - are all in use, but none of them led to
the exclusion of the others. In such cases, the most frequently used word has been chosen
as main entry, while the others were listed in a separate field.
Synonyms such as bridge shot /buffer shot, plan-secventd / cadru-secventa, ox plan
de diversion I plan-raccord, as well as graphic variants {travling inapoi / travling-inapoi)
were treated the same way. The synonyms and the variants included in separate fields 36 were repeated in each language's alphabetical index. They may also be input in a separate entry with the remark see [primary headword].
Collocations (a word's tendency to co-occur with specific other words; juxtapositions that are "more fixed than free combinations and less fixed than idioms"30) were also included, as they will help the users produce idiomatic texts in a second
language or in a technical language. Collocations included in this project are more numerous in English, as my knowledge of English film vocabulary exceeds my expertise
in French and Romanian. Electronic texts were not used for the retrieval of phrases.
Instead, I've relied on my readings and my work on film sets.
Polysemy happens when the same linguistic form is used to denominate several
concepts. Homonymy is the characteristic of two or several words having the same
graphic form and having a different meaning. Polysemic and homonymic words were
featured in separate entries, which means that there is a new headword with every new
meaning. For example, the form to cut generates four headwords (since it denominates
four concepts):
1) to end a shot (in post-production); 2) to edit; 3) to require the camera to stop rolling (during production);
4) to match.
Analogical words / expressions are also added in the hope of showing the main
entry's relation to other words / expressions. For example, under low angle all the other
types of angles are listed, along with their synonyms {high, canted, Dutch).
Hartmann, Dictionary of lexicography 23. 37 Observations. The objective was mainly to look into whether the relation between headword and concept was the same in all three languages. Questions asked were as follows:
- Is there a complete match between the word / concept relationship across
languages (i.e. as is the case with medium shot)?
- Is there partial equivalence of words/expressions from one language to
another: (i.e. the English expression script supervisor is a partial equivalent
of the Romanian expression secretara deplatou, since some job tasks are
slightly different)?
- If a given concept exists in all three languages, does it or does it not possess
a denomination of its own or is it expressed through a word borrowed from
a foreign language (i.e. master)!
Hence, in each record, the observations' main purpose is to:
- draw attention to false synonymy of same language concepts by stressing
their differentiating, non-essential characters (30 degrees / cutting in the
camera; long take / long shot; first assistant director / director's assistant;
low-angle shot / low-level shot; jump cut/jump on screen; cutting in the
camera / in-camera editing)
- comment on the appropriateness of the anchor-word used in the definition
(jump cut is sometimes defined as an error. New developments in film
aesthetics require a more neutral word, as the jump cut could be a deliberate
choice for stylistic purposes.) 38 - point to differences in the way languages reflect reality, raising issues of
non-isomorphy {continuity / raccord / racord)
- help the reader spot confusions created by common language used as
jargon. For instance, Inside may be used as a synonym of clean shot/ shot
clean of... Hence, we are inside the car (as an equivalent of w are clean of
the car, in French, contrechamp interne) could signify that after taking a
shot of the car, we are shooting a reverse angle in which the car will not be
shown again.
- point out false antonyms (shooting out of continuity / continuity shooting)
comment on the non-coincidence of polysemic words across languages (The
polysemic French term decoupage could be translated as directorial style /
coverage /segmentation, depending on the secondary subject to which the
term belongs: production, film analysis.)
- point out equivalence issues (cutting in the camera / montage dans I 'espace /
montaj in cadru; master /plan large)
show the tendency of some languages to lexicalise / to label every practice
with a term / fixed expression (Unlike day for night which has French and
Romanian equivalents - nuit americaine / noapte americand — the
expression night for day, which means shooting a day scene during the
31"D'une langue a Pautre les realties que [les termes] recouvrent ne sont pas toujours tout a fait les memes. La langue A peut faire une distinction que ne fait pas forcement la langue B. On qualifie alors la relation de non isomorphique." Marie-Claude L'Homme, La terminologie: principes et techniques, (Les presses de l'Universite" de Montreal, 2004) 115. 39 night, does not have a translation, although the practice designated by this
expression exists.)
- discuss borrowed words / expressions whose meaning has shifted in the
language of adoption, while keeping the original lexical form (i.e. the
English expression voice off was introduced in French but its meaning
would be the equivalent of the English voice over. The translation of the
English expression voice off is voix hors champ)
draw attention to cultural attitudes reflected in the choice of words
{mainstream cinema / cinema commercial / film comercial)
- include historical information to help users make fine differences between
words / expressions (film d'art /film d'auteur)
- analyze aspects of a word / expression's frequency of use by comparing oral
and written communication (cowboy shot)
- comment on the specialization of elements of complex expressions (the
adjective wild in wild track, wild line, wild wall, meaning separate,
detachable).
The selection of the 60 entries included in this paper was based on the following criteria: in an attempt to avoid incomplete entries, only words / expressions with equivalents in the other two languages were included. To ensure that the selection reflected as many branches of the subject tree as possible, preference was given to those words / expressions whose comparison in the three languages would cast light on aesthetic and cultural differences. 40 5. Corpus development and reflections on source text selection
Terminologists and lexicographers make a number of recommendations with regard to the best way of constituting multilingual terminological corpora. In this particular case however, it was not always possible to follow these recommendations. This chapter will discuss how some of the inconveniences were solved while stressing economical, social and cultural specificities that explain why certain types of texts are favoured within individual cultures.
Types of documents for a balanced corpus
It is generally recommended that a corpus for terminological and lexicographical purposes be balanced in terms of text typology. Based on the needs of the targeted users, it is helpful to include numerous, different, shorter texts rather than few voluminous texts.
In terms of consistency of source selection across languages in a multilingual project, it is also preferable to include comparable texts in all the languages involved in the project.
For this research, this rule was strictly observed for English and French, but in the case of Romanian, due to the lack of availability of some documents, more texts on film criticism and less on film production practices were included. For Romanian it was not always possible to ensure a wide variety of authors — loan Lazar and Dumitru Carabat
L'Homme, La terminologie 129. 41 were both included with two books each. However, when using several texts by the same author, it becomes obvious to the dictionary maker that some expressions are simply part of the writer's linguistic idiosyncrasies.
Thus, even though a perfect balance could not be achieved, the corpus proved to be a workable one that allowed me to complete a good number of records successfully.
English Corpus. Field: directing, editing, production practices, film syntax.
Types of texts: specialized manuals (script supervision, directing), film introductory handbooks, interviews, articles:
1) Bare, Richard L. The Film Director: A Practical Guide to Motion Picture and Television Techniques. New York: Macmillan, 1971. 2) Bordwell, David and Kristine Thomson. Film Art: An Introduction. New York: The McGraw-Hill Companies, 1997. 3) Mamer, Bruce. Film Production Technique: Creating the Accomplished Image. Belmont, CA: Thomson / Wadsworth, 2006. 4) Miller, Pat. Script supervising and Film Continuity. Boston: Focal Press, 1999. 5) Rabiger, Michael. Directing: Film Techniques and Aesthetics. Amsterdam; Boston; London; New York: Focal Press, 2003. 6) Rafferty, Terrence. "Dueling Auteurs: Whose Movie is it? " The New York Times. 19 October, 2006. Date of access: 2 July 2007
French corpus. Field: directing, editing, production, film syntax, criticism, analysis.
Types of texts: specialized manuals (script supervision), film introductory handbooks, specialized Web sites containing popularized materials or blogs, DVD
42 criticism, regulatory acts and legal documents, workshop postings from specialized institutions / professional associations:
1) Aquitaine image cinema. Commission du film Aquitaine. Date de consultation: 15 avril 2008
43 Romanian corpus. Field: management, screenwriting, film narratology, criticism.
Types of documents: public announcements, film criticism articles, academic essays, script excerpts, manuals.
1) Bere§, "Nick. Nicaieri: scenariu." Club literar. 5 decembrie 2003. Data de acces: 10 februarie 2008
Some working documents were collected from various English language films on which I worked, as well as from some of the books included in the corpus: script supervision manuals for English and French, or, in the case of Romanian - Lucian
Pricop's book Management in cinematografie.
Texts created by specialists
Another recommendation coming from terminologists and lexicographers is that texts considered for term collection should have been written by experts in the field.
In Romania, the number of foreign film productions has increased so much over the last few years that the demand for film technicians has considerably exceeded the supply available on the market. Hiring unqualified personnel to be trained on the spot has therefore become a common practice, which led to the development of a type of technician too open to anglicisms. On the one hand, because it served as the initial path to the professional slang, English became the language of reference; on the other hand, the chances of Romanian providing film technicians with an alternative, native technical vocabulary were very slim since the number of Romanian productions was much lower than the number of foreign productions. The phenomenon became obvious when one compared the vocabulary of new technicians to that of senior technicians (trained before the boom of foreign film productions); the latter were more likely to be considered a
45 reliable source since they were less inclined to use English terminology. Consequently, the discourse of the others had to be treated with caution and checked against other sources.
Bonus materials on DVDs, such as director's comments or the "making-of' or
"behind the scenes" footage, were considered as a potential source for the extraction of technical words / expressions, since all the accompanying texts were arguably produced
by specialists working on the field. While this could have worked for English, the
operation proved problematic for Romanian, at least in translation. As a subtitle editor I
had the opportunity of proofreading subtitles translated in Romania: more often than not,
the terminology lacked uniformity even within the same DVD. In three featurettes on Ray
Harryhoussen, most probably assigned to three different translators, the same English
word had three different translations. For efficiency reasons, changes to the translations
commissioned by the studio distributing the material were requested in the case of
spelling mistakes, plot relevant mistranslations and translations completely void of sense,
but not in the case of non-uniform use of terminology.
It is therefore important to assess the circumstances under which the specialists of
the field have been trained, and also to question economical factors involved in text
production and circulation.
Including bonus materials on Romanian films released on DVDs is not a common practice. Hence, the chances of finding bonus materials to serve as original texts is very slim. 46 Texts representative of the subject field
In each of the three languages, existing sources favour some sub-fields over others.
The most frequent types of film assessment in Romanian sources deal with the history of
film (Tudor Caranfil, Cornel Bujor), film criticism and analysis (Dumitru Carabat, loan
Lazar). French authors too are very inclined to practice film analysis for its own sake: in
France, film analysis is often taught outside film departments and it is the object of
numerous books 4; it is practiced in specialized magazines such as Vertigo. In North
American sources, film analysis is seen rather as an instrument subservient to film theory.
This might be explained through French culture's propensity towards aesthetics (which
plays an important role in film analysis) and American academia's preference for the
politics of interpretation (since the 1980s, film theory, informed by Marxism and
Feminism, has questioned film as a site of power struggles between social / political /
cultural / gender groups - i.e. women, sexual minorities and class minorities).
When choosing texts for a multilingual corpus one must keep in mind the unequal
distribution of technical words / expressions that comes with each culture's tendency to
favour some sub-fields. While texts on film production practices are numerous in
English, they are almost non-existent in Romanian. Cultural practices and socio-
economical factors could explain this difference.
Raymond Bellour, UAnalyse dufilm (Paris: Albatros, 1979), Jacques Aumont and Michel Marie, Analyse des films (Paris: Nathan, 1988), Anne Roche and Marie Claude Taranger, L 'atelier de scenario: elements d 'analyse filmique (Paris: Armand Colin, 2005), Francis Vanoye and Anne Goliot-Lete, Precis d'analyse filmique (Paris: Armand Colin, 2005), Jacqueline Nacache editor, L 'analyse des films en question: regards, champs, lectures (Paris: L'Harmattan, 2006). "How to" publications in the style of "do-it-yourself or "filmmaking for dummies" books are widely available in North America. These books are readily accessible, very practical and promote the idea that there is a solution for everything. Hence the titles of books and chapters: The Screenwriter's Problem Solver , "The Dramatist's Toolkit" or
"If It's Broken, Fix it"37. This view of artistic creation as an activity that can be acted upon, improved upon, fixed, and/or solved is incompatible with the Romanian belief that talent is always innate and never acquired.
The proliferation of such books on the North American market may also be explained in terms of marketing strategy: editors are simply capitalizing on the frustrations of aspiring filmmakers. On the contrary, in Romania, where marketing practices are not as widespread as they are in the US, the question has not arisen as to whether someone other than a film student could take an interest in film production practices, and therefore justify the publication of books dealing with the subject.
In choosing texts for the corpus, unequal representation of sub-fields within each culture must be expected. The same applies to the recommendation of including comparable texts for each language in a multilingual project. The fact that text types and genres have unequal representation across cultures should make terminologists and lexicographers aware that some sub-fields will generate a larger number of technical
Syd Field, The Screenwriter's Problem Solver: How to Recognize, Identify, and Define Screenwriting Problems (New York, N.Y.: Dell Pub., 1998). 36 Title of a chapter in Michael Rabiger, Developing Story Ideas (Amsterdam; Boston: Elsevier/Focal Press, 2006). 37 Title of a chapter in Nicholas T. Proferes, Film Directing Fundamentals: From Script to Screen (Boston: Focal Press, 2001). words / expressions than others and that some sub-fields will follow a classmcatory pattern that may differ from one language to the next.
Assessment of original texts
The only manual of filmmaking written in Romanian that resembles the North
American "how to" film books is Elemente de gramatica a limbajului audiovizual by
Ovidiu Druga and Horea Murgu (2004). This source seemed reliable at first: it is written by specialists (both its authors are professors at Universitatea Media, with wide experience as sound and cinematography technicians). After a closer look, however, one notices that the chapters of the book are rather unequal in terms of targeted readership,
level of complexity, and degree of technicality. The book does not have a bibliography
and mixes English and Romanian terminology. Sometimes, lacking the proper native vocabulary to express English-language concepts, the authors do not hesitate to ask readers for help:
Acest subcapitol, redactat de Valeriu Ciubotaru, se bazeaza pe cateva car$i de specialitate, articole din Internet, experienja personala §i discutii cu scenaristi din mai multe colturi ale lumii. Nu am gasit intotdeauna cea mai buna traducere posibila in romana a termenilor de specialitate si orice sugestie este binevenita.38
Some definitions lack structure, unnecessarily repeat words and are circular:
"Miscarea de transtravling este o miscare combinata intre miscarea de travling si
"This subchapter, edited by Valeriu Ciubotaru, is based on some books dealing with the subject, Internet articles, personal experiences and discussions with screenwriters from all over the world. Not always were we able to find the best translation into Romanian of technical terms. Any suggestion is welcome." Ovidiu Druga and Horea Murgu, Elemente de gramatica a limbajului audiovizual (Bucuresti: Editura Fundatiei PRO, 2004) 196. miscarea de transfocator folosite in sens contrar, dand nastere la o miscare noua care nu exista in natura, denumita transtravling." Some others are incorrect: "Plan american - capul intreg si taietura sub genunchi, cat mai aproape de glezna; or inversed: "In fondu,
Fade in, Black in - este inteles ca final de secventa, de subiect, si evident final de film.
Fade out, Black out: din fondu - reprezinta aparitia imaginii din negru. Este reversul
Fonduului si este inteles ca inceput de secventa, subiect sau film."41
The existence of rather numerous inadequacies in this book shows how urgent the need is for film books; it is at the same time indicative of the lack of terminological resources (terminographic materials, regulatory documents). The tendency in such situations is to adapt poorly, to compile, or to borrow; in other words, to find a fast fix.
Although problematic in its delivery, Elemente de gramatica... remains admirable in its intention. It was included in the corpus and used for word / expression retrieval and context extraction with all the necessary precautions and multiple verifications against other sources.
Translations versus original texts
It is sometimes difficult to tell translations from original texts, as paradoxical as it may sound. Lucian Pricop's book Management in cinematografie is an original source,
39 "The move of transtraveling is amove that combines the move of traveling with the move of zoom used in opposition, which creates a new move inexistent in nature, called 'transtraveling'." Druga, 34. (my emphasis) 40 "Cowboy shot - head fully in frame, character framed from below the knees up, as close as possible to the ankle." A cowboy shot is actually framed from the thighs up. Druga, 13. 41 "Fade in, Black in - is understood as the end of a sequence, of a subject and of course as the end of the movie. Fade out, Black out: - the image appears from black. It is the reverse of Fondu and suggests the beginning of a sequence, of a subject or of the film." In reality, it is the other way around. Druga, 54. 50 however, some of its technical words / expressions are obviously translated or adapted
from English: consultant de scenariu (story consultant, editor), redactor pentru scenariu
(story editor), rezumatul fdra dialoguri al scenariului (treatment), supervisor de scenariu
(script supervisor). Translators may, of course, feel free to adopt the translations
proposed in this book if they find them efficient - and indeed, they are for the most part.
The danger however is that the translator might take the translated words / expressions
for granted without looking any further for genuine Romanian equivalents (for example,
supervizor de scenariu, proposed by the author, could be replaced by secretard deplatou
which is the existing Romanian expression).
Another illustration of this phenomenon is Michel Chion's Ecrire un scenario,
which relies heavily on American screenwriting manuals, and whose terminology is often
borrowed from English. It is, however, more evident in this book when a technical word /
expression does not have an equivalent French concept - partial correspondences and
adapted words / expressions are indicated through quotation marks: "coup de theatre (plot point des Americams, peripeteia d'Aristote)";42 other times, the English word is provided
while the reader is warned about the absence of a genuine French equivalent between
brackets: "le 'plant' (terme sans equivalent francais, et qu'on pourrait traduire par
'implant'.)"43
Michel Chion, Ecrire un scenario (Paris: Cahiers du cinema - I.N .A., 1985) 153. Chion, Ecrire 172. 51 Oral sources: Getting feedback from film technicians
Collecting film technical words / expressions from oral sources is extremely important since some terms, though frequently employed on set, are rarely found in written sources. While in English, the task is made somewhat easier by the many English- language film production handbooks and specialized dictionaries,44 the challenge remains daunting for French45 and Romanian.
For English, technical words / expressions and contexts were collected from several
American and Canadian productions in which I worked over a period of four years. The complexity of film productions ranged from very simple independent short films to unionized big budget productions. The frequency of technical words and expressions was directly related to the complexity of the production and therefore also to the distribution of labour and an increased need for fast communication. Most of the Romanian technical words / expressions and contexts were collected and/or verified on the set of Ghouls,46 an
American production shot in Romania with a local crew. Some of the French terms were verified with the help of a few French technicians with whom I worked on the Canadian production Adoration.47
Henri Bejoint defines lexicographical fieldwork as "the activity of provoking speech acts in order to collect language items, whether sounds, words, phrases, sentences,
44 One such book is Dave Knox, Strike the baby and kill the blonde: an insider's guide to film slang (Three Rivers Press, 2005). 45 Christine de Montvalon's Les mots du cinema (Paris: Belin, 1987), partially concerned with film jargon, is, to my knowledge, a first attempt to tackle this issue. 46 Ghouls, dir. Gary Jones, perf. Kristen Renton, James DeBello, William Atherton, Dan BadSrau, Lucia Maier, Active Entertainment, 2007. 47 Adoration, dir. Atom Egoyan, perf. Scott Speedman, Rachel Blanchard, Keneth Welsh, Devon Bostick, Ego Art Films, 2008. 52 or texts of all kinds and dimensions." He differentiates between two types of methods, both of which have been used in the course of my research. The first method (the passive method) is "observation" and consists of collecting spontaneous speech without any intervention on the part of the investigator. Romanian being only occasionally used as a language of communication, chances were very slim to collect Romanian words / expressions with this method, with the exception of language games and double entendres which were recorded as they were produced. Some of the Romanian contexts were collected during the production meeting, held in both English and Romanian.
The second method described by Bejoint is characterized by the researcher's intervention through active questioning. Several ways of asking questions have been used; some have been found to be more productive than other. Curiously, the question
"How do you translate [this English word / expression] into Romanian?" was consistently answered by providing an explanation / definition of the English word / expression instead of a Romanian equivalent, despite my repeated reminders that I needed a word, not a meaning. Sometimes I would be told that there was no Romanian equivalent for that particular English word / expression; an affirmation that was consequently proved to be untrue after further research. Asking "How do you call [this technique / procedure / tool] in Romanian?" proved more useful for the identification of Romanian words / expressions.
Henri Bejoint, "On Field-work in Lexicography: Field Dictionaries", Lexicography: Principles and practice, Edited by R.R.K. Hartmann, London, New York: Academic Press, 1983) 67. 53 A good way to compare polysemic words, to obtain an illustrative context, or to find a collocation, consisted of asking "In which situation did you hear [this Romanian word / expression] being used?" For instance, when asked "In which situation did you hear the expression "schimbam cadrul"? one of the interviewees replied: "When the director of photography talked to the director. Usually when they decide to cut from one actor to another. They might say something like 'let's cut to the main actor' (schimbam cadrul pe actorul principal), or - the interviewee later remembered - they might mean that they are going to shoot a close up, after having filmed a medium shot." Besides providing an instance of occurrence as illustrative context, this answer elicited several types of information: pragmatic (communicative situation involving specific crew members), semantic (the polysemic nature of the expression) and collocational (the expression's tendency to co-occur with the preposition pe).
54 6. Language as a way of mapping reality
Godard stated in respect to film: "Le travelling est une affaire de morale." Without falling into the trap of drawing clear-cut, univocal correspondences between a way of shooting and a particular ideology or particular ways of interpreting reality, I would like to argue that aesthetic characteristics of film as a final product, film terminology and filmmaking practices are interconnected and illustrative of a specific way of mapping reality.
Methodological considerations
Regarding film terminology
An analysis of technical film vocabulary allows us to gain insight into how each of the three cultures sees the world, how it positions itself in relation to other cultures through language, how denominations and concepts are related, and the position a certain concept occupies in each culture's way of mapping reality.
Regarding cinema
Given the high number of co-productions existing nowadays it is becoming more and more difficult to define "national cinemas" in terms of geographical boundaries.
Production practices, promotion policies and cultural platforms must be taken into
55 account. Based on these criteria, Stephen Crofts identifies seven types of "national cinemas": European art cinema, Third Cinema, Third World and European commercial cinema, those ignoring Hollywood (Asian cinema), those imitating Hollywood (Britain,
Canada, Australia), cinemas of former totalitarian states, regional / ethnic cinema
(Quebecois, Catalan, Afro-American cinema).49 For present purposes, aesthetic choices, recurrence of a given element of film language (i.e. the long take), served as a unifying criterion.
A possible model of cause-effect analysis is Janet Staiger's discussion of the parallel evolution of continuity scripts50 and the classical Hollywood style51. Janet Staiger argues that "the style of the Hollywood film is bound tightly to a certain mode of production." She further demonstrates how changes in the material medium (the length of the film, the number of film reels) combined with a profit-oriented frame of mind
(rationalization of work, shooting out of continuity to save time and money) brings about changes in working practices (necessity of timing the rehearsals to allow for adjustments of scene length), a new division of labour (breakdowns first prepared by writers, then by assistant directors and film crew department heads, standardization of pre-production practices), changes in means of expression and editing style (cut-ins, crosscutting,
Stephen Crofts, "Theorising National Cinemas," Theorising National Cinema, ed. Valentina Vitali and Paul Willerman (London: British Film Institute, 2006). 50 Detailed scripts including scene-by-scene descriptions, camera angles, action, dialogue, and information for the various film departments. 51 Such a style gives the illusion of time and space continuity, promotes verisimilitude and clarity of narrative. 52 Janet Staiger, "Blueprints for Feature Films: Hollywood's Continuity Scripts," The American Film Industry, ed. Tino Balio (Madison / London: The University of Wisconsin Press, 1985) 173. 56 establishing shots, two shots, close ups, shot/reverse shot) and new acting practices (the close up requires a restrained acting style).
I will be proceeding the other way around, starting from the linguistic evidence to reveal assumptions, aesthetic principles, and ways in which a culture relates to other cultures.
New word formation: Noun modifiers
Noun modifiers that indicate national identity often signify or allude to more than the point of origin of a concept. While the expressions China lamp or nuit americaine, are simply indicating where objects or practices have originated, expressions such as
American slating system, French reverse or repeter a I 'italienne carry connotations which deserve a closer analysis.
In Canada, American slating system and British [Canadian] slating system are current expressions for the alphanumeric and numeric slating respectively (in other words, the identification of shots on the slate through consecutive numbers or a combination of scene numbers and letters). As a script supervisor (and as is customary), I contact the editor during pre-production to agree upon report forms, system of slating, etc. In a message to an American editor, I inquired if he preferred the American or the
British slating system. The following was his reply: "Please use the 'American' system of scene numbering (his quotes), it's just what we're all used to, all the way around." His use of quotation marks is indicative of the fact that what is perceived as American in Canada, is seen as universal in the United States. 57 French reverse is a shooting practice consisting of moving the background and the characters while keeping the camera on the same spot. Reasons for not moving the camera could include the limited size of the set decoration, or, when shooting outside, the lack of a matching background. A Canadian film technician explained to me that this type of reverse is called "French" because of its "against the grain" nature. Therefore, moving the set around the camera instead of moving the camera in relation to the set would supposedly be typically French since French people - my colleague explained - often do things in opposition to what is "normal": "surprisingly", French nouns often precede adjectives; also, French doors are locked by turning the key to the right, instead of to the left, as "everybody else" does. Whether this explanation has something to do or not with the expression's etymology is of little relevance. What struck me was that, for my
Canadian colleague, the connection between the denomination and the concept appeared to be fully justified and logical, having resonated with a personal vision of the world in which the French way is a deviation from the Anglo-Saxon way seen as the norm.
Repeter a I 'italienne //aire une italienne - a memory exercise in which actors rehearse their lines at a very fast pace without blocking the action - is the French equivalent of running lines I repetarea replicilor. While the English expression is strictly describing the act, the French expression adds a humorous touch, arguably alluding to the way
Italians sound: noisy, talking without interruption. This vision of reality leaves out the other half of the cliche of the Italian character: the Italian tendency of gesturing. Michel
Cournot points it out in Le premier spectateur, bringing into discussion another
58 ethnic cliche: "Les Italiens sont incapables de repeter a l'italienne (...) ils sont trop remuants! II n'y a que les Anglais qui repetent a l'italienne."53
Changes in word extension under the influence of Hollywood
A concept extension consists of "the totality of objects (or specific concepts) covered by a word or phrase"54. In English, the term genre has a very wide extension.
Genre is a way of classifying films into types, according to the most varied criteria: form, subject matter, story patterns, time of production, target audience, mood, character type, number of characters, extent of entertainment value (see the half serious-half ironic classification proposed by David Bordwell55).
In the American film industry, the practice of defining and labeling films so specifically facilitates the extraction of sets of characteristics to be better emulated in new films. The constant referral to previous films in pitching practices (i.e. "My movie is The
French Connection meeting The Godfather") helps Hollywood executives better visualize the style, the audience, the casting and the marketing strategies that are the most
Quoted by Montvalon, Les mots du cinema 244. 54 Hartmann, Dictionary of lexicography 54. 55 "Hollywood has given us baseball movies, football movies, basketball movies, fly-fishing movies, skydiving movies, poker movies, prizefighting movies, bike-racing movies, chess movies, roller-skating movies, middle-class-family movies, upper-class-family movies, working-class-family movies, coal-mining movies, cowboy movies, doctor movies, knights-of-old movies, grifter movies, adultery movies, gangster movies, transvestite movies, discreet decline-of-Empire movies, war movies, adult-lust movies, teenage- lust movies, teenage-prank movies, colourful-geezer movies, prison movies, survival movies, dog movies, cat movies, tiger-cub movies, whale movies, dolphin movies, sensitive coming-of-age movies, lovers-on- the-run movies, single-parent movies, disco movies, Thanksgiving movies, Christmas movies, stalker movies, robot movies, firefighting movies, ghost movies, vampire movies, Sherlock Holmes movies, male- bonding movies, female-bonding movies, frat movies, sorority movies, spring-break movies, summer- vacation movies, road movies, road-trip movies, time-machine movies, Civil War movies, rise-of-Nazism movies, World War II movies, Broadway-play movies, TV-spin-off movies, dance movies, motorcycle- trash movies." David Bordwell, The Way Hollywood Tells It: Story and Style in Modern Movies (Berkeley / Los Angeles / London: University of California Press, 2006) 10. 59 suitable for the prospective movie. At the same time, the practice of minute genre classification reflects a certain attitude towards innovation that is specific to Hollywood mainstream cinema. As Laurent Creton says "La nouveaute est un vecteur a utiliser avec ponderation. Elle ne doit pas heurter le public, trop perturber ses habitudes, ni etre excessivement decalee par rapport a ses attentes."56
In European cinema, compliance to genre requirements is not a priority - as French screenwriter Pierre Billard put it, "[film genre] ce n'est pas son genre". European cinema encourages experimentation and idiosyncrasy, and is therefore more resistant to genre- based classification.57 Nevertheless, in French video store catalogues, on websites advertising DVD releases and in film criticism, the term genre is used with its American extension.
In Romanian, one can observe the same tendency. The clear distinctions between gen, specie, sub-specie, formula and model still used in literary theory are abandoned in film analyses in favour of the all-encompassing term genre. Expressions such as tipologia temelor, forma de subiect and model compozitional used by film critic Dumitru Carabaf58
Creton, Economie du cinema 43. A line of research regarding French cinema's relation to film genre was proposed by the organizers of the Colloque international: "les genres du cinema frunguis " University Paris X-Nanterre et Forum des Images, 2-5 juin 2004: "La relative pauvrete des 6tudes de genres sur le cinema francais reflete-t-elle une constante dans la production (manque d'un marche stable, absence de structures fermes de production qui expliqueraient que les genres du cinema francais ont tendance a ne pas se solidifier, a se ramifier et se diversifier rapidement en une multitude de sous-genres ou de series)? Provient-elle d'une comparaison avec les genres du cinema classique hollywoodien, qui au lieu de stimuler une recherche de type comparatiste 6crase le champ d'etudes ou amene a deTinir, dans une sorte de contre-pied identitaire, le cinema francais comme un cinema "hors genre"? Quelles raisons, historiques, id^ologiques ou culturelles, conduisent souvent les critiques et universitaires a privitegier les auteurs, les 6coles et les mouvements au detriment des ensembles g^neriques?" Raphaelle Moine, coordinatrice. Date de consultation: 17 juillet 2007
"Hollywood can hardly be conceived as totally other, since so much of any [European] nation's film culture is implicitly 'Hollywood'"60.
Language-specific degrees of lexicalization
As pointed out by J. Tomaszczyk, "different languages lexicalise semantic space differently." The fact that a particular lexicalized expression in the source language
(SL, in our case English) has no immediate equivalent in the target language (TL, in our case French / Romanian) can easily be solved in a SL-TL dictionary by describing or paraphrasing. In our case, English lexicalized expressions without French and/or
Romanian equivalents, were translated by adaptations or paraphrases extracted from previous written sources. In ordinary explanatory texts (i.e. film manuals) such method may, sometimes, prove to be problematic. The translation of the following text extracted
59 Farchy, L 'Industrie du cinema 92, 108. 60 Thomas Elsaesser, "Chronicle of a death foretold", Monthly film bulletin 54 (641), quoted by Stephen Crofts, "Reconceptualising National Cinema/s", Theorising National Cinemas, ed. Valentina Vitali and Paul Willemen (British Film Institute, 2006) 44. 61 J. Tomaszczyk, "On Bilingual Dictionaries: the Case for Bilingual Dictionaries for Foreign Language Learners", London, New York: Academic Press, 1983) 48. 62 Lexicalized expressions are fixed phrases expressing a concept. Among the examples given by Tomaszczyk are learner-driver, class-mate, sick-call, etc. 61 from Michael Rabiger's Directing (2003) will serve as example: "The director, cast and script supervisor now leave the set to rehearse elsewhere and do last-minute work on the scene. If an actor is missing, the script supervisor will read his or her lines or provide action cues so the scene can be worked over. This is called running lines."
In English, running lines is a lexicalized expression - it has a certain degree of internal cohesion, and its elements express a particular meaning. It also has a technical aspect, therefore the synthesizing formula "this is called...", common in pedagocical and explanatory texts, is not surprising. This is not the case in Romanian, where the translation of running lines (repetarea replicilor) is not perceived as a lexicalized item, but as a group of words of every-day, general language, less coherent than its English counterpart (one may as well call it repetitie, repetarea textului, repetarea dialogului).
Hence, it might seem somehow condescending to introduce this non-technical, non- lexicalized group of words by saying "Aceasta se numeste (this is called) repetarea replicilor ".
According to Jerzy Tomaszczyk, language-specific degrees of lexicalization across languages become an issue especially in an L1/L2 dictionary (LI being the source language of the dictionary and the language best known to the user and L2 being the target language of the dictionary and the user's second language, in which he/she wishes to understand and/or produce idiomatic texts). As the source language of the dictionary serves as screening device, the target language's lexicalized expressions that do not have a lexicalized equivalent in the source language are usually omitted. Tomaszczyk complains: "my Polish-English dictionary gives a more or less full account of the Polish lexicon, but its coverage of the English lexicon is reduced by what was left in the Polish sieve or filter through which it had been passed. (...) I am thus deprived of what I need most to make my English look like English rather than, say, Polish-English." An L2/L1 dictionary would not help either: for the user to look up a word or an expression he/she must be aware of its existence in the first place, which is unlikely since the source language of the dictionary is the user's second language.
Following Tomaszczyk's recommandation I may consider including French and
Romanian lexicalized expressions that do not have an English lexicalized equivalent in the final dictionary. Ecriture cinematographique could be one of them. One possible way of making the user aware of their existence in the dictionary is to include in the source language (English in our case) a keyword designating the branch to which the expression belongs in the subject tree. The second line of the column would include paraphrastic equivalents. The entry could be listed alphabetically, along with all the other entries, based on the first letter of the bracketed text, in this case "F". All that the user needs to know, in order to find the expression, is that it is likely to occur in texts dealing with film
assessment, and more precisely, individual styles. The first fields of such an entry could
look like this:
No. Main [film assessment-»style] ecriture scriitura entry cinematographique cinematografica directorial style (expr.nom.) (expr.nom.) (nom.expr.)
Tomaszczyk, "On Bilingual Dictionaries: the Case for Bilingual Dictionaries for Foreign Language Learners", London, New York: Academic Press, 1983) 49. 63 Given the limited scope of specialized vocabularies, this method could prove easier to apply in technical dictionaries than in general language dictionaries.
One should expect a higher number of lexicalized expressions in English. In film terminology, extensive lexicalization might be explained in economic terms. As pointed out by Laurent Creton, Hollywood film industry is based on the Fordist model of production:
Bien plus que par leur relation reciproque avec les normes esthetiques, les normes de production du cinema hollywoodien sont determinees par le modele general d'organisation economique et managerial americain. Le cinema hollywoodien a remarquablement et rapidement mis en ceuvre les normes fordistes de production, alors que les autres cinemas nationaux restaient attaches a un modele plus artisanal.64
Like production practices, film vocabulary is undergoing a process of
standardization: all practices and processes are labeled with stable, lexicalized
expressions for faster identification and more precise communication in an attempt to
increase efficiency.
Language games and double entendres
Colourful and playful language exists equally on English speaking sets {kill the
blonde, bring the baby legs, give him a haircut, I need more juice, we are inside X, he's
hot, do you like my size, etc.) and Romanian and French sets. The difference lies in the
place this type of vocabulary is given in written sources.
Cretan, Economie du cinema 21. The following are a few examples of funny Romanian expressions I collected during my work in Romania:
- The Catering table was often referred to as masa de caterinca. It is a language
game based on the phonetic resemblance between catering and caterinca (a
face caterinca = (slang) to make fun of).
- When shooting the insert of a wallet, the American director asked for the focus
to be on the wallet, not on the character's face partially seen in the background.
The director of photography translated it for his focus puller by atentiape
portofel. By choosing to translate focus not by the technical film term (sarf), but
by its common language equivalent (atentie), he alluded to the warning one
might get in crowded places atentie la portofel / buzunare (watch your wallet /
pockets).
- When a crew member would accidentally enter the frame during rehearsals, the
first assistant director would warn him/her by saying Treceti mai intdipe la
machiaj (go to make-up first).
- Camera pe sticsuri (camera on breadsticks), a humourous adaptation of camera
on sticks as seen on page 21.
Largely enjoyed in oral communication, film language games have not yet been the object of Romanian dictionaries or manuals. Unlike Americans who have published many works on language games in film vocabulary, a restricted view of technical vocabularies still makes Romanians think that dictionaries should only record words from the
"serious" register. Of course, nothing can guarantee that a word or expression recorded in 65 a written source will become part of the field's jargon; however, its exclusive use in oral communications lowers its chances of becoming lastingly lexicalized.
For French language, Christine de Montvalon has made an attempt to collect funny, allusive film talk in Les mots du cinema. Some of her examples include fouetter la camera for faire unfllage (to make a swish pan), camper un personnage (to get in character), coupe Mohican (in English, haircut, a shot which frames the character without any head room, so that the character looks scalped), coupe Louis XVI (a shot framing the character up to the neck, so that the character seems beheaded).
Language as illustration of aesthetic approaches to cinema
We will be looking at two groups of English and French words / expressions
{coverage - master - set-up - long take and decoupage -plan sequence) and discussing both the relationships between same-language words / expressions, and the relationships between words / expressions across languages. We will see how this difference may reflect a specific way of mapping reality.
This is how to cover and decouper are defined in general language dictionaries: to cover - to place something over or upon, to overlay, to hide; to conceal from view; decouper - diviser en morceaux en coupant ou en detachant; couper suivant un contour.
As film terms, coverage and decoupage take these meanings at a figurative level. The idea of accumulation and concealment (implied by to cover) and the idea of cutting out while leaving the confined area undisturbed (underpinning decoupage) are identifiable at the pragmatic level (in shooting practices and aesthetic choices). Coverage refers to all the shots filmed in addition to the master, all the angles to which the directors move the camera in order to give a number of perspectives over the action; each of these shots implies a new set-up (changes in lighting, camera lens, distance between the camera and the actors). At the end of the day the director and the director of photography are always eager to find out how many set-ups they shot. The greater the number, the more flattered they are: especially in television movies and series where a high number of set-ups indicates how fast they worked, how productive they've been. One recognizes this as the line production approach to filmmaking explained by
Laurent Creton (page 56).
The editors are also asking for "a lot of coverage", even from both sides of the axis
- since it will "give them options". Directors are often checking with the script supervisor
if they "have enough coverage". For the promoters of the fast-paced, dynamic editing
style, creating the possibility for numerous cutting points is the essential element of
filmmaking.
Long takes - shooting an entire scene without cutting (the opposite of coverage) -
has often been perceived by Hollywood as an inappropriate narrative tool. Echoing the
mainstream Hollywood aesthetics and ontology, Hitchcock explains how coverage,
unlike long takes, allows a scene to come to life through a combination of multiple "bits"
"covered" from a multitude of angles.
If I have to shoot a long scene continuously I always feel I am losing grip on it, from a cinematic point of view. The camera is simply standing there, hoping to catch something with a visual
67 point to it. What I like to do is to photograph just the little bits of a scene that I really need for building up a visual sequence.
Furthermore, he stresses the importance of editing (based on extensive coverage, numerous shooting angles) in establishing film as an art different from theatre (consisting of choreographed action).
I want to put my film together on the screen, not simply record something that has been put together already in the form of a piece of stage action. This is what gives an effect of life in a picture - the feeling that when you see it on the screen you are watching something that has been conceived and brought to birth directly in visual terms.66
Shooting just the master scenes without coverage is indeed rare in American film: it is practiced as a mere style exercise (Hitchcock himself did it in Rope with the purpose of concealing all the cutting points), or, in independent films, as a way of marking a departure from Hollywood norms (Jim Jarmusch's Stranger Than Paradise68).
Decoupage, as a film term, just like coverage, refers to the way a director shoots a scene, but without making a distinction between master and additional shots. Decoupage reminds of the slice of life naturalistic approach that sees narrative works as chunks of reality cut out from a character's life, without the narrator's interference. It is interesting to notice that plan sequence and decoupage are in a genus-species relation (plan- sequence is a type of decoupage) while in English, long take is the opposite of coverage.
Considered in relation to European cinema's propensity for long takes (plan-sequence),
Alfred Hitchcock quoted by Richard L. Bare, The film director: a practical guide to motion picture and television techniques (New York: Macmillan, 1971) 74. 66 Alfred Hitchcock quoted by Richard L. Bare, The film director 74. 67 Rope, dir. Alfred Hitchcock, perf. James Stewart, John Dall, Transatlantic Pictures, 1948. 68 Stranger than paradise, dir. Jim Jarmusch, perf. John Lurie, Eszter Balint, Richard Edson, Cinesthesia Productions, 1984. 68 decoupage puts the dramatic emphasis on interpretation and on the collaboration between actors and director preceding the shooting of the film - as the sense of reality and authenticity had to be created through careful choreography. The work of the camera will serve the staged action, and not the other way around. Editing becomes of secondary importance, as the number of cuts is significantly lower and as the dramatic effect is more a matter of performance within individual scenes and less a matter of how the scenes are connected to each other.
69 7. Conclusion
Sidney Landau said about dictionary making that "no other form of writing is so quixotic and so intensely practical."69 This is all the more true about technical dictionaries, as specialized vocabularies are the first to change due to the rapid development of technology in today's society. In this thesis, additional challenges peculiar to the Romanian context were identified:
The derealization of American film productions to Romania brought about a linguistic impasse - the existing, mostly French-based film vocabulary risks becoming obsolete while the anglicized, new vocabulary, not yet assimilated, is felt to be awkward, especially in written language.
From a diachronical perspective, it created a gap between senior film technicians - users of the existing, French-influenced vocabulary - and the younger generations of film technicians whose technical vocabulary is mostly composed of English words / expressions. This situation influenced some of the decisions taken in regard to the dictionary's scope, term selection, samples of specialists to be consulted and intended readers.
Due to the elitist character of film studies in Romania, another divide has been created between the film community and the public at large: technical film vocabulary
69 Landau, Dictionaries 4. 70 remains unknown to the public, as well as to the scholars of related disciplines (such as literature). This is the main reason why this thesis advocates for the popularization of film art and technique through the translation of filmmaking books. Hopefully, this dictionary will serve as a useful resource.
Further research could be performed in several additional directions, which, given the limited scope of this paper, were not explored here. This includes:
- Comparisons between film and drama vocabularies, in each of the three languages, may prove useful to assess, for each culture, the relationship between performance arts, visual arts and film. One may also further question to what extent the assessment of cultural differences holds true in a global era when production practices across the world tend to become standardized.
- The question of borrowings and the creation of new words / expressions (tackled in Chapter 3) could further be explored in terms of language enrichment and cultural imperialism. Bakhtin's notion of dialogic communication may prove useful as a theoretical basis.
- Communication between actors and directors - an important part of the communication occurring in pre-production and during production stages - relying on the personal and the idiosyncratic, and seemingly resisting terminological classification, could be studied from a pragmatic perspective in light of Austin's paper on How to do things with words.
71 As far as the actual dictionary is concerned, the work will be extended to include other words / expressions from the subject tree in Appendix A. It could serve as a basis for the creation of a multilingual database that would include other languages. A similar study including Italian cinema could bring further insight on cultural choices and differences.
72 Part 2
Abbreviations abbr. abbreviation adj. adjective; adjectif; adjectiv adj.expr. adjectival expression adv. adverb; adverbe adv.expr. adverbial expression analog. analogical words / expressions cont. context def. definition expr.adj. expression adjectivale; expresie adjectivala expr.adv. expression adverbiale; expresie adverbiala expr.nom. expression nominale; expresie nominala expr.v. expression verbale; expresie verbala g-v. graphic variant n. noun n.f. nom feminin n.m. nom masculin nom.expr. nominal expression obs. observation phr. phrase Pi- plural; pluriel s.f. substantiv feminin s.m. substantiv masculin s.n. substantiv neutru syn. synonyms v.expr. verbal expression v.intr. verbe intransitif; verb intranzitiv; intransitive verb v.refl. verbe reflexif v.tr. verbe transitif; verb tranzitiv; transitive verb
Note: English and Romanian verbs and verbal expressions listed as main entries are recorded with their infinitive form, without the infinitival particle (to and a'respectively), in alphabetical order of the verb's first letter. English and Romanian verbs and verbal expressions mentioned as synonyms, phrases and analogical terms are entered with their complete infinitive form (i.e. to cut, a taia) in order to avoid confusion between nominal and verbal forms which, in English, may be identical (i.e. cut/to cut). 73 Dictionary entries
1 Main 30 degrees 30° 30 de grade entry (nom.expr.) (expr.nom.) (expr.nom.)
g-v. 30° 30 degres 30° def. A filming principle Postulat selon lequel pour Principiu tehnic potrivit according to which two filmer deux plans caruia filmarea a doua successive shots of the successifs de valeur planuri de dimensiuni same subject and similar in similaire d'un meme sujet asemanatoare ale size must be filmed from on doit changer 1'axe d'au aceluiasi subiect two different axes moins 30° pour eviter presupune deplasarea separated by at least 30° l'effet desagreable d'une aparatului de filmat sub with the purpose of saute de plan. un unghi de eel putin 30° avoiding a jump effect. pentru a evita senzatia de saritura, de eroare de montaj. cont. If you want to cut to a Si on veut changer de plan Se recomanda ca closer shot of a subject or sans changer de valeur de schimbarea pe orizontala vice versa, the second shot plan, nous devons veiller a a unghiului de filmare sa should vary by at least 30 ce que le deuxieme axe de aiba eel pufin 30 de degrees from an axis camera (e'est-a-dire celui grade fata de unghiul drawn from the original du plan qui suit) ait une precedent. Altfel camera position to the difference d'au moins 30° percepem schimbarea de subject. (Mamer 2006, avec le precedent. Si nous cadru ca cadru pe cadru, 365) ne respectons pas cette in care taietura devine regie nous aurons la "sesizabila", deranjanta. sensation desagreable (Druga2004,42) d'une saute dans le plan. (Coste 2002,28)
analog, jump cut decoupage dans l'axe; taietura in ax; raccord dans l'axe; cadru pe cadru deplacement dans l'axe; plan sur plan obs. Not a syn. of cut in the camera.
date June 14,2007 14juin2007 14 iunie 2007
74 2 Main action match cut raccord dans le racord pe miscare entry (nom. expr.) mouvement (expr.nom.) (expr.nom.)
syn. match cut raccord sur le mouvement legatura in miscare; taietura pe acfiune; taietura pe miscare; taietura pe racord
def. A type of link between Mode de liaison entre deux Tip de legatura intre shots of different size, plans d'echelle differente, cadre de dimensiuni consisting of starting an qui consiste a faire diferite care presupune action at the end of one commencer une action a la inceperea unei ac^iuni la shot and carrying it into fin d'un plan pour la faire sfarsjtul unui plan si the beginning of the next continuer au debut du plan continuarea ei la shot, to give the illusion suivant pour donner inceputul planului of continuous motion and Pillusion d'un mouvement urmator pentru a da thus to hide the cut. continuel en masquant ainsi iluzia unei miscari la coupe. continue si pentru a ascunde astfel trecerea de la un cadru la altul.
cont. Plan to use any On a l'habitude de monter §i, in fond, cam acestia pronounced movement in les plans par raccords dans sunt factorii care the scene as a convenient le mouvement, c'est plus salveaza fata filmului: cutting point between harmonieux, et c'est aussi aportul acestor cafiva angles. These are called un bon moyen pour que le veterani (...), laolalta cu action match cuts or spectateur ne s'apercoive montajul cursiv §i simply match cuts. They pas de la coupure. discret-dramatic (...) (o are useful as transitions (Zurstrassen 1989, 28) singura lipsa de racord because they take place in pe miscare, grava, dar movement at a time when sa zicem ca s-a vazut si the eye is less critical. la case mai mari). (Rabiger 2003,430) (Columbeanu, LiterNet.Ro, 15 iunie 2007)
analog. to cut on action; raccord sur le regard; legatura pe privire; to cut on a move; couper dans le mouvement; legatura pe sunet; to cut on movement; chevauchement; punct de legatura overlap; point de coupe; cutting point; enchainement par le regard continuity editing date June 15,2007 15juin2007 15 iunie 2007
75 3 Main auteur film film d'auteur film de autor entry (nom.expr.) (expr.nom.) (expr.nom.) Def. A work representative of Film representatif de la vision Film reprezentativ pentru the personal vision of an personnelle d'un "auteur" - viziunea personala a unui "auteur" - film director realisateur facilement "auteur" - regizor care are easily identifiable reconnaissable a son style un stil vizual si/sau through his/her recurrent visuel et/ou a ses choix predilec|ii tematice usor visual style and/or thematiques recurrents. identificabile. Termen thematic choices. The Terme propose par Francois folosit pentru prima data de term was coined by Truffaut en 1954 (voir theorie Francois Truffaut in 1954 Francois Truffaut in 1954 des auteurs) (vezi teoria auctoriala). (see auteur theory). cont. The novelist and La cineaste francaise [Pascale Sarcina principals a screenwriter Guillermo Ferran] profite de la tribune distribuitorului (...) este Arriaga recently qui lui est offerte pour efectuarea unui studiu declared: "When they say apostropher la profession et asupra potenjialului pie^ei it's an auteur film, I say les telespectateurs sur la crise fata de filmul care se auteurs film. I have des valeurs a la production. difuzeaza. Aceasta actiune always been against the D'un cote, un cinema de el trebuie s-o abordeze din 'film by' credit on a divertissement, de plus en doua puncte de vedere: al movie. It's a collaborative plus riche, de l'autre, des genului filmului - film process and it deserves films d'auteur de plus en comercial obi§nuit, film several authors." plus pauvres. (Bouvet, necomercial de arta sau (Rafferty, The New York Cinema, 2007) [film] de autor - al originii Times, July 2,2007) filmului. (Pricop 2004, 245) analog. auteur theory; politique des auteurs; teoria auctoriala; auteurism; film d'art auctorial / autorial; mainstream cinema film de arta
obs. Film d'auteur est un concept Film de arta: a nu se promu par les representants confunda cxxfilm artistic de la Nouvelle vague dans les (film de ficjiune) care se annees 1950. Film d'art a ete traduce mai degraba prin employe pour la premiere fois feaiurefilm. en 1908, par les freres Lafitte, fondateurs de la compagnie Film d'art dont le but etait d'ouvrir le cinema vers le public plus cultive et sophistique du theatre.
obs. Film d'auteur - un seul film. Cinema d'auteur — totalite des films de cette categoric date July 2, 2007 2juillet2007 2 iulie 2007 76 4 Main axis (n.) axe (n.m.) ax (s.m.) entry Syn. action line; ligne; line of action; ligne d'interet action axis
Def. An imaginary line Ligne imaginaire que Ton Linie imaginara care connecting a character with peut tracer entre un uneste un personaj cu the point of interest of personnage et le point central de interes al his/her gaze (an element of d'interet de son regard (un privirii acestuia (care the set decoration, a prop or autre personnage, ou un poate fi un alt personaj another character). element du decor ou un sau un element de decor Traditionally in a accessoire). Lors d'un sau recuzita). Pentru shot/reverse shot the champ contrechamp, filmarea unui plan- camera should remain on 1'emplacement de la contraplan, amplasarea the same side of the axis to camera du meme cote de aparatului de filmat de create the impression that l'axe cree 1'impression que aceeasi parte a axului va the two characters are les personnages se crea impresia ca looking at each other. regardent l'un l'autre. personajele se privesc reciproc.
cont. The girl is walking left to Dans une scene a trois Nu este obligatoriu sa se right; her path constitutes personnages, si deux de tina seama de saritura the axis of action. As long ceux-ci sont rapproches peste ax in alegerea as our shots do not cross l'un de l'autre et le imaginilor care se vor this axis, cutting them troisieme isole, l'axe supraimpresiona. (Druga together will keep the imaginaire de 180° passe 2004, 56) screen direction of the des deux personnages a girl's movement constant, l'autre. Si les trois from left to right. But if we personnages sont egalement cross the axis and film a importants, chaque serie de shot from the other side deux personnages engendre (...) the girl will now son axe et se trouve appear on the screen as raccordee par les regards, moving from right to left. avec le personnage du Such a cut could be milieu comme pivot. disorienting. (Bordwell (Chevrier2001,59) 2004,286)
analog, shot/reverse shot; champ contrechamp plan contraplan; turning around camp contracamp
date June 16,2007 16juin, 2007 16 iunie 2007
77 5 Main blocking repetition mecanique repetitie tehnica entry (n.) (expr.nom.) (expr.nom.) syn. line up; mise en place; repetifie cu camera walk through; repetition run through; technical rehearsal
def. A mechanical enactment by Interpretation mecanique Interpretare mecanica de the actors of a given scene, d'une sequence par les catre actori a unei secvente so that the technical crew acteurs afin que Pequipe date, pentru ca echipa may see the big lines of technique puisse voir les tehnica sa poata vedea action. Blocking allows the grandes lignes de Taction. liniile generale ale actiunii. director and the director of Ceci permet au realisateur Aceasta ii permite photography to fix the last et au directeur de la regizorului si directorului details of the camera photographie de peaufiner de imagine sa stabileasca moves, and helps the les mouvements de camera ultimele detalii cu privire director of photography et aide le directeur de la la mi§carile de aparat si il and the gaffer to decide photographie et le chef ajuta pe directorului de where to place the lights. electricien a decider de imagine si pe electricianul Camera blocking entails 1'emplacement des sef sa decida amplasarea coordinating actors' moves lumieres. La repetition luminilor. Repetitie cu with camera moves. mecanique avec la camera camera implica Usually actors walk away implique la coordination coordonarea miscarilor and if necessary, blocking des deplacements des actorilor cu miscarile de is repeated with stand-ins acteurs avec ceux de la aparat. Daca sunt necesare (second team). camera. Si plusieurs mai multe repetifii tehnice, repetitions mecaniques acestea se fac de obicei cu sont necessaires, celles-ci dubluri. sont effectuees avec des doublures.
cont. Blocking and first Quand les comediens Toti sefii de departamente rehearsal. In a walk- connaissent leurs sa vina la cadru. Facem o though, actors repeat their mouvements et leurs repetitie tehnica. (platou) lines in a relaxed manner, deplacements ainsi que les and move in stages under intentions du jeu, on peut the director's instruction to faire une premiere points where they will repetition mecanique qui stand or sit during the permet au realisateur de scene. At each stage, DP communiquer son and camera operator decide decoupage aux acteurs, a la framing and lighting. scripte et aux cadreurs. (Rabiger 2003, 383) (Coste 2002, 78)
78 analog, action; filage; actiune; moves; gestuelle gestica; business miscarea actorilor in cadru obs. Rehearsal is more Selon Coste 2002, la mise Ambii termeni rehearsal si elaborate than blocking, it en place precede la blocking se traduc prin is done right before repetition mecanique. repetitie. Pentru a marca shooting, and the actors are Toutes les deux se diferenta dintre cele doua in costumes. At this point traduisent en anglais par concepte se pot aduce actors may involve blocking. precizari, in functie de themselves in context: repetitie in locatie interpretation. Sometimes (pentru a-1 diferenfia de directors might decide to repetarea replicilor, care shoot the rehearsal. poate avea loc altundeva decat pe platou), repetifie pentru camera (caz in care scopul repeti^iei este de a stabili unghilatia si miscarile de aparat), repetifiefinala (care are loc inainte de filmare). date June 17,2007 17juin2007 17iunie2007
79 6 Main business (n.) gestuelle (n.f.) gestica (s.f.) entry syn. action; action miscarea actorilor in blocking cadru; actiune
Def. All the actors' gestures Ensemble des gestes Totalitatea gesturilor during a scene. effectues par les comediens executate de actori pe pendant une sequence. durata unei secvente.
cont. Every actor will appreciate D'autre part, je ne donne E foarte posibil sa nu fi the director's help in jamais d'indication en ce prins multe nuante din devising bits of business to qui concerne la gestuelle rostirea actorilor si sa imi go with the dialogue. (...) des acteurs, je ne suis pas fi scapat mult din jocul many times the writer only du genre a dire "c'est lor, mai ales atunci cind bothers to set down the magnifique, on la refait". Je primeaza textul, nu dialogue, and it is les laisse improviser. gestica, sau miscarea. incumbent on the director ("Rencontre avec Eric (Ornea, LiterNet.Ro, 29 to provide pantomime Rohmer", Cinelycee, 2004) nov.2007) action to further characterize his players. (Bare 1971,177)
analog, mannerisms; maniensme; mamensm; body language langage corporel limbajul corpului obs. The scripted action does not include the whole business, which is mostly made up on the spot, by the actors and the director, during blocking and rehearsal.
date November 29, 2007 29 novembre 2007 29 noiembrie 2007
80 7 Main cheat tricher tri§a entry (v.tr.) (v.tr.) (v.tr./intr.) def. Rearranging props, Deplacer les accessoires, les Rearanjarea obiectelor de furniture, set dressing meubles, les elements de recuzita, a mobilierului, a elements or characters, decor ou les personnages elementelor de decor sau after they have been apres les avoir etablis dans a personajelor in cadru, established, to improve un plan d'ensemble, afin dupa filmarea cadrului de the composition of d'ameliorer la composition referinja pentru a tighter shots, in which des plans serres, dans imbunatati compozitia the change of lesquels le changement de cadrelor mai stranse, in perspective, due to the perspective du a la nouvelle care schimbarea de new camera position, position de la camera donne perspective cauzata de created problematic lieu a des configurations noua pozitionare a configurations (for problematiques (par camerei a creat instance a lamp looking exemple, une lampe qui configura{ii problematice like it's growing out of aurait l'air de pousser sur la (de exemplu, o lampa an actor's head). tete d'un acteur). care pare sa creasca din capul actorului).
cont. To save time (which is En fait, on plonge dans Tri$eaza tabloul putin money), the director, Fambiance du plateau, la mai j os §i mai la dreapta, who knows his way face cachee, ce qui se passe sau daca vrei poji sa-1 around, will "cheat", derriere la camera avant le scoti cu totul din cadru. shooting his close-ups mot "Moteur". On (platou) against another commence d'abord par des background instead of mises en place: "On va waiting for the grips to tricher la table", "Les move in the wild wall. figurants, vous faites (Bare 1971, 66) semblant (de boire, de manger, de parler...)". (Vandendriessche, "Les empereurs du jargon", 2007)
analog. French reverse phr. to cheat one's eyeline tricher l'emplacement des closer to the camera / objets; away from the camera; tricher le decor; to cheat the background; tricher la direction des to cheat oneself to the regards left/right obs. Dans un contexte cinematographique, le verbe tricher, normalement intransitif, est employe comme verbe transitif. date June 18, 2007 18juin2007 18iunie2007 81 Main continuity (n.) raccord (n.m.) racord (s.n.) entry syn. continuite continuitate def. An impression of Impression d'action Impresia de actiune continuous action, continue et d'espace continua si de spatiu seamless space from shot homogene entre deux plans omogen intre doua cadre to shot and logical consecutifs ou de succesive sau impresia de progression of the story by progression logique de progresie logica a maintaining consistency of l'histoire assuree par le povestirii creata prin entrances, exits, eyelines, maintien de la coherence mentinerea coerenjei costumes, props, make up, des elements suivants: urmatoarelor elemente: hair, set decoration, entrees, sorties, directions intrari, iesiri, direcjii de lighting, actors' moves, de regard, costumes, privire, costume, gestures and expressions. accessoires, maquillage, recuzita, machiaj, par, coiffures, decors, eclairage, decor, lumini, miscari in mouvements, gestes et cadru, gesturi, expresii expressions des acteurs. ale actorilor. cont. Continuity of make up is II y a les raccords de Presupunem tot timpul ca simple: a character shaves lumiere et des conditions la filmarea cadrelor A, B, off his beard in one scene, climatiques, les raccords de C, D, au fost finute so in every following scene decor et d'accessoires, les racordurile de costum, the beard is absent. A black raccords de costumes et de machiaj, decor, recuzita eye becomes progressively jeu. (Zurstrassen 1989, 22) si miscare a personajului. healed as time passes. (Druga 2004, 41) (Ulmer 1986, 34) phr continuity of action / raccord d'action / raccord racord de actiune / par / motion / make up and hair; de mouvement; machiaj / costume / prop and wardrobe continuite d'apparence; lumina; continuity; continuite d'elements; fals racord; continuity mistake; raccords d'eclairage; racord fals; to keep continuity (of...); erreur de raccord / de greseala de racord; continuity editing; continuite; a tine racordurile; to shoot out of continuity faux raccord a urmari racordurile obs. In English, continuity also Le terme francais raccord In limba romana designates a script et son equivalent roumain, termenul continuitate containing technical racord ont, en anglais, este rar folosit. Termenul information on camera and egalement le sens de racord este mai frecvent. characters' moves, sound, transition, cut. editing (see continuity I continuite dialoguee / decupaj tehnic). date June 18,2007 18juin2007 18iunie2007 82 Main continuity editing montage par continuity transparent entry (nom.expr.) (expr.nom.) (s.f.)
syn. invisible editing montage transparent; montaj invizibil; discours transparent; montaj transparent continuite visuelle def. An editing style dominant Style dominant de montage Stil dominant de montaj in feature films, in which dans les films de fiction in filmele de fictiune shots are linked caracterise par Peffacement caracterizat de mascarea unobtrusively in order to des points de coupe dans le punctelor de jonctiune a create the illusion of a but de creer Pillusion d'un cadrelor pentru a crea seamless space and time. temps et d'un espace iluzia omogenitalii filmiques homogenes. timpului si spatiului filmic.
cont. Straight cut: in continuity Ce style est generalement S-a propus termenul de editing: two-shots joined defini par sa recherche de transparenta pentru a directly to each other continuite, ce pour quoi desemna calitatea without optical or digital nous l'appellerons specified acestui tip de transitional effect. (Miller "montage par continuite". filme unde totul pare a se 1999, 209) (Bordwell 2004, 346 - intampla fara ciocniri, traduction) unde planurile si secventele se inlantuie dupa toate aparenjele logic, unde povestea pare a se povesti singura. (Vanoye 1995, 16 - traducere)
analog. continuity shooting; raccord; pastrarea racordurilor; match cut; plan sur plan; cadru pe cadru; jump cut decoupage dans l'axe taietura in ax
date February 6,2008 6 fevrier 2008 6 februarie 2008
83 10 Main coverage (n.) decoupage (n.m.) decupaj (s.n.) entry def. The totality of shots in La totalite des plans qui Totalitatea cadrelor care which the action repetent Paction du plan reiau actiunea cadrului de established in the master d'ensemble, filmes de plus feferinta in planuri mai is reshot in tighter pres, avec de nouveaux stranse, din noi unghiuri versions, from new angles de prise de vue et un de filmare si cu o noua camera angles and with nouvel eclairage, en mettant iluminare, punand in new lighting set-ups, en evidence les personnages evidenta personajele si privileging those et les objets les plus obiectele cele mai characters and/or objects importants du point de vue importante din punct de that play an important dramatique. La facon dont vedere dramatic. Felul in dramatic role within the les scenes sont decoupees care sunt decupate scene. It is one of the est un des elements secvenjele este unul din defining elements of a definitoires du style d'un elementele definitorii ale director's style. realisateur. stilului regizoral.
cont. The trick in coverage is Une excellente illustration Cata diferenta, in fond, to grasp the number of des richesses du decoupage intre decupajele lui De camera set-ups that the de l'espace se retrouve dans Sica si cele ale lui sequence, story, budget la scene finale du film Le Antonioni. (Lazar 1986, and schedule allow. declin de I'empire 31) You're not going to get americain (Denis Arcand, the same coverage on an 1986). La camera suit un 18-day schedule as you personnage, s'arrete sur get on a 60-day shoot. quelqu'un qui parle, revient (Ulmer 1986, 78) en suivant quelqu'un d'autre. (Chevrier 2001, 49)
analog to cut in the camera; decoupage dans l'axe; montaj in cadru; long take couper dans l'axe; plan-secvenja couvrir une scene; plan-sequence
phr. to cover a scene; decoupage d'une sequence; decupajul scenei to cover a character; decoupage des plans to cover the master obs. Decoupage of the final Dans l'analyse des films le film in preparation for a term decoupage designe film analysis = film "une description du film segmentation dans son etat final, generalement fondee sur les deux types d'unites (plan et sequence)". (Aumont, 1988) date June 18,2007 18juin2007 18iunie2007
84 11 Main cowboy shot plan americain plan american entry (nom.expr.) (expr.nom.) (expr.nom.)
abbr. PA syn. American shot; plan americain
def. A type of shot in which the Type de plan ou le Tip de plan in care character is framed from personnage est cadre a mi- personajul este incadrat de the half-thigh up. Its name cuisse. II doit son nom a la jumatatea coapsei in comes from its frequent son utilisation frequente sus. Isi datoreaza numele use in Westerns (allowed dans les westerns (ou il utilizarii sale frecvente in the viewer to see the permettait au spectateur de Westernuri (unde cowboy's guns). voir les revolvers des permitea includerea in cowboys). cadru a pistoalelor cowboy-lui).
cont. Cowboy shot - includes Plan moyen, plan Preotul reactioneaza, se the guns (Saioni 2001, 57) americain, plan mi-moyen ridica de la masa, in plan ou semi-rapproche - american. (Carabat 2000, distances qui visent a 128) mettre le personnage en relation avec les autres ou a cerner son comportement, done surtout des plans d'action ou de dialogues. (Chewier 2001, 41)
analog. wide shot; plan d'ensemble; plan ansamblu; medium shot; plan large; plan general; close up; plan moyen; plan mediu; extreme close up gros plan prim plan; grosplan obs. Difficult to find a context in English written sources, but very common in set communications. David Bordwell refers to it as "le plan americain": The plan americain ("American shot") is very common in Hollywood cinema. (...) the human figure is framed from about the knees up. (Bordwell 1997, 238).
date June 18,2007 18juin2007 18iunie2007 85 12 Main cross the axis sauter 1'axe sari axul entry (v.expr.) (expr.v.) (expr.v.)
syn. to jump the axis; franchir la ligne a sari peste ax to cross the line
def. To disregard the 180° rule; Desobeir a la regie des A incalca regula celor in a shot/reverse shot 180°; dans un champ 180°; aamplasa placing the camera on both contrechamp, placer la aparatului de luat vederi sides of the axis. When camera des deux cotes de de ambele parti ale intentional, it serves l'axe, parfois a des fins axului in realizarea unui dramatic purposes such as dramatiques (bouleverser plan-contraplan. disturbing the viewer or le spectateur, dynamiser le Practicata deliberat, making the shot more decoupage). Si on change saritura peste ax vizeaza dynamic. If the cross d'axe a l'ecran (un acteur obtinerea unui efect happens on camera (an change la direction de son dramatic (dezorientarea actor changes the direction regard ou la camera se spectatorului, of his/her eyeline, the deplace autour des dinamizarea camera crosses behind a personnages), on determine decupajului). Atunci character) it will establish a une nouvelle ligne cand saritura se vede in new axis. d'action. cadru (prin schimbarea directiei de privire a unuia dintre actori, sau prin miscarea aparatului in jurul personajelor) se creaza un ax nou.
cont. The girl is walking left to La camera en raccord de "Am zgomot de fond. E right; her path constitutes 180° permet de sauter avion sau barca? Nu pot the axis of action. As long l'axe et de se situer sa tragi", spune as our shots do not cross derriere les personnages. sunetistul. (...) "A sarit this axis, cutting them (Zurstrassen 1989, 49) axul? Adriana a iesit pe together will keep the partea stanga. Daca vin screen direction of the acum pe partea asta, nu girl's movement constant, sar axul?", se intreaba (Bordwell 2004,286) directorul de imagine. (Linifte.Acum.ro 2008)
analog, shot/reverse shot; champ contrechamp; plan contraplan; continuity editing montage transparent montaj transparent
date June 18,2007 18juin2007 18iunie2007
86 13 Main cue dialogue (v.expr.) souffler le texte (expr.v.) sufla replicile (expr.v.) entry syn. to prompt dialogue a sufla textul
def. To read the first words of Lire les premiers mots A citi primele cuvinte ale a flubbed line in order to d'une replique oubliee unei replici omise pentru a-1 help the actor remember pour aider l'acteur a se ajuta pe actor sa-si the rest of the speech rappeler le reste du aminteasca restul dialogului during rehearsal or dialogue pendant les in timpul repetitiilor sau al shooting. As an repetitions ou le tournage. filmarilor. O intrerupere a interruption does not Un arret du dialogue ne dialogului nu indica always indicate a line signifie pas toujours que intotdeauna o replica uitata flub (it could also be les acteurs ont oublie leur (de multe ori este o pauza intended as a dramatic replique (souvent c'est dramatica), de aceea pause), one must cue une pause dramatique), on replicile trebuie suflate doar dialogue only if the actor ne doit done souffler le la cererea actorului. calls "Line!". texte que si l'acteur le demande.
cont. When prompting Installation et mise en Diavolul poate sa intre in (cueing) dialogue you place de la sequence ou scena. Ca nu e vizibil de-a must never pick up in the duplan. (...)Nous binelea e doar un detaliu. middle of a speech - commencons a noter Rolul sau e mult mai always start at the top of toutes sortes important: acela de a sufla an actor's speech, or a d'informations sur le replicile. (Iovanel, Gdndul, couple of ending words script (...) Dans le meme 2007) from another actor's temps, on suit le texte et, preceding speech. (Miller eventuellement, on le 1999,92) souffle a la demande. On surveille attentiveirient les changements de texte. (Coste 2002,109) analog. to call "line"; a uita replica; to flub a line; a [o] balbai; to drop a line; balba to forget a line; to feed an actor his/her lines
obs. Unlike theater, where the line is whispered by the prompter, in film it is read loud, even if the camera is rolling.
date June 30, 2007 30juin2007 30 iunie 2007
87 14 Main cut (n.) coupe (s.f.) taietura (s.f.) entry syn. coupure taietura de montaj
def. The point of junction Point de jonction entre Punct de trecere de la un between two shots which deux plans obtenu par la cadru la altul care se may be achieved through a juxtaposition directe des poate realiza fie prin direct juxtaposition of plans (coupe franche, jump alaturarea directa a shots (straight cut, jump cut) ou par des effets cadrelor (taietura directa, cut) or marked by an optiques ou digitaux tel jump cut) sau cu ajutorul optical or digital effect que les fondus, les efectelor optice sau such as fades, dissolves, surimpressions, etc. digitale precum etc.). anseneurile sau supraimpresiunile.
cont. The primary axiom of Une coupe se fait le plus Exista necesitatea de a editing (...): there has to be souvent dans un justifica taietura pe care a reason for a cut. (Mamer mouvement. De la vient o realizam. Exemple 2006, 364) 1'importance de raccorder uzuale: planul si contra- les deplacements, les planul intr-o discujie gestes et le dialogue. televizata. De obicei (Champagne 1992, 8) aceasta taietura coincide cu schimbarea cadrului pe eel care vorbeste. (Druga2004,46)
analog. transition; transition; tranzhie; fade in / out; enchainement; racord; dissolve; raccord; legatura; fade to black; coupe franche / seche; inlantuire; straight cut; fondu au noir; anseneu final cut; fondu enchaine; rough cut; surimpression director's cut
obs. A cut is not always a transition (transition always implies an optical effect and is more intrusive).
date December 4, 2007 4 decembre 2007 4 decembrie 2007
88 15 Main cut (from... to...) couper / passer (de... schimba cadrul (pe...) entry (v.intr.) a...) (v.intr.) (expr.v.)
syn. raccorder; atrece(de la... la...) raccorder sur...; passer (de... a...)
def. To end a shot and start a Finir un plan et le faire A termina un plan si a new one; to go from one suivre par un autre, passer incepe altul, a trece de la shot to another. d'un plan a un autre. un cadrul la altul.
cont. When you are choosing to Pour couper d'une scene Dupa ce terminam de cut from a long shot to a ou deux hommes prennent filmat planul asta o sa closer shot, or vice versa, le cafe a une autre ou ils schimbam cadrul pe the cut can best be masked roulent en voiture, on actorul principal, (platou) by cutting on a character's terminera la premiere movement. (Mamer 2006, scene par un gros plan 364) pour commencer la suivante par un elargissement sur leur nouveau decor. (Chevrier 2001,76)
phr. to cut from... to...; to cut away to...: to cut between... and...; to cut around
date December 4,2007 4 decembre 2007 4 decembrie 2007
89 16 Main cut (well with) se raccorder bien a fi racord entry (v.expr.) (v.refl.) (expr.v.)
syn. etre raccord
def. An expression that Se dit des plans qui Se spune despre planuri qualifies shots that allow permettent un montage care permit realizarea for smooth translations. transparent, sans heurts. unui montaj transparent, insesizabil. (see also to match) Se dit de Faction, du dialogue, de l'apparence Se spune despre actiune, des acteurs, du decor, de dialog, costume, machiaj, l'^clairage, des accessoires decor, lumini sj recuzita lorsqu'ils sont identiques atunci cand acestea sunt dans les plans d'ensemble identice in cadrul de et dans les plans serres; se referinta §i in cadrele mai dit des directions de regard stranse; se spune despre si celles-ci se croisent dans directiile de privire intr- un champ contrechamp de un plan-contraplan cand facon a creer l'impression acestea se intersecteaza, que deux personnages se dand impresia ca regardent l'un Pautre. personajele se privesc reciproc.
cont. If I'm shooting the close up Si un gros plan se raccorde La reluarea filmarilor, from across the axis, does it mal au plan d'ensemble, il dupa o pauza ori still cut? (film set) peut, au montage, etre continuarea scenei in alte sacrifie au profit d'un zile, elementele autre, ou encore, la consumabile sau pozitia personne responsable du unor obiecte nu sunt montage choisit une moins "racord". (...) doar ora sj bonne prise pour pozitia interprejilor sunt P interpretation, mais qui racord. (Druga 2004, 47) se raccorde bien au plan d'ensemble. (Champagne 1992, 9)
date December 4, 2007 4 decembre 2007 4 decembrie 2007
90 17 Main cutaway plan de coupe cadru tampon entry (n.) (expr.nom.) (expr.nom.)
syn. bridge shot; plan de diversion; cadru / plan neutru; buffer shot plan-raccord cadru / plan de legatura; cadru / plan de umplutura; cadru / plan de racord
def. An insert or reaction shot Insert ou plan de reaction Insert sau plan de which, interposed between qui, interpose entre deux ascultare sau de reactie two shots that do not plans qui se raccordent care, intercalat intre doua match, makes the cut mal, rend possible la cadre care nu sunt racord, possible by distracting the transition en masquant face posibila tranzitia viewer's attention away l'erreur de continuite. Un distragand aten^ia from the continuity plan de diversion / de spectatorului de la eroarea mistake. A cutaway shot coupe peut egalement de racord. Planul de could also serve as a servir de transition entre legatura poate de transition between two deux sequences en creant asemenea servi ca scenes usually by creating l'impression d'une ellipse tranzitie intre doua the impression of a time de temps. secvente, creand impresia lapse. unui salt in timp.
cont. A bridge shot may consist Idealement issu de Cadru tampon (cadru of: a separate close-up of Taction, le plan de coupe neutru) Este un cadru one of the characters in the permet aussi de masquer intermediar care permite scene; an appropriate angle une erreur de continuite. "legarea" unor cadre care change to correct that Entre le plan d'un enfant sunt filmate din unghiuri portion of the scene in qui court et celui ou il care altfel ar avea which the action or marche de 1'autre cote de "inconsistent formala" a dialogue was disrupted. An la rue, il suffit d'intercaler sariturii peste ax. (...) In effective shot of some le plan d'un ecriteau avec asemenea situafii se other subject matter, called le nom de la rue pour impune ca modalitate de a cutaway. (Miller 1999, corriger le faux raccord. montaj intruducerea unui 92) (Chevrier 2001, 73) cadru neutru, a unui cadru tampon. (Druga 2004, 52)
analog, insert; plan detail; insert; reaction shot plan de reaction plan detaliu; plan / cadru de ascultare; plan de reactie
date June 23, 2007 23 june 2007 23 iunie 2007
91 18 Main cutting in the camera mise en scene en mizanscena in profunzime entry (nom.expr.) profondeur (expr.nom.) (expr.nom.) montage dans l'espace; montaj in cadru syn. montage dans l'axe A style of filming a scene Style de decoupage qui Stil de decupaj care consists def. without coverage, which consiste a filmer in a filma integral o scena results in a minimum of integralement une fara taieturi. Deplasarea cutting options. It can be sequence sans couper. Le actorilor in profunzimea done in one setup by deplacement des acteurs en campului poate determina following the actors in their profondeur du champ peut numeroase mi§cari de movement, which usually entrainer de multiples aparat, modificari de entails numerous camera mouvements de camera, incadraturS §i schimbari de moves, refraining and recadrages et §arf. focus readjustments; or it modifications de la mise can be done in multiple au point. shots, without a master, giving a minimum of cutting options to the editor, forcing him/her to edit the film the way the director intended to.
cont. Cutting in the camera On appelle mise en scene Mizanscena in profunzime dispenses with time- en profondeur le fait este construita in jural consuming coverage. (...) d'etager les personnages axului optic al aparatului de But the result deprives the (et les objets) sur plusieurs filmat, intr-un spatiu editor of the luxury of plans et de les faire jouer longitudinal in care choice and variation. le plus possible selon une personajele evolueaza liber: (Miller 1999,173) dominante spatiale interesul cu totul deosebit al longitudinale (l'axe acestul gen de realizare optique de la camera). provine mai cu seama din (Martin 1985, 189) faptul ca gros-planul se imbina in mod indraznet cu planul general. (Martin 1981,195-traducere)
analog. coverage; plan-sequence plan-secven{a long take
92 obs. Do not mistake for in Ne pas confondre avec A nu se confunda cu cadru comer a editing (shooting a plan surplan, rapproche pe cadru. film in sequence, (eloigne) dans I'axe, intercutting by rewinding, decoupage dans I'axe. taping over. Editing without using any other editing tools or software but the camera). obs. L'expression francaise montage dans I'espace/ dans I'axe, ainsi que son equivalent roumain montaj in cadru, se referent strictement aux effets de la profondeur de champs (comme, par exemple, l'alternation du flou et du net dans The Libertine, 2004), tandis que le terme anglais cutting in the camera implique une variete de mouvement d'appareil. De ce fait, cutting in the camera peut etre, dans certains contextes, un synonyme de plan-sequence.
Date June 23,2007 23 juin 2007 23 iunie 2007
93 19 Main day for night nuit americaine noapte americana entry (nom.expr.) (expr.nom.) (expr.nom.)
def. A technical shooting Procede technique de Procedeu tehnic de filmare procedure which consists tournage en exterieur in exterior a unei scene de in filming a night exterior d'une scene de nuit noapte in timpul zilei. scene during day time. The pendant le jour. L'effet de Efectul de noapte este creat night effect is created by nuit est obtenu en utilisant prin folosirea unor filtre using special filters and des filtres speciaux et peut speciale si poate fi retusat may be enhanced in post- etre retouche en post- in post-productie. production. production.
cont. Day for night: denotes the II y a les effets "aube", Concursul de ocupare a filming of an exterior "matin", "jour", "soir", posturilor, catedrelor nighttime scene during the "crepuscule", "nuit" (et vacante in invatamantul daytime. Special filters are aussi les "nuits preuniversitar. Proba scrisa attached to the lens to americaines" tournees de la Tehnici cinematografice create the effect of jour grace a la subtilite si de televiziune. Explicati darkness, which is later d'un changement de cum se obtine efectul de enhanced in the lab or diaphragme et d'un filtre noapte americana digitally. (Miller 1999, approprie). (Zurstrassen precizand: a) notiunea de 198) 1989,23) noapte americana si modalitatea de obtinere, b) pelicula aleasa pentru filmare, c) condijiile de expunere si filtrare tinand cont de tipul de pelicula ales. (Ministerul educatiei, 23iunie2007) analog, night for day
obs. II n'y a pas de terme Nu exista un termen francais pour traduire romanesc pentru a traduce night for day. expresia night for day.
date June 23,2007 23juin2007 23 iunie 2007
94 20 Main direct cut coupe franche taietura directa entry (nom.expr.) (expr.nom.) (expr.nom.)
syn. straight cut; montage cut; taietura la fotograma; clean cut coupe seche cut cut
def. The direct change of one Passage simple d'un plan a Trecerea simpla de la un shot for another without un autre sans utiliser des cadru la altul fara a using optical or digital effets optiques ou digitaux. folosi efecte optice sau effects. digitale.
cont. Today's filmmakers use L'iris, le volet et le filage Montajul prin taietura the direct cut to bridge (...) ont, pour ainsi dire, directa. Trecerea de la o two sequences, completely ete abandonnes au profit imagine la alta. disregarding the traditional d'une absence de Taietura directa - use of optical effects. ponctuation, la coupe schimbarea brusca a (Bare 1971, 142) franche. Cette substitution unui cadru cu altul. d'un plan a un autre n'a (Druga2004,41) pas de signification en elle-m&ne et correspond a un simple changement de point de vue. (Chevrier 2001, 76)
analog. transition; transition; tranzi^ie; fade in / out; enchainement; racord; dissolve; raccord; legatura; fade to black; fondu au noir; inlantuire; final cut; fondu enchaine; anseneu wipe surimpression; iris; volet
date February 6, 2008 6 fevrier 2008 6 februarie 2008
95 21 Main dissolve fondu enchaine anseneu entry (n.) (expr.nom.) (s.n., pi: - def . A type of transition Type de transition dans Tip de tranzitie in care between shots in which the laquelle la fin d'un plan est sfarsitul unui cadru este end of a shot is briefly surimprimee sur le debut superimpus rapid peste superimposed over the du plan suivant. inceputui urmatorului beginning of the next shot. cadru. cont. The lap dissolve, where one Longtemps introduit par Gratie "anseneului" scene blends into the next, un fondu enchaine et une impresia de racord is usually used to eliminate voix off, le flash-back narativ, ascensional, este unnecessary action, but surgit de plus en plus en anulata." (Lazar 1986,12) also is substituted for the montage sec, et parfois ne fade-in and fade-out, se recommit qu'apres coup. simply as a device to (Chevrier 2001,70) maintain the forward movement of the picture. In simpler terms, the fade-out is the director's period mark; the dissolve, his comma. (Bare 1971,142) analog, dissolve; fondu au noir; fondu de inchidere; Superimpression; surimpression; inchidere in intunecare; lap dissolve; volet; fade out; wipe; iris; voleu; iris; coupe tranche; iris; clear cut; ouverture en fondu taietura directa; fade in; fondu de deschidere; fade out fade in obs. Do not mistake for fade in fade out, where the transition is made through black. Do not mistake for superimpose where the dissolve is much longer, and at the end we might go back to the first image. It is not a transition, it is rather a narrative device to show simultaneously two actions on screen. date June 24, 2007 24 Juin 2007 24 iunie 2007 96 22 Main dolly back travelling arriere travling inapoi entry (nom.expr.) (expr.nom.) (expr.nom.) gv- travling-inapoi syn. dolly out; chariot arriere; pull back dolly arriere def. A move by which the Deplacement par lequel la Miscare prin care camera camera, installed on a camera montee sur une montata pe o platforma wheeled platform, is pushed plateforme a roues cu roti este impinsa din away from the subject. s'eloigne du sujet filme. ce in ce mai departe de subiectul filmat. cont. Dolly back. The camera is Travelling arriere. La Prin travling-inapoi, pulled backward, away from camera recule dans son axe lent, apoi panoramic- the subjects or objects, and optique ce qui donne une dreapta, apare in plan- thus moves from a closer to sensation d'eloignement. mediu paznicul. (Carabaf a wider angle. This makes (Coste 2002,20) 2000,147) the subject appear smaller on the screen. (Miller 1999, 198) analog, dolly in; travelling arriere; travling Inainte; push in; travelling travling de urmarire; pan; d'accompagnement; panoramic lateral; tilt; panoramique lateral; panoramic vertical; Vertigo shot panoramique vertical; panoramare; transtrav transtrav date June 25, 2007 25juin2007 25 iunie 2007 97 23 Main dolly in travelling avant travling mainte entry (nom.expr.) (expr.nom.) (expr.nom.) g-v. travling-inainte syn. push in chariot avant; dolly avant def. A move by which the Deplacement par lequel la Miscare prin care camera camera, installed on a camera montee sur une montata pe o platforma cu wheeled platform, is plateforme a roues roji este impinsa inspre pushed towards the subject. s'approche du sujet filme. subiectul filmat. cont. Dolly in. The camera is Travelling avant. La Cadrul 1 foloseste un pushed forward, toward the camera avance dans son travling inainte, plan subjects, and thus moves axe optique, ce qui donne semigeneral, urmarind trupa from a wider to a closer une sensation de din spate. (Carabat 2000, angle. This makes the rapprochement. (Coste 125) subjects appear larger on 2002, 20) the screen. (Miller 1999, 198) analog, dolly out; travelling arriere; travling inapoi; dolly back; travelling travling de urmarire; pan; d' accompagnement; panoramic lateral; tilt; panoramique lateral; panoramic vertical; Vertigo shot panoramique vertical; panoramare; transtrav transtrav date June 23, 2007 23juin,2007 23 iunie 2007 98 24 Main Dutch angle cad rage penche cadraj inclinat entry (nom.expr.) (expr.nom.) (expr.nom.) syn. canted angle; cadrage incline unghi oblic oblique shot; dutch tilt def. A shot framed with the Plan filme alors que la Plan filmat cu camera camera canted laterally camera est inclinee inclinata lateral in jural around its optical axis. As a lateralement, autour de son axei sale optice. Ca stylistic procedure, the axe optique. Comme prodeceu stilistic, Dutch angle may make the procede stylistique, le cadrajul inclinat poate fi shot more dynamic or cadrage incline peut rendre folosit pentru a dinamiza suggest disequilibrium. May la prise de vue plus compozijia sau pentru a be used in combination with dynamique ou peut sugera un dezechilibru. other extreme camera angles suggerer un desequilibre. II Poate fi utilizat in (low or high angles) for peut etre utilise en combinafie cu alte dramatic purposes. combinaison avec des unghiuri extreme (plonjeu angles extremes de prise de sau contra-plonjeu) in vue (plongee ou contre- scopuri dramatice. plongee) a des fins dramatiques. cont. The oblique shot (Dutch La camera bascule, non Cadrajul inclinat poate angle) is generally used to plus autour de son axe urmari sa materializeze in convey a world that is off transversal, mais autour de ochii spectatorilor o balance or out of kilter. son axe optique: on obtient impresie resimtita de (Mamer 2006, 9) alors ce qu'on appelle des personaj: o framantare, cadrages penches. (Martin un dezechilibru moral. 1985, 46) (Martin 1981, 51- traducere) analog. low angle; angle de prise de vue unghiulajie; high angle unghi de filmare date June 25, 2007 25 Juin 2007 25 iunie 2007 99 25 Main establishing shot plan de mise en situation plan descriptiv entry (expr.nom.) (expr.nom.) (expr.nom.) syn. establisher plan general de situation; plan descriptif def. A wide shot at the beginning Plan d'ensemble au debut Plan de ansamblu la of a scene, showing the place d'une sequence, qui montre inceputul unei secvenfe, si of action. An establishing le lieu de Taction. Un plan care indica locul actiunii. shot can be an elaborate shot de situation peut impliquer Cadrul de descriere poate implying sophisticated des mouvements de camera contine miscari de aparat camera moves or may be as tres elabores ou etre une foarte sofisticate sau poate simple as a freeze-frame simple image figee (surtout consta intr-un simplu (very common in sitcoms). dans les sitcoms). stop-cadru (procedeu foarte des folosit in sitcom-uri). cont. This classic crane shot goes Dans une scene de dialogue, Lipsesc planuri from a general establishing apres un plan de mise en descriptive cat de cat shot to a very specific close- situation, on filmera en consistente, cele narative up. (Mamer 2006, 15) champ-contrechamp fiind preponderente. externe, en cadrant les deux (Carabat 2000, 204) personnages en profondeur de champ, par-dessus l'epaule. (Chevrier2001, 54) date June 25,2007 25 Juin 2007 25 iunie 2007 100 26 Main eyeline direction du / de regard directie de privire entry (n.) (expr.nom.) (expr.nom.) syn. sightline regard ax de privire def. The direction in which the Direction dans laquelle les Directie in care este characters are looking on personnages dirigent leur indreptata privirea screen, defined in reference regard, definie en fonction personajelor, definite in to the camera: an eyeline de la camera: un regard raport cu aparatul de camera right means the droite cadre signifie que le filmat: pentru o privire in character turns the head personnage tourne la tete dreapta cadrului towards his/her left. vers son epaule gauche. personajul va intoarce capul spre umarul sau stang. cont. There is a rhythm to your La scripte est souvent Pozitia camerei fata de eyeline changes (controlled consultee dans les cas de personajul filmat trebuie by the shifting contours of raccords de directions de legata la "contraplan" de the conversation itself). regards. (Zurstrassen 1989, directia de privire a (Rabiger 2003, 522) 49) subiectului. (Druga 2004, 21) analog, eyeline mark; mark for the eyeline phr. eyeline tight(er) to the regard (oriente) vers le privirea mai aproape / camera / away from the centre du cadre / tres a departe de camera; camera; droite / tres a gauche; a tine racordul de privire wide / tight eyeline; faire les raccords de to match the eyelines; directions de regards / eyeline camera right / left; raccord de regards; to clear the eyeline regler les regards; enchainement par le regard; regard a droite / gauche (cadre) date June 27, 2007 27juin2007 27 iunie 2007 101 27 Main fade in ouverture au noir fondu de deschidere entry (n.) (expr.nom.) (expr.nom.) syn. ouverture en fondu def. A type of transition in Type de transition dans Tip de tranzi^ie in care which the image gradually laquelle l'image sort imaginea apare progresiv comes out of black. graduellement du noir. dintr-un fundal negru. cont. The fade out and fade in Le fondu et I'ouverture au Fondu-ul de deschidere (which involves the gradual noir marquaient un si fondu-ul de inchidere going to black and vice changement d'action entre (sau inchidere in versa) is used to denote the les scenes, souvent un intunecare) separa in maximum passage of time changement de lieu, parfois general secventele unele or a complete disassociation un changement de temps. de altele si servesc la with the preceding scene. (Chevrier 2001,76) marcarea unei importante (Bare 1971, 142) schimbari ac$iunii secundare sau a scurgerii timpului ori, de asemenea, a schimbarii locului. (Martin 1981, 102 -traducere) analog, dissolve; fondu au noir; fondu de inchidere; superimpression; fondu enchaine; inchidere in intunecare; lap dissolve; surimpression; fade out; wipe; volet; fundal inlantuit; iris; iris; fondu inlanfuit; clear cut; coupe franche anseneu; fade out; voleu; fade in / fade out iris; taietura directa date June 27,2007 27juin2007 27 iunie 2007 102 28 Main fade out fondu au noir fondu de inchidere entry (n.) (expr.nom.) (expr.nom.) syn. fermeture au noir inchidere in intunecare; fundal negru def. A type of transition in Type de transition ou Tip de tranzitie in care which the image gradually 1'image devient imaginea se intuneca turns to black. graduellement noire. progresiv lasand locul unui fundal negru. cont. The fade out and fade in Un fondu au noir suivi Fondu-ul de deschidere §i (which involves the d'une ouverture est fondu-ul de inchidere (sau gradual going to black and couramment employe pour inchidere in intunecare) vice versa) is used to passer d'une sequence a separa in general denote the maximum une autre sequence, et secventele unele de altele si passage of time or a marque une ellipse, une servesc la marcarea unei complete disassociation notion du temps qui passe. importante schimbari a with the preceding scene. (Zurstrassen 1989, 37) actiunii secundare. (Martin (Bare 1971, 142) 1981, 102-traducere) analog. fade in; ouverture en fondu; fondu de deschidere; fade in / fade out; ouverture au noir; fade in; dissolve; fondu au noir; fundal inlanfuit; superimpression; fondu enchaine; fondu inlanjuit; lapdissolve; surrimpression; an§eneu; wipe; volet; voleu; iris; iris; iris; clear cut coupe tranche taietura directa date February 5, 2008 5 fevrier 2008 5 februarie 2008 103 29 Main first assistant director premier assistant regizor secund entry (nom.expr.) realisateur (expr.nom.) (expr.nom.) abbr. 1st AD syn. First premier assistant de primul asistent al realisation; regizorului / de regie premier assistant metteur en scene def. One of the key members Un des membres les plus Unul dintre membrii cei of the crew and the importants de Pequipe de mai importanti ai echipei de director's closest production et le collaborateur filmare si colaboratorul eel collaborator whose tasks le plus proche du realisateur mai apropiat al regizorului include: preparing dont les taches comprennent ale carui responsabilitati production documents la preparation des documents includ: prepararea (shooting schedule, de productions (calendrier de documentelor de productie script breakdown, call tournage, decoupage du (calendarul de filmare, sheets), helping the scenario, feuille de travail), decupajul scenariului, director plan the shots, l'aide a la planification des programul zilnic de lucru), keeping the crew prises de vue, la planificarea cadrelor informed in regards to communication constante impreuna cu realizatorul, the immediate planning avec Pequipe sur informarea echipei cu of the shooting, and l'organisation immediate du privire la organizarea ensuring security and tournage, la verification que imediata a filmarilor, safety on set. la securite est respectee sur le repectarea regulilor de plateau. securitate pe platoul de filmare. cont. The first assistant Ce document qui porte le nom Munca directorului de director, (...) with the de feuille de service, est etabli produc^e este strans legate director, plans out each par le premier assistant de cea a regizorului day's shooting schedule realisateur, complete" par le secund (sau -primul and sets up each shot for regisseur general et distribue asistent al regizorului cum the director's approval. a chacun. Le premier assistant este denumit in practica (Bordwell 1997, 15) la compose avec son plan de interna|ionala). (Pricop travail, son depouillement et 2004,120) les modifications ou retards eventuels. (Zurstrassen 1989, 83) analog. second AD; le deuxieme assistant al doilea asistent de regie third AD realisateur obs. Director's assistant Ne pas confondre avec A nu se confunda cu (cognate): clerical job assistance) du realisateur asistentul(a) regizorului (emploi plutot administratif). (functie administrative) date June 27, 2007 27juin2007 27 iunie 2007 104 30 Main framing (n.) cadrage (n.m.) cad raj (s.n.) entry syn. composition de 1'image cadrare; compozitia cadrului; incadratura def. The placement of the subject Positionnement du sujet par Pozi^ionarea subiectul in within the edges of the rapport aux marges de raport cu marginile screen. l'ecran. cadrului. cont. Since the framing of a shot Le cadrage est un choix car Cadrajele sunt de o by the cameraman is subject il ne presente qu'une partie rigoare academica, in to the director's approval, de la realite. II determine contrast cu febra in care a the art of composition ainsi un champ, done intrat personajul actor. should be part of the l'espace qu'on veut (Lazar 1986, 138) director's basic training. montrer, et un hors-champ, (Bare 1971, 107) done l'espace qu'on ne veut pas montrer. (Chevrier 2001,36) analog. head / nose room; cadrage incline luft; angles cadraj inclinat; unghiulafie obs. Do not mistake for mise en scene (arranging the objects or the characters within the frame). Framing - the way the pre-arranged space (mise en scene) - is contained within the edges of the screen. date June 27,2007 27juin2007 27 iunie 2007 105 31 Main freeze frame image figee stop cadru entry (nom.expr.) (expr.nom.) (expr.nom.) arret sur image def. A visual effect consisting of Effet visuel qui consiste a Efect vizual care consta in freezing the action on screen figer 1'image a l'ecran en inghetarea actiunii pe by repeatedly projecting the projetant le meme ecran obtinut prin same individual frame. Its photogramme plusieurs repetarea in proiectie a role is to create a dramatic fois. L'image figee a pour unei singure fotograme. mood or to give the objectif de creer une Are rolul de a crea o impression that time has atmosphere dramatique ou atmosfera dramatica sau stopped. de donner 1'impression que de a da impresia de oprire le temps s'est arrete. a timpului. cont. Effects that take extensive Le cinema des annees Trecerea cu masina este planning and calculations on 1960-1970 a exploiters filmata cu incetinitorul, si an optical printer - such as ralentis, les longues focales pe etape, fragmentata de freeze frames, in which et les images figees. cateva opriri in stop- multiple frames are made of (Chevrier2001, 10) cadru. (Lazar 1986, 171) an individual frame thus "freezing the action" - can now be executed in video in a few minutes. (Mamer 2006, 369) analog, fast motion; accelere; accelerare; slow motion; ralenti ralenti; time lapse filmare cu incetinitorul; zeitraffer date June 28,2007 28juin2007 28 iunie 2007 106 32 Main high-angle (shot) plongee plonjeu entry (expr.nom.) (n.f.) (s.n., pi: -uri) g-v. high angle abbr. HA p!g- syn. racursi; unghi de filmare de sus; filmare (unghi) in jos; unghi plonjat def. An angle of shooting in Angle de prise de vue ou Unghi de filmare in care which the camera is l'axe optique de la camera, camera este amplasata mai positioned at a higher placee plus haut que le sujet, sus decat subiectul, cu axa level than the subject est oriente vers le bas. En optica orientata in jos. Ca being filmed, with its tant que procede stylistique, procedeu stylistic, plonjeul optical axis pointing la plongee donne au sujet un confera subiectului filmat downwards. As a stylistic air vulnerable. un aspect vulnerabil. device, the high angle shot makes the subject look weak, threatened. cont. The high-angle shot (...) Dans The Servant (1963), Vazut de aparatul de filmat tends to diminish a Joseph Losey (...) filme de sus, intr-un plonjeu, subject, making it look continuellement le serviteur batranul se opre§te brusc. intimidated or threatened. en plongee et le maitre en (Lazar 1986, 66) This is the conventional contre-plongee... et au fur et way of making characters a mesure que la relation de look insignificant. domination s'inverse, le (Mamer 2006, 8) serviteur est filme en contre- plongee et le maitre en plongee! (Chevrier 2001, 43) analog. low angle; angle de prise de vue; unghiulajie; Dutch angle; cadre incline cadraj inclinat canted angle obs. Termenul racursi se refera atat la plonjeu cat §i la contraplonjeu. In DEX este definit drept "procedeu de folosire a perspectivei in artele plastice §i in cinematografie, prin care extremitatile obiectului reprezentat apar apropiate, iar unele reduse". date June 28,2007 28juin2007 28 iunie 2007 107 33 Main jump cut plan sur plan cadru pe cadru entry (nom.expr.) (expr.nom.) (expr.nom.) syn. rapproche / eloigne dans montaj cu sarituri; l'axe; montaj cu lipsa de racord jump cut def. A type of cut between two Type de coupe entre deux Tip de taietura intre doua shots similar in size, covered plans de grosseur similaire, planuri de dimensiuni along the same action axis, fihnes le long d'un meme similare, filmate de-a giving the impression that the axe d'action, donnant lungul aceluiasi ax de character / object is jumping l'impression que le actiune, dand impresia ca from one position to another. personnage / objet fait un personajul sau obiectul Traditionally considered to be saut d'une position a filmat sare dintr-o pozi^ie a technical mistake, the jump l'autre. Traditionnellement in alta. Traditional cut is used as a way to oppose considere comme une considerat o eroare continuity editing. erreur technique, le plan sur tehnica, acest tip de plan est utilise par les taietura este practicat ca opposants au montage metoda de subminare a conventionnel. montajului conventional. cont. In his landmark film Nous aurons la sensation Schimbarea incadraturii Breathless (1959), French desagreable d'une saute (de ex. de la plan intreg director Jean-Luc Godard dans le plan. On aura le la plan mediu, etc.) nu se incorporated the jump cut into sentiment d'une erreur de taie cadru pe cadru a structure that both made montage. C'est ce qu'on adica plan general peste narrative sense and subverted appelle le "plan sur plan" plan general al aceluisi dominant stylistic approaches. et on peut frequemment en loc, sau prim plan urmat (Mamer2006,32) voir Papplication dans les de prim plan al aceluiasi interviews, au cours des personaj. (...) cadru pe reportages televises. (Coste cadru, in care taietura 2002,28) devine "sesizabila", deranjanta. (Druga 2004, 42) analog, the 30° rule regie des 30° regula celor 30° obs. A jump cut is not always an editing error, sometimes it is used for aesthetic purposes (Godard, Breathless, 1960) date June 28,2007 28juin2007 28 iunie 2007 108 34 Main location scouting reperage des decors prospecfie entry (nom.expr.) (expr.nom.) (s.f.) def. The action of looking for a Action de chercher des Actiunea de a cauta locuri shooting site that meets all lieux de tournage qui de filmare care sa the aesthetic and utilitarian repondent a tous les besoins raspunda tuturor nevoilor needs of the film esthetiques et pratiques de ordin estetic si practic production. d'une production. ale productiei. cont. The responsibility for Le realisateur, 1'assistant, le Principalele activity ale location scouting falls to regisseur, le decorateur et le echipei de filmare in the location scouts, all of chef operateur procedent au perioadele de realizare a whom have explicit reperage des decors. filmului. Perioada de descriptions of the features (Zurstrassen 1989, 61) pregatire: efectueazS of desired environments. prospecf ii pentru The process includes stabilirea locurilor de searching for and assessing filmare. (Pricop 2004, possibilities for specific 117) scenes. (Mamer 2006,47) analog, tech scout; repereur location scout a merge in prospec^ie date June 28, 2007 28juin2007 28 iunie 2007 109 35 Main long take plan-sequence plan-secvenfa entry (nom.expr.) (expr.nom.) (expr.nom.) g-v. plan sequence syn. sequence shot plan lung; • cadru-secventa def. A static or dynamic shot Plan fixe ou dynamique Plan fix sau dinamic care covering a several minute qui s'etend sur toute la acopera in intregime o scene. The size of the shot duree d'une sequence de secventa de mai multe often varies as the actors plusieurs minutes. minute. Dimensiunea and the camera move. L'echelle du plan- planului secventa se sequence change souvent schimba frecvent o data avec le mouvement des cu miscarile de aparat si acteurs et le mouvement mis carea actorilor in de la camera. cadru. cont. To eliminate the need for D'ailleurs un plan- Secventa a 16-a, plan- editing, the long take needs sequence n'est rien d'autre secventa, are o durata de astute blocking and qu'une scene tournee en 404 secunde. (Caraba{ rehearsal. (Rabiger 2003, un seul plan, en continuity. 2000,127) 238) (Chevrier 2001, 102) analog. cutting in the camera obs. Long take is not a synonym Les sequences de tres of long shot (a wide shot). courte duree telles que les plans de coupe, les A long take is not a master sequences de transition, either. The master is a shot meme si elles sont filmees of the entire scene, but not dans un seul plan, ne sont all of it ends up in the final, pas des plans-sequences. edited version of the scene. La duree des sequences est The master is covered from un aspect definitoire. various angles. A long take is intended to be used as one, uninterrupted shot, without coverage. date June 28, 2007 28juin2007 28 iunie 2007 110 36 Main low-angle (shot) contre-plongee contraplonjeu entry (nom.expr.) (n.f.) (s.n., pi: ~uri) g-v. low angle abbr. LA CPlg, C/pl _ syn. racursi; unghi de filmare de jos; filmare (unghi) in sus; unghi plonjat def. An angle of shooting in Angle de prise de vue ou Unghi de filmare in care which the camera is l'axe optique de la camera, camera este amplasata positioned at a lower level placee plus bas que le sujet, mai jos decfit subiectul, cu than the subject being est oriente vers le haut. En axa optica orientata in sus. filmed, with its optical axis tant que procede Ca procedeu stilistic pointing upwards. As a stylistique, la contre- confera subiectului filmat stylistic device, the low- plongee donne au sujet un un aspect amenintator. angle shot makes the subject air menacant. look powerful and threatening. cont. A scene involving a country Dans The Servant (1963), De la plonjeu si racursiu kid's first day in the big city Joseph Losey traduit pe orizontala, aparatul is another, albeit cliched, visuellement la relation trece la unghiul oblic, pe example. The viewer is entre ses deux personnages: contraplonjeu, in presented with low-angle il filme continuellement le urmarirea unui atac al shots of skyscrapers serviteur en plongee et le avionului. (Lazar, 1986, looming over the awed maitre en contre-plongee. 24) onlooker. (Mamer 2006, 7) (Chevrier2001,43) analog. high angle; angle de prise de vue; unghiulatie; Dutch angle; cadre incline; cadraj inclinat canted angle; plan au ras du sol low-level shot phr. filmer eni contre-plongee obs. Do not confuse with low- Termenul racursi se level shot, in which the refera atat la plonjeu cat si camera is placed lower than la contraplonjeu. In DEX the subject (at ground level, este definit drept i.e.) but instead of pointing "procedeu de folosire a up, it points straight ahead. perspectivei in artele plastice si in cinematografie, prin care extremitatile obiectului reprezentat apar apropiate, iar unele reduse". date June 28,2007 28juin2007 28 iunie 2007 111 37 Main mainstream cinema cinema commercial film comercial entry (nom.expr.) (expr.nom.) (exprnom.) syn. dominant cinema cinema industriel; film de consum film grand public def. A type of films, usually big Type de films, souvent a Tip de filme, de obicei de budget productions, gros budget, largement mare buget, larg characterized by wide distribues, caracterises par distribuite, caracterizate release and mass appeal, le succes de masse, avec de succesul de masa, cu with stars on the lead roles, des vedettes dans les roles vedete in rolurile whose financial profit is principaux, dont le profit principale §i al caror secured by the strict financier est assure par le profit financiar este adherence to pre- respect stricte de formules asigurat prin aderarea established, safe narrative narratives preetablies stricta a unor formule formulas (the order / (P intrigue axee sur le prestabilite (intriga axata disorder / order restored retablissement de l'ordre pe reinstituirea ordinii plot, unambiguous and often perdu, fin non equivoque pierdute, sfarsjtul ne- happy ending, continuity et d'habitude heureuse, echivoc sj de cele mai editing, story centered histoire centree sur le multe ori fericit, povestea around the conflict between conflit entre le bien et le centrata pe conflictul good and bad, archetypal mal, personnages dintre bine §i rau) deseori characters), often at the archetypaux) souvent aux in detrimentul expense of originality and depens de l'originalite et originalitatii §i a artistic creativity. de la creativite artistique. creativitatfi artistice. cont. In opposition to dominant or Le cinema commercial a [festivalul de film Asiatic mainstream cinema, some detourae le recit filmique de la Udine] spre filmmakers set out to create sur la vedette qui incarne deosebire de alte films which challenge le role principal. (Chevrier festivaluri, e centrat pe orthodox notions of what a 2001, 96) film comercial asiatic. movie can show and how it Pentru ca asiaticii produc can show it. These enorm de multe filme de filmmakers work consum, in principiu independently of the studio pentru piaja interna. system. (Bordwell 1997, 50) (Bratan, LiterNetRo, 2007) analog. experimental film; film experimental; film / cinematograf de underground film; film d'avant-garde; arta; art film; film d'art; film de autor; auteur film; film d'auteur / cinema film experimental; third cinema; d'auteur; film de avangarda; independent film / indie; film independant; film eseistic cult film; cinema d'art et essai blockbuster; art house theater 112 In its general sense, Este interesant de mainstream means semnalat definitia propusa "principal", "prevailing", de Bujor si Rapeanu in "dominant", "widely Dictionar cinematografic, accepted". However, when 1974: "film comercial: used in regard to the mass calificativ estetic peiorativ media, however, acordat productiei mainstream has pejorative cinematografice, care, connotations. facand concesii unui punct de vedere impus indeobeste de producator si urmarind diverse retete- sablon, urmareste succesul facil de public." July 2, 2007 2juillet2007 2 iulie 2007 113 38 Main mark marquer pune semne entry (v.tr.) (v.tr.) (expr.v.) syn. a marca def. To indicate with chalk or Indiquer avec de la craie A marca cu creta sau gaffer tape the spots in ou une bande adhesive les banda adeziva colorata which the actors must stop endroits ou doivent locurile in care trebuie sa during the scene or the spot s'arreter les acteurs se opreasca actorii in where a piece of furniture or pendant une scene, ainsi timpul scenei sau locul a prop has been placed. The que la place des meubles pieselor de mobilier si a marks, placed during the ou des accessoires. Les obiectelor de recuzita. first lineup and maintained marques, placees lors de la Semnele, plasate la" prima during blocking and premiere repetition repetijie si menfinute pe rehearsals, must be removed mecanique et maintenues durata repetijiilor before shooting, especially pendant toutes les autres ulterioare, trebuie if it is a wide angle. In North repetitions, doivent etre inlaturate inainte de America marking is the task retirees avant le tournage, filmare, mai ales in cazul of the camera second surtout dans le cas d'un unui cadru larg. In assistant. plan large. En France cette America de Nord tache revient aux marcarea revine celui de machinistes de plateau. al doilea asistent cameraman. In Franta aceasta activitate revine masinistilor. cont. When the director and the On fait marquer les places La repetifie, dupa ce s-au DP are satisfied with the precises des comediens et stabilit miscarile de aparat blocking of the scene, the des meubles (chaises, si miscarile actorilor in DP announces "Mark tables, etc.) par les cadru, asistentul them". That's an instruction machinistes. (Coste 2002, cameraman poate sa puna for the camera second 109) semne pentru actori. assistant to place a small (platou). piece of colored tape or a chip of wood at the feet of the actors where they stand at the start of the scene and again at each stopping point of their designated moves. (Miller 1999, 60) analog. cue mark; repere au sol; semn final; eyeline mark; marque de fin; a (nu) veni in semn; end mark; manquer sa marque a (nu) fi in §arf to hit the mark; to miss the mark date July 2, 2007 2juillet2007 2 iulie 2007 114 39 Main master (shot) plan maitre (cadru) master entry (nVnom.expr.) (expr.nom.) (s.n./expr.nom.) syn. master; plan principal plan principal def. A shot covering the entirety Plan qui couvre la totalite Cadru care acopera of a scene from an angle d'une sequence sous un totalitatea unei secven^e, wide enough to hold all the angle suffisamment large filmat dintr-un unghi care protagonists. The master is pour inclure tous les cuprinde to$i protagonistii. never fully used in the edited protagonistes. Le master Masterul nu este niciodata version of the scene; it is n'est jamais entierement utilizat in intregime in common to open the scene utilise dans la version versiunea montata a with the master to establish montee de la sequence; secventei; de obicei se the place of action and then d'habitude on commence foloseste la inceputul to intercut it with tighter une sequence par le master secventei pentru a fixa shots. However, filming an pour etablir le lieu de locul actiunii, dupa care uninterrupted shot of the Taction, et on l'entrecoupe se alterneaza cu planuri whole scene is a back-up de plans plus rapproches. mai apropiate. Totusi, solution: a mismatch Toutefois, filmer un plan filmarea in totalitate a between two tight shots may continu de toute la secventelor este be solved by a return to the sequence constitue une recomandabila ca masura wider angle. solution de repli: dans le de siguranja: in cazul unei cas d'un faux raccord entre greseli de racord intre les plans serres, un retour planurile apropiate, o au master peut regler le intoarcere la master poate probleme. rezolva problema. cont. A master shot contains most La scripte note (...) le Cateva modalita^i de of the action in a scene in nombre de contre-champs, montaj. Metoda cadrului one continuous take. (Ulmer (...) de gros plans, de plans master si introducerea in 1986,78) moyens, etc., a Pinterieur el a celorlalte cadre din du plan maitre (master). decupaj. (Druga 2004,47) (Champagne 1992,41) analog, coverage; decoupage; decupajul scenei; to cut in the camera; plan sequence; cadru / plan secvenja; long take mise en scene en montaj in cadru profondeur phr. to cover the master 115 obs. Do not confuse with long Le plan d'ensemble n'est take. Both the master shot pas un plan maitre: le and the long take cover the plan d'ensemble ne whole length of a scene, but couvre pas forcement la they serve different totalite de la scene. purposes: the long take is meant to be used integrally, while fragments of the master will be combined with closer shots. date July 2, 2007 2juillet2007 2 iulie 2007 116 40 Main match raccorder tine racordul (-urile) entry (v.tr.) (v.tr.) (expr.v.) def. To ensure that the action, S'assurer que Taction, les A se asigura ca actiunea, the dialogue, the actors' dialogues, l'apparence des dialogul, aspectul appearance, the set dressing, acteurs, le decor, actorilor, decorul, the lighting and the props Teclairage et les luminile si recuzita established in the master are accessoires etablis dans le stabilite in cadrul larg de reproduced identically in the plan d'ensemble restent referin{a raman identice in coverage shots; matching identiques dans les plans cadrele mai stranse; a {ine eyelines entails ensuring that serres; dans le cas des racordurile de privire in a shot/reverse shot, the directions de regard, presupune a se asigura ca, two characters watch in s'assurer que dans un intr-un plan-contraplan, opposite directions. While champ-contrechamp personajele se uita in variations in action are celles-ci se croisent. directii opuse. Anumite possible, matching becomes Certaines variations variatii ale acjiunii sunt crucial for those moments d'action sont permises, permise, totusi, este that might become cutting pourtant, il est crucial de obligatorie menjinerea points. raccorder les plans aux racordurilor in punctele de points de coupe. legatura dintre cadre. cont. When action in closer angles Une coupe se fait le plus Presupunem tot timpul ca is matched as closely as souvent dans un la filmarea cadrelor A, B, possible to the master shot, mouvement. De la vient C, D, au fost tinute the editing will give the T importance de raccorder racordurile de costum, illusion to the audience that les deplacements, les machiaj, decor, recuzita si the actress's movements gestes et le dialogue. miscare apersonajului. were continuous. (Miller (Champagne 1992, 8) (Druga2004,41) 1999,170) analog, cutting point; overlap date July 2, 2007 2juillet2007 2 iulie 2007 117 41 Main match bien se raccorder fl record entry (v.intr.) (expr.v.) (expr.v.) syn. to cut (it cuts / it doesn't etre montable; cut) etre raccord def. An action, a dialogue, Se dit de Faction, du Se spune despre ac^iune, actors' appearance, set dialogue, de l'apparence dialog, costume, machiaj, dressing, lighting and props des acteurs, du decor, de decor, lumini §i recuzita that are identical in the Peclairage, des accessoires atunci cand acestea sunt master and the coverage; or qui sont identiques dans identice in cadrul de eyelines that intersect in les plans d'ensemble et les referinta si in cadrele mai such a way to create the plans serres; se dit des stranse; se spune despre impression that two directions de regard si directiile de privire intr-un characters are looking at celles-ci se croisent dans plan-contraplan cand each other in a shot/reverse un champ-eontrechamp de acestea se intersecteaza, shot, facon a creer l'impression dand impresia ca (see also to cut) que deux personnages se personajele se privesc regardent l'un Pautre. reciproc. cont. The script supervisor should Si un gros plan se raccorde La reluarea filmarilor, anticipate where the director mal au plan d'ensemble, il dupa o pauza ori intends to cut in the close peut, au montage, etre continuarea scenei in alte shot so that the action at the sacrifie au profit d'un zile, elementele transition point of both autre, ou encore, la consumabile sau pozi^ia views will match. (Ulmer personne responsable du unor obiecte nu sunt 1986, 78) montage choisit une moins "record". (...) doar ora si bonne prise pour pozijia interpretilor sunt ^interpretation, mais qui record. (Druga 2004, 47) se raccorde bien au plan d'ensemble. (Champagne 1992, 9) analog. cutting point; overlap obs. To cut and to match are partial synonyms. The syntagma It will (not) cut refers to how smooth the transition is in the cutting point, while // will (not) match refers to elements of the shot such as character physical aspect, lighting, level of energy in interpretation, etc. date July 2, 2007 2juillet2007 2 iulie 2007 118 42 Main montage sequence de montage secventa de montaj entry (n.) (expr.nom.) (expr.nom.) syn. montage sequence colaj def. A series of very short shots, Ensemble de plans tres Ansamblu de cadre foarte of various sizes and taken courts, de valeur differente, scurte, de marimi diferite, from multiple camera angles, filmes sous des angles filmate din unghiuri presenting successive multiples, qui presentent les multiple, si care prezinta instances of the change instances successives des instance succesive ale undergone by a character. changements subis par un schimbarilor prin care Usually there is no dialogue, personnage. D'habitude trece un personaj. De instead music is often used to sans dialogue, le montage obicei nu confine dialog, enhance the mood. est souvent accompagne de sunt de cele mai multe ori musique pour renforcer insotite de muzica pentru l'ambiance. accentuarea unei anumite atmosfere. cont. Montages take many forms; Nous sommes tous habitues Secvenfa de montaj: Cei sometimes a series of quick a certains cliches des doi merg pe camp. Cei doi • cuts, involving erratic sequences de montage — ajung la marginea unei camera angles. Other times, un calendrier effeuille, les paduri. Se opresc. Cei doi shots are blended together presses d'un journal tirant tree pe langa stalp. Cei doi (...). It is usually designed to en masse un numero urea coasta unui deal. cover quickly, in terms of special. (Bordwell 2004, Omul cu umbrela aluneca screen running time, a long 365 - traduction) si cade. Celalalt se intoarce period in the story in which dupa el (...) Cei doi ajung an actor goes through a intr-o zona cu tufisuri si decided change of character maracini, pe malul unui or circumstances. (Bare rau. (Beres, Nicaieri, dec. 1971, 137) 2003) date February 8, 2008 8 fevrier 2008 8 februarie 2008 119 43 Main off screen hors camera din / in afara cadrului entry (nom.expr.) (expr.nom.) (expr.nom.) g-v. off-screen abbr. OS, OC syn. off camera hors champ def. The uttering of lines by a Repliques prononcees par Replici apartinand unui character who is not visible un personnage qui n'est personaj care nu e vizibil in frame, but is situated in pas visible dans le champ, in cadru, dar care se afla the proximity of the scene mais qui est situe dans la in apropierea locului de space. proximite du lieu de desfasurare a actiunii. Taction. cont. The sound department may Si le plan de travail Vocile condamnarii par sa have its own list of coverage souligne les voix "hors vina din afara cadrului, requirements. These could camera", Tingenieur du desi ele sunt rostite abia include walla, presence, son prendra note de les din planul indepartat, al sound effects, narration or enregistrer immediatement doilea. (Lazar 1986,267) offscreen dialogue, music apres la scene ou apres la and any other non- journee de tournage. synchronous sound tracks. (Champagne 1992,24) Some will be recorded in post-production while others need to be recorded on the set. (Ulmer 1986,151) analog, voice over voix off vocea din off obs. The term voice off is not very common. date August 15, 2007 15aout2007 15 august 2007 120 44 Main one-liner depouillement decupajul scenariului entry (n.) chronologique (expr.nom.) (expnnom.) syn. preliminary script timing continuite chronologique breakdown; continuity synopsis; continuity outline def. A document prepared in Document prepare en Document pregatit de catre pre-production by the preproduction par la scripte, secretara de platou in script supervisor, contenant, pour chaque preproductie continand, containing a scene-based, sequence, les informations pentru fiecare secventa, one line breakdown of suivantes, disposees sur une urmatoarele informatii story days, shooting days, seule ligne: decor, minutage distribuite pe un singur time of day, estimate estimatif, nombre de pages, rand: ziua de filmare, ziua timing, page count, roles, costumes, accessoires, din scenariu, durata locations, characters, maquillage, coiffure, resume estimativa a secvenfei, props, make up, hair, de Taction. Pendant le evidenta paginilor de costumes and a short tournage, le depouillement scenariu, obiect filmare, description of the action. chronologique permettra au / personaje, recuzita, During production, the a la scripte de verifier les machiaj, par, costume si o script supervisor will rely raccords et de remplir les scurta descriere a acfiunii. on it to check continuity rapports de production. fn timpul turnajului, and to fill out production decupajul ajuta la reports. verificarea racordurilor sj intocmirea rapoartelor de producjie. cont. One-liners are short, II faut reporter ces O sa o rugam pe scripts sa concise descriptions of informations sur un aduca decupajul every scene in document, qu'on appelle scenariului pentru a-1 consecutive order, depouillement distribui fetelor de la prepared by the script chronologique. (...) On costume, machiaj sj recuzita supervisor. The scene divise une page en colonnes, la sedinta de producfie. number, location, action, dans le sens de sa largeur : la (platou) list of cast members, premiere, pour les jours costume numbers and differents de Thistoire (...). relative time are all Dans la deuxieme colonne, included in the one line on ecrira les numeros de breakdown. (Ulmer 1986, sequence. Dans la troisieme, 54) le lieu et un resume bref de Taction. (...) Dans la quatrieme on marque le pre- minutage. (Zurstrassen 1989, 64) 121 analog. storyboard; calendrier de tournage; calendarul ftlmarilor; shot list; feuille de service; programul zilnic de filmare; script breakdown; decoupage technique; cronometrarea scenariului; shooting schedule; storyboard decupaj pe cadre; call sheet; decupaj regizoral; preliminary script timing decupaj tehnic; breakdown storyboard; schite de planuri; obs. Les scriptes de langue Fiecare departament francaise creent aussi un creeaza decupaje care depouillement pour les raspund nevoilor specifice personnages principaux, ale acestora: racorduri appele continuite speciflque costume, racorduri (Coste 2002,137), pour machiaj, etc. marquer les changements Decupajul creat de primul survenus a un seul asistent de regie (script personnage. breakdown, depouillement general) poarta denumirea de extras de scenariu (Pricop 2004, 134) date August 17, 2007 17aout2007 17 august 2007 122 45 Main on location en decors naturels in decoruri naturale entry (nom.expr.) (expr.nom.) (expr.nom.) syn. in locatie def. To shoot in an authentic Tourner dans des decors A filma in decoruri setting, as opposed to authentiques, par opposition autentice, spre deosebire shooting at the studio, au tournage en studio, dans le de a turna in studio, pentru with the purpose of but d'augmenter le realisme. mai mult realism. achieving a greater realism. cont. When filming on Art. 23. - Pour la fixation du Neo-realismul reface location (away from a montant de l'avance avant legatura cu documentarul soundstage), the bell or realisation, l'entreprise de (...): turnare in exterior, in buzzer is usually production deleguee doit decoruri naturale, refuzul replaced by verbal remettre au Centre national efectelor vizuale sau al instructions. (Miller de la cinematographic un efectelor de montaj. 1999, 57) dossier comprenant: (...) (Vanoye 1995,22 - f) Le nombre de jours de traducere) tournage en studios et en decors naturels interieurs ou exterieurs envisages; (Legifrance, 30 juin 2007) analog. back lot; studio; studio; studio; reperage des decors prospectie location scouting obs. Applies both to interior and exterior shooting. There is a tendency to equate shooting on location with shooting outside. date August 17,2007 17aout2007 17 august 2007 123 46 Main out of continuity non chronologique in ordine non-cronologica entry (adj./adv.expr.) (adjVadv.) (expr.adjiadv.) syn. out of sequence de maniere non chronologique def. The filming of scenes of a Filmer les sequences d'un A turna secventele unui movie in an order imposed film dans un ordre dicte par film intr-o ordine dictata de by actors' availability and la disponibilite des acteurs disponibilitatea actorilor si by financial considerations et par des considerations de considerente financiare such as finishing first all financieres telles que le precum terminarea tuturor the scenes taking place in tournage integral des secventelor care se petrec one location or one setup sequences ayant lieu dans in aceeasi locatie sau in before moving to a new un meme lieu ou decor, acelasi decor, inainte de a location or a new setup. avant de passer a un trece la o noua locatie sau nouveau lieu ou a un intr-un nou decor. nouveau decor. cont. In cases of shooting out of Jeu d'acteurs et camera. Daca va uitaji in programul continuity, [the director] Stage de formation (...) de filmare, vedeti ca must make sure that the Principauxobjectifs: (...) majoritatea secventelor se actors understand fully just Construire des personnages filmeaza in ordine non- where the scene they are varies et cronologica, asa ca mare doing fits in the story. psychologiquement atentie la racorduri. (Bare 1971, 158) credibles. Garder cette (sedinta de productie). construction coherente: (...) malgre les imperatifs de raccords (gestes, vitesse, voix...); malgre un tournage non chronologique des sequences. (Aquitaine Image 2008) analog, to blockshoot; continuity shooting obs. Continuity shooting is not an antonym; it does not mean shooting in chronological order, but shooting keeping track of continuity to allow for the seamless recreation of space and time in the cutting room. date August 17, 2007 17aout2007 17 august 2007 124 47 Main over the shoulder shot plan par-dessus 1'epaule amorsa entry (nom.expr.) (expr.nom.) (s.f.) abbr. OTS syn. dirty shot; plan avec amorce; amorsare; over filmare peste umar; filmare in amorsa; plan amorsat; plan / cadru amorsa def. A type of coverage in which Type de decoupage qui Tip de decupaj in care unul a character is framed in the prevoit le cadrage en din personaje este incadrat foreground, often out of premier plan et souvent flou, in prim plan, deseori fara focus, with his/her back to d'un personnage ayant le sarf, cu spatele la camera, the camera, while in a more dos tourne vers la camera, in timp ce, in plan mai distant plan another character tandis que, dans un plan plus indepartat un alt personaj is facing the camera. Over eloigne, un autre personnage este cu fa^a la camera. the shoulder shots are used to est tourne vers la camera. Ce Cadrele cu amorsa sunt cover dialogue scenes or in genre de cadrage est utilise utilizate mai ales in point of view shots to create souvent dans les scenes de scenele de dialog sau in an on-screen link between a dialogue ou dans les plans unghiurile subjective character and the point of subjectifs pour connecter a penrru a lega, in acelasi his/her attention (another l'ecran un personnage et le cadru, un personaj si character, an object, a point d'interet de son punctul de interes al landscape). attention (un autre atentiei sale (care poate fi personnage, un object ou un un alt personaj, un obiect paysage). sau un peisaj). cont. The over the shoulder shot Un plan par-dessus Ordonanta ramane spre is about the size of a medium 1'epaule de la fille permet a latura din dreapta in close-up except that the head la camera de privilegier le amorsa. (CarabJu; 2000, and shoulders of one actor garcon venant rejoindre son 137) are included as he stands amie en profondeur de facing the principal subject. champ. (Chevrier 2001,48) (Bare 1971, 74) analo clean shot; contrechamp interne; plan-contraplan; g. shot clean of...; champ-contrechamp camp-contracamp; inside (a character / object); cadru direct; shot/reverse shot cadru simplu obs. The expression "we are inside (i.e. the car)" is synonymous with "clean of (i.e. the car)", meaning that the mentioned object / character is not in the shot. date August 17,2007 17aout2007 17 august 2007 125 48 Main rack focus changer le point schimba sarful entry (v.expr.) (expr.v.) (expr.v.) syn. to shift focus a schimba claritatea def. To change the sharp area Deplacer la zone de nettete A schimba zona de (and thus viewers' (en redirigeant ainsi claritate (§i o data cu attention) from foreground 1'attention du spectateur) aceasta si punctul de to background or viceversa. de Pavant-plan vers atentie al specatorului) din l'arriere-plan ou vice prim plan in planul secund versa. sau vice versa. cont. A shot may begin with an Changer le point: faire Intr-o scena de dialog po^i object in the foreground passer la nettete d'une schimba sarful de pe sharply visible and the rear zone a une autre de personajul din prim plan plane fuzzy, then rack 1'image au cours du plan. pe personajul din planul focus so that the (Bordwell 2004, 588 - secund. (platou) background elements come traduction) into crisp focus and the foreground becomes blurred. Alternatively, the focus can rack from background to foreground. (Bordwell 1997,221) analog, to pull focus; effectuer / realiser / faire la a stabili / face sarful; to focus on mise au point; a focaliza; follow focus mettre au point; a pune claritatea shallow focus; faire le point; obiectivului; deep focus; nettete; a regla claritatea; focus puller image floue claritate; neclar; a ^ine in sarf/ in clar / in zona de sarf phr. to be in / out of focus; to bring into focus obs. Do not confuse with to pull Ne pas confondre avec A nu se confunda cu a focus - keeping in focus a faire le point - maintenir stabili sarful / claritatea - certain area or character in a la nettete d'une zone ou a menfine o anumita arie given shot (see separate d'un personnage dans un sau un anumit personaj in entry). plan donne. sarf. date August 17, 2007 17aout2007 17 august 2007 126 49 Main read off-camera dialogue donner la replique da replica entry (v.expr.) (expr.v.) (expr.v.) syn. to read off-screen lines; a citi textul din afara to read off camera lines cadrului def. To read the lines of an off Lire les repliques d'un A citi replicile screen character in a personnage situe hors personajului aflat in afara dialogue scene during champ dans une sequence cadrului intr-o secventa de auditions, rehearsals or de dialogue pendant les dialog pe timpul audijiilor, shooting. auditions, les repetitions repetifiilor sau al ou le tournage. filmarilor. cont. On several occasions, you II arrive aussi que deux Coordonatorul de will be called upon to read acteurs ne soient plus dialoguri poate fi persoana off-camera dialogue: when libres ensemble, et soient care pur si simplu scrie an actor is unavailable to obliges de tourner replicile pe un panou (cue perform vis-a-vis speeches certaines scenes en card) pentru a fi citite de for a previously shot scene. donnant la replique a une actori la filmare sau da (Miller 1999, 174) doublure de leur replica actorilor la partenaire... (Zurstrassen repetitii. (Pricop 2004, 1989, 19) 350) ' analog, to run lines with an actor; to cue dialogue for an actor; to feed an actor his/her lines; to throw a line; line reading (while directing actors) date August 17, 2007 17 aout 2007 17 august 2007 127 50 Main rehearsal (n.) repetition (n.f.) repetitie (s.f.) entry syn. repetitie finala def. The enactment by the actors Interpretation par les Interpretare de catre actori of a scene's action and acteurs de Taction et du a acjiunii si a replicilor dialogue, after the camera dialogue d'une sequence, unei secvenje dupa ce, la moves and lighting apres la repetition repetitia tehnica, au fost configuration have been set mecanique, une fois etablis decise miscarile de aparat up during blocking. During les mouvements de la si amplasarea luminilor. rehearsals the director camera et la configuration Repetitiile permit works with the actors de l'eclairage. Les regizorului si actorilor sa mostly to adjust the last repetitions permettent au definitiveze ultimele details of performance. realisateur et aux acteurs detalii privind de peaufiner interpretarea. ^interpretation. cont. After the director has Le mouchard doit etre Mai facem o repetifie blocked the set for camera detaille. II indique non inainte sa dam drumul la and made it ready for seulement Theure de filmare. (platou) rehearsal, the actors walk convocation (Call time) et through their moves, again. l'heure de Parrivee de The scene is rehearsed as l'equipe, mais le temps de many times as the director la premiere mise en place, deems necessary to make celui de chaque repetition adjustments in the blocking etc. (Champagne 1992, 58) or to try variations to heighten or intensify the dynamics of the scene. (Miller 1999, 60) analog. blocking; mise en place; repetitie in locatie walk through; repetition mecanique; run through; faire un filage lineup; dry rehearsal obs. Rehearsal may also designate any other rehearsal on or away from the set of both action and lines or just lines. date August 17,2007 17aout2007 17 august 2007 128 51 M:i in run linos rcpctcr rcpcta rcplicile rnlrj (\.c\pr. i (v.tr./intr.) (expr.v.) s\n. fairc unc italicnnc def. A procedure through which Procede par lequel les Procedure prin care actorii the actors memorize their acteurs memorisent leurs isi memoreaza replicile, lines by reading them with repliques. Lorsque le texte citindu-le cu alti actori sau other actors or with a est repete sans intonation cu un membra al echipei member of the crew et sans gestes, on appelle de producfie. (dialogue coach, script cela faire une italienne. supervisor). cont. During the lighting interval, Les supplements. Memorabilul detectiv nu an actor may ask you to Repetitions des acteurs: tocmai ortodox jucat de "run lines". (...) Running (...) les principaux acteurs Jack Nicholson (pe care lines means cueing repetent leurs repliques, [Roman Polanski] I-a (prompting actors) with tous assis dans une salle, chinuit in timpul dialogue while they study pour verifier que les filmarilor, punandu-1 sa-si and memorize their dialogues passent bien. lis repete replicile pana la speeches. Frequently you le font avec serieux mais epuizare) in Chinatown. may have to be present un certain detachement (Mezincescu, "A-Z wherever the actor happens contraste avec les images Roman Polanski", 2006) to be: in dressing rooms, at du film proposees en makeup tables, or incrustation. somewhere away from the {DVD critiques, 30 juin set. (Miller 1999, 62) 2007) analog. dialogue coach; faire un filage; to lift the words off the faire une mise en espace; page; mecanique feed an actor his/her lines; to cue dialogue for an actor; to read the off screen lines date August 17, 2007 17aout2007 17 august 2007 129 52 Main slow motion ralenti ralenti entry (nom.expr.) (n.m.) (s.n.) g-v. ralanti abbr. slo-mo syn. filmare cu incetinitorul def. The impressi Impression de mouvement Impresie de mi§care movement given by lent obtenue en filmant a incetinita obtinuta prin shooting at a frame rate une cadence superieure a filmarea la o viteza superior to the standard 24 images par seconde, la superioara vitezei camera and projection rate vitesse standard de prise standard de filmare §i de of 24 frames per second. de vues et de projection. proiectie de 24 de fotograme pe secunda. cont. Slow motion is achieved Le cinema des annees Este vorba de un with an overcranked 1960-1970 a exploite les "ralenti" care produce, camera. This means the ralentis, les longues prin incetinirea camera is running at a speed focales et les images desfa§urarii acjiunii higher than its standard 24 figees.(Chevrier2001, 10) propriu-zise de lovire, un frames per second (24pfs). efect poetizant, de (Miller 1999, 98) imponderabilitate. (Lazar 1986, 37) analog, frames per second / FPS; vitesse de prise de vues; viteza de filmare; frame rate; cadence de prise de vues; fotograme pe secunda; slow motion / slo-mo; images par seconde, im/s; filmare cu acceleratorul; time lapse accelere filmare accelerate; zeitraffer date June 27,2007 27juin2007 27 iunie 2007 130 53 Main script breakdown depouillement (general) extras de decupaj entry (nom.expr.) du scenario (expr.nom.) (expr.nom.) syn. extras de scenariu def. A document prepared in Document prepare en Document pregatit in preproduction by the assistant preproduction par le preproductie de catre directors or the production premier assistant- primul asistent de regie, manager, listing information realisateur contenant les con^inand urmatoarele about the scene (scene informations suivantes: informatii: nr. secven^ei, number, page count, setup, numero des sequence, lieu descrierea acfiunii, obiect description of scene, number de tournage, resume de filmare, locatia, durata, of shots) as well as all the Taction, page, decor, metraj, ziua din scenariu, necessary cast members, comediens, numero des personaje, recuzita, efecte props, makeup, costumes, set costumes, maquillage, speciale, arme, figuran^i, dressing, special equipment, coiffure, accessoires, animale, costume, additional labor, extras, figuration, vehicules, machiaj, decor. special effects, for each scene. armes, animaux, effets Informa^ia este structural It serves as the preparation of speciaux, cascades, In functie de secven^e. the shooting schedule, which preminutagejournee. reorganizes the information L'information est according to shooting days structuree en fonction des and shooting locations. sequences. cont. Prepared by the assistant Le depouillement Extrasele confin director or the production general du scenario est secvenjele grupate pe manager, script breakdown fait par Passistant- obiecte de filmare (...) forms precede the production realisateur. Mais celui-ci numarul curent al seventei board and represent all of an traite plus de din scenariul regizoral, individual scene's needs on a P organisation generate du titlul sj durata acesteia single sheet. The form is film que des raccords. (...), necesarul uman, generally a grid with each (Zurstrassen 1989, 121) tehnic sj material necesar square requesting information realizarii filmarilor, a about specific needs such as operatiunilor de montaj cast, extra, props, wardrobe, sonorizare. (...) obligajia special effects, animals, and elaborarii extraselor de so on. A modified version is decupaj apar|ine often used in actual regizorului secund al production. (Mamer 2006, 69) filmului. (Pricop 2004, 130, sample pg 134) analog. storyboard; calendrier de tournage; calendarul filmarilor; shot list; feuille de travail; programul zilnic de one-liner; decoupage technique; filmare; shooting schedule; continuite chronologique; decupaj pe cadre; call sheet storyboard; decupaj tehnic; scenarimage storyboard date August 17, 2007 17aout2007 17 august 2007 131 54 Main script supervisor scripte secretara de platou entry (nom.expr.) (n.f. / n.m.) (expr.nom.) syn. continuity / script girl; supervizor de scenariu; continuity supervisor scripta def. The member of the crew Membre de l'equipe de Membru(a) a(l) echipei de who carries out the tournage dont les filmare care are urmatoarele following tasks: (in responsabilites sont (en responsabilitati: (in preproduction) gives an preproduction) de faire un preproducfie) face o estimated timing of the preminutage estimatif et un cronometrare estimativa si script, prepares a script depouillement un decupaj al scenariului; continuity breakdown chronologique du scenario; (pe timpul filmarilor) (one-liner); (during (pendant le tournage) hotaraste numerotarea production) creates slate d'attribuer un numero a la clachetei, colaboreaza cu numbers, collaborates with claquette, de collaborer avec alte departamente pentru a other departments to les autres departements pour asigura men£nerea maintain continuity of assurer les raccords de racordurilor de costume, wardrobe, hair, props, costumes, coiffure, par, recuzita, actiune, etc., action, etc., times the accessoires, action, etc., de cronometreaza fiecare shots, records technical minuter les prises de vue, dubla, noteaza informa^ii information on each shot noter des informations tehnice despre fiecare cadru for the editor, alerts the techniques sur les prises in raportul de montaj, il director about possible filmees dans le rapport de atentioneaza pe regizor cu axis jumps or eyeline montage, avertir le privire la eventualele mismatches, helps the realisateur des eventuelles sarituri peste ax sau directii actors with their lines, sautes d'axe ou des de privire incorecte, ii ajuta marks all dialogue directions de regard pe actori sa-si repete changes, fills out incorrectes, aider les acteurs replicile, noteaza production reports. a repeter leur repliques, schimbarile de dialog, face noter les changements dans rapoarte de productie. le dialogue, rediger des rapports de production. cont. The script supervisor La scripte est responsable In practica noastra aceasta should anticipate where de la continuite sur tous les atributie [urmarirea the director intends to cut plans: continuite d'action, racordurilor] ii revine in the close shot so that the de mouvement, entrees, secretarei de platou. action at the transition sorties, etc. (Champagne (Pricop 2004, 355) point of both views will 1992, 6) match. (Ulmer 1986,78) obs. Continuity / script girl are considered politically incorrect. date August 17,2007 17aoiit2007 17 august 2007 132 55 Main set-up (n.) plan (n.m.) cadru (s.n.) entry syn. shot; schimbare de cadru slate def. All the takes sharing the Totalite des prises filmees Totalitatea dublelor same camera position, du meme angle, avec le avand in comun aceea§i camera move, lighting meme mouvement de unghiulatie, mi§care de configuration, size of lens camera, le meme eclairage, aparat, ecleraj, obiectiv, and focal length. A change in le meme objectif et la meme distanta focala. any of the above elements distance focale. Tout Schimbarea oricaruia din entails a new set-up. changement dans un de ces elementele de mai sus elements determine un determina un cadru nou. nouveau plan. cont. Significant changes in (...) Le numero de scene Jurnal de filmare. Total camera operation, focal dans ce cas-ci correspondra secvente, metraj util, length, lens or lighting au changement de focale, minute, cadre, actori la constitute new camera set d'angle, c'est-a-dire de plan. cadru. (Pricop 2004, ups. The script supervisor (Champagne 1992,24-25) 135) assigns each set-up a different scene number or slate number. (Ulmer 1986, 93) obs. Although synonyms, shot, Sur les rapport montage, slate and set-up have rapport image on mentionne: specialized usage based on scene (82/6) ou 82 est le context: numero de la sequence et 6 slate no. (continuity report, indique combien de plans on daily print log) =plan no... 1 a tournee pour cette scene no... sequence. Ou bienplan no. first shot = I'heure du PAT 82/3. (pret a tourner) =primul cadru total number of set-ups per day - totalite des plans = total cadre new set-up (new slate, new deal) = nouvelle scene = clachetd noud phr. to set up the shot date February 8, 2008 8 fevrier 2008 8 february 2008 133 56 Main shot list decoupage technique decupaj regizoral entry (nom.expr.) (expr.nom.) (expr.nom.) syn. decupaj tehnic; decupaj pe cadre def. A list of short descriptions Liste de courtes Lista de cadre succint of intended coverage descriptions des plans descrise (dimensiunea (mostly size of shots, (echelle des plans, angles planului, unghiulajie, camera angles and moves) des prises de vue, miscari de aparat) intocmita per shooting day, prepared mouvements de la camera) de catre regizor pentru (usually in advance) by the par journee de tournage, fiecare zi de filmare. director. The shot list is preparee en avance par le Decupajul tehnic este often adjusted after realisateur. Le decoupage deseori modificat dupa blocking or during technique est souvent repetitia tehnica sau in shooting to solve modifie apres la repetition timpul filmarilor pentru a unforeseen location and/or technique ou pendant le raspunde constrangerilor schedule constraints. A tournage pour repondre a neprevazute impuse de copy of the shot list is des contraintes imprevues locatie §i/sau de programul usually handed to the first imposees par le lieu et/ou de filmare. Primul asistent assistant director, the par l'horaire de tournage. de regie, directorul de director of photography Le premier assistant imagine si secretara de and the script supervisor to realisateur, le directeur de platou de obicei primesc un ensure that nothing has la photographie et le/la exemplar pentru a se been missed. scripte en recoivent asigura ca toate cadrele de d'habitude une copie pour pe lista au fost filmate. s'assurer que tous les plans de la liste ont ete filmes. cont. The shot list is a less Certains metteurs en scene Continutul decupaj ului formal alternative to the decoupent au prealable regizoral: descrierea storyboard. It lists brief leurs sequences en plans: detaliata a secventelor si written descriptions of the on appelle cela un cadrelor, date privind intended shots. (Mamer decoupage technique. actiunea, date privind 2006, 61) (Zurstrassen 1989,10) filmarea, date privind coloana sonora, indicatii privind montajul, indicafii privind jocul interpre^ilor. (Pricop 2004, 124) analog. coverage; calendrier de tournage; calendarul filmarilor; storyboard; feuille de service; programul zilnic de filmare; shooting schedule; continuite chronologique cronometrarea scenariului; call sheet; decupaj regizoral; preliminary script timing desfasurator de filmare breakdown date August 17, 200 17aout2007 17 august 2007 134 57: Main shot/reverse shot champ-contrechamp camp-contracamp entry (nom.expr.) (expr.nom., pi: ~s-~s) (expr.nom.) g-v- champ/contrechamp syn. plan-contraplan def. A technique of coverage Technique de decoupage Tehnica de decupaj specific to dialogue specifique aux scenes de specifica scenelor de scenes which consists of dialogue, qui consiste a dialog si care presupune alternating the shots of monter alternativement les montarea alternate a the two characters plans des deux interlocuteurs. cadrelor celor doi engaged in conversation. Traditionnellement, le champ interlocutori. De obicei, When shooting a contrechamp est filme en intr-un plan-contraplan shot/reverse shot the placant la camera du meme camera este plasata de camera is usually placed cote de l'axe pour dormer aceesj parte a axului on the same side of the 1'impression que les deux pentru a crea impresia ca axis to give the personnages se regardent cele doua personaje se impression that the two reciproquement. privesc reciproc. characters are looking at each other. cont. Quite simply, Le plus souvent, on complete Evitarea camp- shot/reverse shot une serie de champs- contracampului, de involves shooting all of contrechamps par un plan plida, a dus la utilizarea person A's dialogue from general ou une profondeur de excesiva a travelingului setup #1, then picking up champs, qui englobe alors les §i a panoramicului, cum the camera and moving it deux sujets et les situe se intampla, intre altele, to setup #2 - called the vraiment Pun par rapport a §i in filmul lui Francois reverse shot - and 1'autre, cela en respectant un Truffaut Celepatru sute shooting all of person B's axe imaginaire. (Chevrier de lovituri. (Lazar 1986, dialogue. The results are 2001, 53). 35) then intercut as a simple back-and-forth exchange. (Mamer2006,31) analog. French reverse; contrechamp externe; plan amorsa clean shot; contrechamp interne dirty shot date August 17, 2007 17aout2007 17 august 2007 135 58 Main transition (n.) raccord (n.m.) racord (s.n.) entry syn. enchainement; inlantuire; transition trecere; legatura dintre cadre; legatura de montaj def. An optical or digital effect Toute strategie de passage Strategie de trecere de la between two shots such as d'un plan a un autre: coupe un plan la altul: taietura fades, dissolves, tranche ou effets optiques directa sau efecte optice superimpressions, iris, ou digitaux tels que les sau digitale ca de wipes. fondus, les surimpressions, exemplu fonduurile, l'iris, le volet. irisul, voleul. cont. The wipe, a sharp line Le raccord est un Voi indica durata moving across the screen enchainement entre deux cadrelor si minutajul to make the transition plans. (Zurstrassen 1989, fiecarei secvenje in parte from one shot to the next, 22) si in aceeasj masura, usually brings the feeling progresiv, voi descrie of accelerated pace. (Bare tipologia racordurilor. 1971,142) (Carabat 2000, 121) analog, cut; coupe; taietura straight cut coupe tranche; montage cut date August 17, 2007 17aout2007 17 august 2007 136 Main voice over voix off vocea din off entry (nom.expr.) (expr.nom.) (expr.nom.) abbr. VO syn. povestitor; narator def. A narrative technique Technique narrative qui Tehnica narativa care consisting of a voice spoken consiste a superposer sur consta in a suprapune over an action by a narrator Taction la voix d'un peste actiune vocea unui (who could be one of the narrateur (qui peut etre un narator (care poate fi unul characters). Voice over is des personnages). Elle est dintre personaje). Se mostly used to clarify some surtout utilisee pour foloseste mai ales pentru a aspects of the story, clarifier certains aspects clarifica unele aspecte ale comment on a scene, and/or de l'histoire, pour povestirii, pentru a convey the thoughts of a commenter une action ou comenta o scena sau character. pour exprimer les pensees pentru a exprima d'un personnage. gandurile unui personaj. cont. When VOICE OVER (VO) Cette voix off peut se Vocea din off deschide is written in place of a departager entre plusieurs cinematografului bogatul character's name it refers to narrateurs. [Hanna and domeniu al adancimilor the voice of a speaker whom her sisters] (Chevrier psihologiei, permhjand the audience will not see. It 2001,118) exteriorizarea gandurilor may be a voice heard over a celor mai intime. (Martin public address system at an 1981,135-traducere) airport or train station, a voice coming from a radio or television set, or the voice of a narrator. (Miller 1999, 19) obs. In English, off, such as in off screen, off camera indicates a diegetic sound / dialogue / line, while over, such as in voice over designates an extra-diegetic voice. date August 17, 2007 17aout2007 17 august 2007 137 60 Main wild track son seul sunet separat entry (nom.expr.) (expr.nom.) (expr.nom.) abbr. WT syn. wild sound def. The sound r Son enregistre sur le lieu Sunet inregistrat la locul shooting location separately de tournage, de filmare, separat de from the image, to be independamment de imagine si care va fi synchronized with the video P image, et qui sera sincronizat cu banda video in post-production. synchronise avec la bande in post-productie. Ca Examples of wild tracks are: video en post-production. exemple putem memiona: sounds needed for the scene Comme exemples on peut zgomote prezente in scena (phone ringing, door mentionner: des sons (un telefon care suna, o slamming, etc.) not recorded presents dans la scene usa trantita, etc); zgomote during shooting; sounds that (telephone qui sonne, porte din afara spatiului optic; will be heard off camera; or claquee, etc.); sons hors sau fragmente de dialog a fragments of dialogue, which champ; ou des repliques en caror inregistrare in priza were poorly recorded as prise directe dont la qualite directs, din diverse synchronous sound. Foley est mauvaise. Le bruitage motive, este de slaba sound and automatic dialogue et le post-synchronisation calitate. Postsincronul de replacement represent more representent des solutions zgomote si de dialog sunt expensive alternatives to wild de rechange plus couteuses alternative mai costisitoare sound. que le son seul. decat sunetul separat. cont. If the sound mixer claims that Rapport continuite: Sunet separat. a word or two weren't clear, ambiance accident + son inregistrarea sunetului fara (...) the director will make a seul (382 l'arrivee de o relatie sincrona cu wild track by having the l'auto). (Zurstrassen 1989, inregistrarea imaginii. actor record the line without 101) (Druga 2004, 72) the camera turning. (Bare 1971,75) analog. sync; son direct; priza directa; guide track; son temoin; sunet sincron; MOS; MOS / muet; banda ghid; room tone / ambiance; son d'ambiance; MOS; Foley; bruitage; ambianta; ADR (automatic dialogue post-synchronisation postsincron de zgomote; replacement) postsincron de dialog obs. English makes the difference between wild track (any kind of sound) and wild line (refers specifically to dialogue). 138 Wild often describes items that are separate, detachable: wild footage (not scripted, shot at random), wild wall (detachable piece of set). date August 17,2007 17aout2007 17 august 2007 139 Bibliography Adoration, dir. Atom Egoyan, perf. Scott Speedman, Rachel Blanchard, Keneth Welsh, Devon Bostiek, Ego Art Films, 2008. Arijon, Daniel. Grammar of the Film Language. London; New York: Focal Press, 1981. Aubin, Marie-Christine. "Un dictionnaire analytique anglais-francais des nouvelles realties culturelles pour faciliter la traduction en sciences humaines." Traduire les sciences humaines: Methodes et enjeux, Rouen. 30-31 mars 2006. Aumont, Jacques et Michel Marie. Analyse des films. Paris: Nathan, 1988. Austin, J. L. How to Do Things with Words. Oxford: Clarendon Press, 1975. Bare, Richard L. The Film Director: a Practical Guide to Motion Picture and Television Techniques. New York: Macmillan, 1971. Bejoint, Henri. "La definition en terminologie." Aspects du vocabulaire. Sous la direction de Pierre J.L. Arnaud et Philippe Thoiron. Presses universitaires de Lyon, 1993. 19-25. Bellour, Raymond. L'Analyse dufilm. Paris: Albatros, 1979. Bergenholtz, Henning and Sven Tarp (ed). Manual of Specialized Lexicography: The preparation of Specialized Dictionaries. Amsterdam: John Benjamins Publishing 1995. Blais Beaudoin, J., L. Dion, A. Dugas, D. Duquet Picard, G. Rondeau et M. Valiquette. Actes du colloque Problemes et methodes de la lexicographic terminologique. Universite du Quebec a Montreal, 1985. Bordwell, David and Kristine Thomson. Film Art: an Introduction. New York: The McGraw-Hill Companies, 1997. . Film History: an Introduction. New York: The McGraw-Hill Companies, 2003. Bordwell, David. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley / Los Angeles / London: University of California Press, 2006. Breathless, dir. Jean-Luc Godard, perf. Jean-Paul Belmondo, Jean Seberg, Les Productions Georges de Beauregard, 1960. Cabre, M. Teresa. Terminology: Theory, Methods and Applications. Trans. Janet Ann DeCesaris. Amsterdam / Philadelphia: John Benjamins Publishing Company, 1998. Carabat, Dumitru. Spre opoeticd a scenariului cinematografic. Bucuresti: Editura Fundatei PRO, 2005. . Studii de tipologie filmicd. Bucuresti: Editura Fundatei PRO, 2000. Chion, Michel. Ecrire un scenario. Paris: Cahiers du cinema - I.N.A., 1985. Cornel, Cristian and Bujor T. Rapeanu. Dictionar cinematografic. Bucuresti: Editura Meridiane, 1974. Corrigan, Timothy. A Short Guide to Writing about Film. New York: Pearson / Longman, 2007. Creton, Laurent. Economie du cinema: perspectives strategiques. Paris: Nathan, 2003. Coteanu, Ion (coordonator). Dictionarul explicativ al limbii romdne (DEX). Bucuresti: Editura Univers enciclopedic, 1998. "Dictionar cinematografic." CinemaRX. 2006. Data de acces: 5 iunie 2007 Dictionary Visions, Research and Practice, Selected papers from the 12th International Symposium on Lexicography, Copenhagen 2004, Edited by Henrik Gottlieb and Jens Erik Mogensen, University of Copenhagen. Amsterdam: John Benjamins Publishing Co., 2007. Druga, Ovidiu, Horea Murgu. Elemente de gramaticd a limbajului audiovizual. Bucuresti: Editura Fundatiei PRO, 2004. Dubuc, Robert. Manuel pratique de terminologie. Quebec: Linguatech, 1985. . Vocabulaire bilingue de la production television: Anglais-Franqais, Franqais- Anglais. Montreal: Lemeac, 1982. . Vocabulaire bilingue de lapublicite anglais-franqais,franqais-anglais. Longueuil, Quebec: Linguatech, 1991. 141 . Vocabulaire bilingue du theatre: Anglais-Frangais, Frangais-Anglais. Montreal: Lemeac, 1979. Education a I'image au college. Date de consultation: 30 decembre 2007 "Exception culturelle." Wikipedia. 31 mai 2007. Date de consultation: 15 juillet 2007 Farchy, Joelle. L Industrie du cinema. Paris: Presses Universitaires de France, 2004. Field, Syd. The Screenwriter's Problem Solver: How to Recognize, Identify, and Define Screenwriting Problems, New York, N.Y.: Dell Pub, 1998. Ghouls, dir. Gary Jones, perf. Kristen Renton, James DeBello, William Atherton, Dan Badarau, Lucia Maier, Active Entertainment, 2007. Gouadec, Daniel. "Nature et traitement des entites phraseologiques." Terminologie et phraseologie: actes de la Tme universite d'automne en terminologie, Rennes 2,20-25 septembre 1993. Sous la direction de Daniel Gouadec. Paris: la Maison du dictionnaire, 1994. 167-193. Hartmann, R.R.K. and Gregory James. Dictionary of Lexicography. London / New York: Routledge, 1998. Hartmann, R.R.K. (ed). Lexicography: Principles and Practice. London, New York: Academic Press, 1983. Ion, Georghita Aurelian. "Editura Meridiane a ajuns in pragul falimentului." Adevarul 3 nov 2004. Data de acces: 20 iulie 2007 Ionica, Lucian. Dictionar explicativ de televiziune Englez-Romdn. Bucure§ti: Editura Tritonic, 2005. ISO 1951: 2007 (E) Presentation / Representation of Entries in Dictionaries - Requirements, recommendations and information. Geneva: ISO - International Organization for Standardization, 2007. Jeffrey, Tom (ed). Film Business: a Handbook for Producers. Crows Nest, N.S.W.: Allen & Unwin, 2006. Katz, Steven D. Cinematic Motion: a Workshop for Staing Scenes. Studio City CA: Michael Wiese Productions, 1992. . Film Directing Shot by Shot: Visualizing from Concept to Screen. Studio City CA: Michael Wiese Productions, 1991. Knox, Dave. Strike the Baby and Kill the Blonde: an Insider's Guide to Film Slang. Three Rivers Press, 2005. Konigsberg, Ira. The Complete Film Dictionary, New York: Penguin Reference, 1997. Landau, Sidney I. Dictionaries: The Art and Craft of Lexicography. Cambridge, New York: Cambridge University Press, 1989. Lariviere, Louise. "La constitution d'un repertoire de collocations verbales: une hierarchisation a trois niveaux." Traduction et langues de specialite: approches theoriques et considerations pedagogiques. Ed. Zelie Guevel et Egan Valentine. Quebec: Centre international de recherche en amenagement linguistique, 1998. Laroche, Pierre Lexique technique de television anglais-francais. Montreal: Lemeac, 1984. Lazar, loan. Artanaratiunii infilmul romdnesc. Bucuresti: Editura Meridiane, 1981. . Cum seface unfilm? Bucuresti: Cartea Romaneasca, 1986. Legea limbii. Ed. George Pruteanu. Data de acces: 16 iunie 2007 LeMoal, Pascal. Lexique cinema video Franqais-Anglais, Anglais-Frangais. Paris: Editions Dujarric, La maispn du dictionnaire, 1995. L'Homme, Marie-Claude. La terminologie: principes et techniques. Les presses de l'Universite de Montreal, 2004. The Libertine, dir. Laurence Dunmore, perf. Johnny Depp, Paul Ritter, John Malkovich, Stanley Townsend, Mr. Mudd, 2004. Lindgren, Ernest. Artafilmului. Bucuresti: Editura Meridiane, 1969. Mamer, Bruce. Film Production Technique: Creating the Accomplished Image. Belmont, CA: Thomson / Wadsworth, 2006. 143 Mamet, David. Bambi vs. Gozilla: on the Nature, Purpose, and Practice of the Movie Business. New York: Pantheon Books, 2007. Marin, Alexandra, et al. Tehnica filmului de la A la Z. Bucuresti: Editura Tehnica, 1979. Martin, Marcel. Le tangage cinematographique. Paris: Cerf, 1985. . Limbajul cinematograflc. Trad. Matilda Banu and George Anania. Bucuresti: Editura Meridiane, 1981. McKee, Robert. Story: Substance, Structure, Style. New York: ReganBooks, 1997. Moine, Raphaelle (coordonnatrice). "Colloque international: les genres du cinema francais." Appel a communications. Universite Paris X-Nanterre et Forum des Images, 2-5 juin 2004. Date de consultation: 17 juillet 2007 Montvalon, Christine de. Les mots du cinema. Paris: Belin, 1987. Moriset, Claire. "Les mutations du secteur cinematographique ou le marketing comme outil d'entree a l'analyse des secteurs marchands du film de cinema." Observatoire des mutations des industries culturelles. novembre 2005. Date de consultation: 10 fevrier 2008 Nacache, Jacqueline (ed). L 'analyse des films en question: regards, champs, lectures. Paris: L'Harmattan, 2006. Pavel, Silvia et Diane Nolet. Precis de terminologie. Ottawa: Direction de la terminologie et de la normalisation, Bureau de la traduction, 2001. Date de consultation: 28 mai 2007 Pearson, Jennifer. Terms in Context. Amsterdam / Philadelphia: John Benjamins Publishing Company, 1998. Popovici, Iulia. "Editura Meridiane in pericol." Ziua 9 ianuarie 2004. Data de acces: 20 iulie 2007 Pricop, Lucian. Engleza producdtorului defilm: Dictionar englez-romdn de termeni specifici din cinematografie si televiziune, Bucuresti: Editura Fundafiei Pro, 2006. . Management in cinematografie. Bucuresti: Editura Tritonic, 2004. Proferes, Nicholas T. Film Directing Fundamentals: From Script to Screen. Boston: Focal Press, 2001. Rabiger, Michael. Developing Story Ideas. Amsterdam; Boston: Elsevier / Focal Press, 2006. . Directing: Film Techniques and Aesthetics. Amsterdam; Boston; London; New York: Focal Press, 2003. Rey, Alain. Le lexique: images et modeles - du dictionnaire a la lexicologie. Paris: Armand Colin, 1977. Riggs, Fred. "Social Science Terminology: Basic Problems and proposed Solutions." Terminology: Applications in Interdisciplinary Communication. Ed. Helmi B. Sonneveld and Kurt L. Loening. Amsterdam / Philadelphia: John Benjamins Publishing Company, 1993. 195-222. Roche, Anne et Marie Claude Taranger. L 'atelier de scenario: elements d"analyse filmique. Paris: Armand Colin, 2005. Rondeau, Guy. Introduction a la terminologie. Chicoutimi: Gaetan Morin editeur, 1983. Rope, dir. Alfred Hitchcock, perf. James Stewart, John Dall, Transatlantic Pictures, 1948. Roy, Andre. Dictionnaire dufilm: tous les termes de la technique, de I'industrie, de I'histoire et de la culture cinematographique. Outremont, Quebec: Editions Logiques, 1999. Saioni, Daniela. Script Supervision: Handbook for the Script Supervision 101 Course. Unpublished workshop handbook. 2001. Staiger, Janet. "Blueprints for Feature Films: Hollywood's Continuity Scripts." The American Film Industry. Ed. Tino Balio. Madison / London: The University of Wisconsin Press, 1985. 173-192. Stam, Robert. Film Theory: an Introduction. Maiden, Mass: Blackwell, 2000. Sterkenburg, Piet van (ed). A Practical Guide to Lexicography. Amsterdam: John Benjamins Publishing Co., 2003. Stranger than paradise, dir. Jim Jarmusch, perf. John Lurie, Eszter Balint, Richard Edson, Cinesthesia Productions, 1984. 145 Termium. The Government of Canada's terminiology and linguistic database. Translation Bureau. Date of access: April 17, 2008 Thomas, Patricia. "Choosing Headwords from Language-for-Special-Purposes (LSP) Collocations for Entry into a Terminology Data Bank." Terminology: Applications in terdisciplinary Communication. Ed. Helmi B. Sonneveld and Kurt L. Loening. Amsterdam / Philadelphia: John Benjamins Publishing Company, 1993. 3-68. Universitatea Nationala de Arta Teatrala §i Cinematograficd. Forum. Data de acces: 25 mai 2007 Vanoye, Francis et Anne Goliot-Lete. Precis d"analyse filmique. Paris: Armand Colin, 2005. Vitali, Valentina and Paul Willerman. Theorising National Cinema. British Film Institute, 2006. Wright Wexman, Virginia. A History of Film. Boston: Pearson / A & B, 2006. Zgusta, Ladislav. Manual of Lexicography. Prague: Academia, Publishing House of the Czechoslovak Academy of Sciences, 1971. (ed). Theory and Method in Lexicography: Western and Non-Western Perspectives. Columbia: Hornbeam Press, 1980. 146 Corpus bibliography Aquitaine image cinema. Commission du film Aquitaine. Date de consultation: 15 avril 2008 "Arrete du 22 mars 1999 pris pour l'application des dispositions du chapitre III du titre III du decret no 99-130 du 24 fevrier 1999 relatif au soutien financier de l'industrie cinematographique et concernant le soutien financier selectif a la production et a la preparation des oeuvres cinematographiques de longue duree." Legifrance. Date de consultation: 30 juin 2007 Bare, Richard L. The Film Director: a Practical Guide to Motion Picture and Television Techniques. New York: Macmillan, 1971. Beres, "Nick. Nicaieri: scenariu." Club literar. 5 decembrie 2003. Data de acces: 10 februarie 2008. Bordwell, David and Kristine Thomson. Film Art: an Introduction. New York: The McGraw-Hill Companies, 1997. . L 'art dufilm: une introduction. Paris: De Boek Universite, 2004. Bouvet, Elisabeth. "Cinema: de l'industrie au commerce." 13 mars 2007. Radio France Internationale. Culture. Date de consultation: 9 fevrier 2008 Bratan, Laurentiu. "Scurta privire asupra unui fenomen: cinematograful asiatic." Liternet.Ro. Agenda culturald. iunie 2006. Data de acces: 2 iulie 2007 Carabat, Dumitru. Studii de tipologie fllmicd. Bucure§ti: Editura Fundatei PRO, 2000. Columbeanu, Mihnea. "Cum mi-am petrecut dupa-amiaza de 5 octombrie: Cum mi-am petrecut sfdrsitul lumii." LiterNet.Ro Agenda culturald. 5 octombrie 2006. Data de acces: 15 iunie 2007 Chevrier, H.-Paul. Le langage du cinema narratif. Montreal: 400 coups, 2001. Chion, Michel. Ecrire un scenario. Paris: Carriers du cinema - I.N.A., 1985. "Cody Banks, agent secret." DVD critiques. Date de consultation: 30 juin 2007 Coste, Catherine. Scripte: pratique du metier en mono- et multicameras. Bruxelles: De Boeck & Larcier, 2002. Druga, Ovidiu, Horea Murgu. Elemente de gramatica a limbajului audiovizual. Bucure§ti: Editura Fundatiei PRO, 2004. "Dutch tilt". Media College Glossary. Date of access: August 14, 2007 Iovanel, Mihai. "Karma, varianta Gotic." Gdndul. 28 noiembrie 2006. Data de acces: 30 iunie 2007 . Cum seface unfilm? Bucuresti: Cartea Romaneasca, 1986. "Linisteee! Acjiune! - All inclusive, platou de filmare Delta Dunarii!" Acum. 6 noiembrie 2007. Data de acces: 15 aprilie 2008. Mamer, Bruce. Film Production Technique: Creating the Accomplished Image. Belmont, CA: Thomson / Wadsworth, 2006. Martin, Marcel. Le langage cinematographique. Paris: Cerf, 1985. . Limbajul cinematografic. Trad. Matilda Banu and George Anania. Bucuresti: Editura Meridiane, 1981. Mezincescu, Carmen. "A-Z: Roman Polanski," LiterNet.Ro Agenda culturala. martie 2006. Data de acces: 9 februarie 2008 Miller, Pat. Script Supervising and Film Continuity. Boston: Focal Press, 1999. 148 "Concurs de ocupare a posturilor vacante. Proba scrisa la tehnici cinematografice §i de televiziune." Ministerul educatiei si cercetarii. Data de acces: 23 iunie 2007 Ornea, Liviu. "Un Lear cerebral: Regele Lear" LiterNet.Ro Agenda culturala. Data de acces: 29 nov. 2007 Pricop, Lucian. Management in cinematogrqfie. Bucure§ti: Editura Tritonic, 2004. Rafferty, Terrence. "Dueling Auteurs: Whose Movie is It?" The New York Times. October 19,2006. Date of access: 2 July 2007 "Rencontre avec Eric Rohmer: une lecon de cinema." Cinelycee. 31 mars 2004. Date de consultation: 5 nov. 2007 Rabiger, Michael. Directing: Film Techniques and Aesthetics. Amsterdam; Boston; London; New York: Focal Press, 2003. Saioni, Daniela. Script Supervision: Handbook for the Script Supervision 101 Course. Unpublished workshop handbook. 2001. Ulmer, Shirley and C. R. Sevilla. The Role of Script Supervision in Film and Television. New York: Hastings House, 1986. Vandendriessche, Philippe. "Les empereurs du jargon." AD HOC Sound Services. Date de consultation: 18 juin 2007 Vanoye, Francis, Anne Goliot-Lete. Scurt tratat de analizd filmicd. Bucuresti: Editura ALL Educational, 1995. Zurstrassen, Zoe et Francoise Sepulchre. La scripte d'aujourd'hui. Paris: Dujarric, 1989. Appendix A: Film subject tree l«ROM PAGE TO SCKKEN Screenwriting Protagonist, antagonist, act, character's arc, beat, dramatic irony, climax, spine, fade in, back to scene, montage, OS, flash back / flash forward, plot, story, character based, action Story editing based, slug line, development, exposition, set up, pay off, red herring, draft, polish, 1 Pitching Treatment, synopsis, hook, high concept, [film X] meeting [film Y], log line... Grant writing Making the film Pre-production Location scouting Technical scout, location scouter, shooting on location, base camp, circus, honey wagon... Table reading, cold read, to lift the words off the page, call back, casting director, to (be) Casting typecast, screen test, to play off (a fellow actor), motivation, in the moment, stage freight, to indicate... Script breakdown Script breakdown, shooting schedule, production board, one liner, estimate timing breakdown, shot list, storyboard, script clearance, copyrighting... Production Departments Crew (second team): director, first assistant director, sound mixer, boom operator, script supervisor, wardrobe assistant, make up artist, set decorator, prop master, production designer, director of photography, DOP, camera operator, loader, clapper, focus puller, gaffer, grip, best boy, production assistant, still photographer, production manager, line producer, stunt coordinator,., Cast (first team): lead actor, background performers, BG, stand in, extra.., Paperwork Shot list, daily production reports, call sheet, sides, storyboard, sound report, continuity shot log, lined script, daily print log, continuity pictures, crew list... Tools, equipment Boom pole, lavalier, lav, windsock, bald cap, wig, out of the kit effects, footage counter, magazine, filter, light meter, mount, focus ring, viewfinder, French flag, baby legs, sticks, camera eyebrow, video village, flag, gel, C-stand, blonde, red head, net, apple box, diffusion, light stand, two-leaf barndoors, sandbag... Actions, technique Directors / actors: to call the shots, to block the scene, to rehearse, business, to run lines, to cue the actors, to get in character, to stand in, to line up, to walk through, to take cues. Method acting, emotional memory, dry rehearsal, dress rehearsal, motivation, through- line, adjustment, intention, beat, subtext, mannerism, to telegraph, to act big... Camera and electrics: to slate, to take focus marks, to rack focus, to mark the actors, F- stop, light temperature, depth of field, time code, shallow focus, common marker, second sticks, print, back light, key light, fill light, flood, spot, pool.,. Sound: off-axis, to mix, to scoop, to dip in, to jam the slate, room tone, wild lines, ambiance, guide track, hard sticks, wild sound... Script supervising: to line the script, to circle the prints, slate, take, pick up, tail ID... Shot design Shot size: extreme long shot, long shot, wide shot, medium shot, cowboy, close up, extreme close up, two-shot... Shot function: establishing shot, master shot, coverage, insert, cutaway shot, shot reverse shot, reaction shot, subjective shot, POV, over the shoulder, dirty / clean shot, montage, cut-in... Camera dynamics: stationary, hand held, steadicam, traveling, push in / back, dolly shot, tracking shot, tilt up / down... Optical manipulation: zoom, transtrav, soft focus, rack focus, selective focus, split focus, soft / out of focus, anamorphic shot, fish eye shot,.. Angle of shooting: high angle, low angle, canted angle / Dutch, vertical shot, ground level, bird's eye, crane shot... Film syntax rules: the 180 degree rule, the 30 degree rule, to jump the axis, eyeline, match cut, overlap, cut on action, continuity, camera right / left... Frame speed: frame rate, camera undercranked / overcranked, slow / fast motion... Shot juxtaposition and transitions: fade in / out, fade to black, dissolve, clean cut, jump cut, split screen, freeze frame, iris, swish pan, wipe... Cutting styles: cut in the camera, coverage, mise en scene, long take, jump cut, jump the axis, continuity editing, autoreflexivity... Frame composition: offscreen / on screen, foreground, background, framing... 150 Communication Director and his/her team: quiet on the set, roll sound, action, blocking, cut on blocking, cut on rehearsal, pick up, back to ones. Martini shot, window, Abby shot, it'sa wrap... Sound: sound speed, cut on sound, sending sound tone, hard sticks, MOS... Camera: frame, mark it, same next, check the gate, the gate is ciean, camera re load. .. Lighting: kill the blonde, Hollywood it, rightly-tighty-lefty-loosy... Actors: line Anyone: crossing, flashing, ten-one, copy, flying in... Post-production Picture editing Director's cut, editor's cut, final cut, fade in, fade out, fade to black, dissolve, clean cut, jump cut, split screen, freeze frame, iris, swish pan, wipe, cut on action, picture lock, dailies, rushes, raw footage, cross cut, continuity editing, Kuleshov effect, talking head, B-roll, stock footage, CGI... Sound editing Foley, ADR, voice over, dubbing, looping, sound effect.. Subtitles To spot, cue in, cue out, to recut cues, interval, frame, time code, featurette, behind the scenes, making-of, release, director's cut, offset, correlation, to force, bum-in.., DISTRIBUTING THE FILM Distribution Audience survey, vertical integration, theater, film rating, audience research, target audience, Ait House Theater... Advertising Trailer, box office, release... ASSESSING THE FILM Film analysis Shot size: extreme long shot, long shot, wide shot, medium shot, cowboy, close up, extreme close up... Shot function: establishing shot, master shot, coverage, insert, cutaway shot, shot reverse shot, reaction shot, subjective shot, POV, over the shoulder, dirty/clean... Shot grammar Camera dynamics: stationary, hand held, steadicam, traveling, push in / back, doily shot, tracking shot, tilt up/down... Optical manipulation: zoom, transtrav, soft focus, rack focus, selective focus, split focus, soft / out of focus, anamorphic shot, fish eye shot... Angle of shooting: high angle, low angle, canted angle / Dutch, vertical shot... Film syntax rules: the 180 degree rale, the 30 degree rule, to jump the axis, eyeline, match cut, overlap, cut on action, continuity, camera right / left... Frame speed: Frame rate, camera undercranked / overcranked, slow motion, fast motion... Shot juxtaposition and transitions: fade in / out, fade to black, dissolve, clean cut, jump cut, split screen, freeze frame, iris, swish pan, wipe... Cutting styles: cut in the camera, coverage, mise en scene, long take, jump cut, jump the axis, continuity editing, autoreflexivity... Frame composition: off screen /on screen, foreground, background, framing... Film theory and criticism Theories Auteur theory, medium theory, self-refiexivity, genre theory, apparatus theory, suspension of disbelief, reception theory, literary adaptation, psychoanalysis, gaze, distanciation, intertextuality, pornography, commodification, formulaic... Film form Narrative film, experimental film, documentary, animation, short film, feature film, video activism... Film genre Mocumentary, drama, romantic comedy, war movie, musical, horror films, sports film, action/adventure film, historical drama, teen films, western, Boolywood, MOW, musical, thriller, psychological thriller, film noir, gothic, soap opera, sitcom, screwball comedy... Film history Fonnalism, Neorealism, dogma, classical Hollywood, studio system, national cinema, Nouvelle Vague, silent movie, classical Hollywood, avant-garde film, German expressionism, Czech new wave, Chinese fifth generation. Third Cinema, poetic realism, Hollywood blacklist, production code, indie... 151 Appendix B: Romanian film books 1960-1970: Film production (1 book) Film genre (1 book) National cinemas (1 book) Chimet, Iordan. Western: Filmele vestului indepartat. Bucure§ti: Editura Meridiane, 1966. Popescu, Iuliu §i Alexandra Petculescu. Introducere in tehnica cinematogrqfica: Manual pentru scolile tehnice. Bucuresti: Editura didactica §i pedagogics, 1967. Voiculescu, Ervin. Cinematografia japoneza. Bucure§ti: Editura Meridiane, 1966. 1970-1980: Film criticism, analysis and history (16 books) Dictionary of actors, films (2 book) Film production: lighting, cinematography (4 books) Dictionary of film terms: monolingual (1 book) Barna, Ion. Lumea filmului. Vol. 1 si 2. Bucure§ti: Editura Minerva, 1971. Caranfil, Tudor. Romanul unuifilm: "Cetateanul Kane ". Bucure§ti: Editura Meridiane, 1978. Cassvan, Lazar. O lume de celuloid: Secvente dintr-unfllm imaginar inspirat de amintiri reale. Bucure§ti: Editura Eminescu, 1979. Cornel, Cristian and Bujor T. Rapeanu. Dictionar cinematografic. Bucure§ti: Editura Meridiane, 1974. Gheorghiu, Manuela. Filmul si armele: Temapacii si a razboiului injilmul european. Bucure§ti: Editura Meridiane, 1976. Iancu, Napoleon Toma. Dictionarul actorilor defilm. Bucure§ti: Editura §tiin$ifica §i enciclopedica, 1977. 152 Iliu, Victor, Bianca Sofia Iliu §i George Littera. Fascinatia cinematografului. Bucuresti: Editura Meridiane, 1973. Marin, Alexandra (coordonator). Tehnica filmului de la A la Z, Bucure§ti: Editura Tehnica, 1979. Marin, Alexandra §i Iuliu Popescu. Cinematografia aplicatd. Bucure§ti: Editura Tehnica, 1975. Modorcea, Grid. Miturile romdne§ti si arta filmului. Bucure§ti: Editura Meridiane, 1979. Oprea, §tefan. Statui de celuloid. Ia§i: Editura Junimea, 1972. . Filmul: Vocatie si rutina, teme siprofiluri. Iasi: Editura Junimea, 1974. Petrovici, Virgil. Lumina §i culoare in spectacol. Bucure§ti: Editura Albatros, 1974. . Tehnica iluminatului artistic. Bucure§ti: Editura Tehnica, 1976. Pop, Rodica §i Dumitra Codaus. Filmul de amatori: Elemente de tehnica si culturd cinematogrqficd. Bucure§ti: Editura Tehnica, 1976. Potra, Florian. Profesiune: filmul: Incursiune in timpul si spafiul cinematografului romdnesc. Bucure§ti: Editura Meridiane, 1979. . Vocisivocatiicinematografi.ee. Bucure§ti: Editura Meridiane, 1975. Radulet, Toma. Optica cinematograficd. Bucure§ti: Editura Tehnica, 1977. Rusan, Romulus. La inceput n-afost cuvdntul: Eseuri despre arta si autorii filmului. Bucure§ti: Editura Meridiane, 1977. Stanciu, Nicolae, §tefan Nastase, Petre Varlam et. al. Tehnica imaginii in televiziune si cinematografie. Bucuresti: Editura Tehnica, 1971. Suchianu, Dumitra. Cinematograful, acest necunoscut. Cluj: Editura Dacia, 1973. Suchianu, Dumitra §i Constantin Popescu. Metamorfoze cinematografice sau arta ecranizdrii. Bucure§ti: Editura Meridiane, 1975. . Drumuri. Destine. Climate. Bucure§ti: Editura Meridiane, 1977. 153 1980-1990: Film criticism, analysis and history (10 books) Individual artists (2 books) Film post-production: visual effects (1 book) Boeriu, Doina, Rodica Pop-Vulcanescu, Cristina Corciovescu. Secolul cinematografului: Mica enciclopedie a cinematogrqfiei universale, Bucure§ti: Editura §tiintifica §i enciclopedica, 1989. Carabat, Dumitru. De la cuvdnt la imagine. Bucuresti: Editura Meridiane, 1987. Caranfil, Tudor. Virstele peliculei: O istorie afilmului in capodopere. De la "Stropitorul stropit" la "Crucisatorul Potiomkin"'Vol. 1. Bucure§ti: Editura Meridiane, 1982. . Vir stele peliculei: O istorie afilmului in capodopere. Apogeul filmului tacut. Vol. 2. Bucure§ti: Editura Meridiane, 1984. . In cautarea filmului pierdut sau trei "romane " cinematografice. 1988. Cassvan, Lazar. Afost odatd... un cinema. Bucuresti: Editura Eminescu, 1983. . Unora leplace filmul. Bucure§ti: Editura Eminescu, 1981. Cosasu, Radu. O vietuire cu Stan si Bran. Bucure§ti: Editura Eminescu, 1981. Lazar, loan. Arta naratiunii in filmul romdnesc. Bucure§ti: Editura Meridiane, 1981. . Cum seface unfilm?. Bucure§ti: Editura Cartea Romaneasca, 1986. . Structuri filmice: O introducere in cinematograful romanesc. Ia§i: Editura Junimea, 1983. . Teme si stiluri cinematografice. Bucure§ti: Editura Meridiane, 1987. Marin, Alexandra. Trucaje cinematografice. Bucuresti: Editura Tehnica, 1983. Popescu, Constantin. Actorul si mastile sale: Laurence Olivier in teatru si film. Bucure§ti: Editura Meridiane, 1987. Potra, Florian. Aurul filmului. Bucure§ti: Editura Meridiane, 1987. 154 1990-2000: Film criticsm, analysis and history (5 books) Screenwriting (1 book) Bratu, Lucian. Drumul spre artd al cineamatorului. Bucuresti: Editura Meridiane, 1990. Carabat, Dumitru. Spre opoetica a scenariului cinematografic. Bucure§ti: Editura PRO, 1997. Caranfil, Tudor. Vdrstele peliculei: O istorie afilmului in capodopere. O artd la rdscruce. Vol. 3.Bucure§ti: Editura Meridiane, 1990. . Vdrstele peliculei: O istorie afilmului in capodopere. Cinematograful sonor isi cautd specificul. Vol. 4. Bucure§ti: Editura Meridiane, 1998. Modorcea, Grid. Actualitatea si filmul. Bucure§ti: Editura ALL, 1994. Voda, Eugenia. Cinema si nimic altceva. Bucure§ti: Editura Fundatia Romania literara, 1995. After 2000: Film criticsm, analysis and history (12 books) Documentary (1 book) Film production (1 book) Dictionaries of artists (1 book) Dictionaries of terms: bilingual, English-Romanian (2 books) Film management (1 book) Individual artists (2 books) Acting (1 book) Azap, loan-Pavel. Stop-cadru. Cluj: Editura Tribuna, 2005. Carabat, Dumitru. Studii de tipologie filmicd. Bucure§ti: Editura Fundatei PRO, 2000. Caranfil, Tudor. Dictionar defilme romdnesti. Chi§inau: Editura Litera International, 2003. . Dictionar universal defilme. Chisinau: Editura Litera Internafional, 2004. Caliman, Calin. Istoria filmului romdnesc 1897-2000. Bucure§ti: Editura Fundatiei Culturale Romane, 2000. 155 Corciovescu, Cristina §i Bujor T. Ripeanu. Cinema... un secolsi ceva: O istorie cronologica a cinematografului mondial 3 mar tie 1895 -31 decembrie 2000, Bucure§ti: Editura Curtea Veche, 2002. . Lumea filmului: Dictionar de cineasti. Bucure§ti: Editura Curtea veche, 2005. Damian, Laurentiu. Filmul documentar. Bucure§ti: Editura Tehnica, 2003. Druga, Ovidiu, Horea Murgu. Elemente de gramaticd a limbajului audiovizual. Bucuresti: Editura Fundatiei PRO, 2004. Dulgheru, Elena. Tarkovski, filmul ca rugdciune. Bucure§ti: Editura Area invierii, 2001. Duma, Dana. Woody Allen: Bufon sifilozof. Bucuresti: Editura fundatiei culturale Ideea Europeans, 2004. Fulger, Mihai. "Noul Vol" in cinematografia romdneascd. Bucure§ti: Editura Grupul Editorial Art, 2006. Ionica, Lucian. Dictionar explicativ de televiziune Englez-Romdn. Bucuresti: Editura Tritonic, 2005. Manolescu, Ion. Videologia: O teorie video-culturald a imaginii globale. Ia§i: Editura Polirom, 2004. Modorcea, Grid. Dictionarul cinematografic al literaturii romdne. Bucure§ti: Editura Cartea Romaneasca, 2003. Pricop, Lucian. Engleza producatorului defilm: Dicfionar Englez-Romdn de termeni specifici din cinematografie §i televiziune, Bucure§ti: Editura Fundajiei Pro, 2006. . Management in cinematografie. Bucure§ti: Editura Tritonic, 2004. Sava, Valerian. Istoria critica a filmului romdnesc. Bucure§ti: Editura Meridiane, 1999. Stiopul, Savel. Incursiune in istoria artei filmului romdnesc. Bucure§ti: Editura Antet XX Press, 2001. §erban, Alex Leo. De ce vedemfilme: Et in Arcadia cinema. Ia§i: Editura Polirom, 2006. Zamfirescu, Florin. Actorie sau magie: Aripipentru Year. Bucure§ti: Editura Privirea, 2003. 156 Appendix C: English index 1st AD 29 30 degrees 1 30°..... 1 action 6 action axis 4 action line 4 action match cut 2 auteurfilm 3 axis 4 blocking 5,6 bridge shot 17 buffershot 17 business 6 canted angle 24 (to) cheat 7 continuity 8 continuity editing 9 continuity girl 54 continuity outline 44 continuity supervisor 54 continuity synopsis 44 coverage 10 cowboy shot 11 cross dissolve 21 (to) cross the axis 12 (to) cross the line 12 (to) cuedialogu 13 cut 14 (to) cut (from... to...) 15 (to) cut (well with...) 16 cutaway 17 cutting in the camera 18 157 day for night 19 direct cut 20 dirty shot 47 dissolve 21 dolly back 22 dolly in 23 dolly out 22 dominant cinema 37 dutch angle 24 dutch tilt 24 establisher 25 establishing shot 25 eyeline 26 fade in 27 fade out 28 first 29 first assistant director 29 framing 30 freeze frame 31 HA 32 high-angle (high angle) 32 invisible editing 9 jump cut 33 (to) jump the axis 12 LA 36 lap dissolve 21 line of action 4 lineup 5 location scouting 34 long take 35 low-angle (low angle) 36 mainstream cinema 37 (to) mark 38 master (shot) 39 match cut 2 (to) match 40,41 montage 42 montage sequence : 42 oblique shot 24 OC 43 off camera 43 offscreen 43 on location 45 one-liner 44 OS 43 OTS 47 out of continuity 46 out of sequence 46 over 47 over the shoulder 47 overlap dissolve .. 21 preliminary script timing breakdown 44 (to) prompt dialogue 13 pull back 22 push in 23 (to) rack focus 48 (to) read off-camera dialogue 49 (to) read off-camera lines 49 (to) read off-screen lines 49 rehearsal 50 (to) run lines 51 run through 5 script breakdown 53 scriptgirl 54 script supervisor 54 sequence shot 35 set-up 55 (to) shift focus. 48 shot 55 159 shot list 56 shot/reverse shot 57 sightline 26 slate 55 slo-mo 52 slow motion 52 technical rehearsal 5 transition 58 VO 59 voice over 59 walk through 5 wild sound 60 wild track 60 WT 60 160 Appendix D: French index 30 degres 1 30° 1 action 6 arret sur image 31 axe 4 bien se raccorder a 16,41 C/pl 36 cadrage 30 cadrage incline 24 cadrage penche 24 champ-contrechamp (champ/contrechamp) 57 changer le point 48 chariot arriere 22 chariot avant 23 cinema commercial 37 cinema industriel 37 composition de 1' image 30 continuite 8 continuite chronologique 44 continuite visuelle 9 contre-plongee 36 coupe 14 coupe tranche 20 coupe seche 20 couper(de... a...) 15 coupure. 14 Cplg 36 de maniere non chronologique 46 decoupage technique 56 decoupage 10 depouillement (general) du scenario 53 161 depouillement chronologique 44 direction du / de regard 26 discours transparent 9 dolly arriere •. 22 dolly avant 23 donner la replique 49 en decors naturels 45 enchainement 58 etre montable 41 etre raccord 16,41 faire une italienne 51 fermeture au noir 28 film d'auteur 3 film grand public 37 fondu au noir 28 fondu enchaine 21 franchir la ligne 12 gestuelle 6 hors camera 43 hors champ 43 image figee 31 jump cut 33 ligne 4 ligne d' interet 4 marquer 38 master 39 mise en place 5 mise en scene en profondeur 18 montage cut 20 montage dans l'axe 18 montage dans l'espace 18 montage par continuite 9 montage transparent 9 non chronologique 46 162 nuit americaine 19 ouverture au noir 27 ouverture en fondu 27 PA... 11 passer (de... a...) 15 plan 55 plan americain 11 plan avec amorce 47 plan de coupe 17 plan de diversion 17 plan de mise en situation 25 plan descriptif 25 plan general de situation 25 plan maitre 39 plan par-dessus l'epaule de . 47 plan principal 39 plan sur plan 33 plan-raccord 17 plan-sequence (plan sequence) 35 Pig • 32 plongee 32 premier assistant de realisation 29 premier assistant metteur en scene 29 premier assistant realisateur 29 raccord 8, 58 raccord dans le mouvement 2 raccord sur le mouvement 2 raccorder 15,40 raccorder sur , 15 ralenti 52 rapproche / eloigne dans l'axe 33 regard 26 reperagesdes decors 34 repeter 51 163 repetition 5,50 repetition mecanique 5 sauter 1' axe 12 scripte (le/la scripte) 54 sequence de montage 42 sonseul 60 souffler le texte 13 transition 58 travelling arriere 22 travelling avant 23 tricher 7 voixoff 59 164 Appendix E: Romanian index 30 de grade 1 30° 1 actiune 6 amorsa 47 amorsare 47 an§eneu 21 ax 4 ax de privire 26 cadraj 30 cadraj inclinat 24 cadrare 30 cadru 55 cadru amorsa 47 cadru de legatura 17 cadru de racord 17 cadru de umplutura 17 cadru master 39 cadru neutru 17 cadru pe cadru 33 cadru tampon 17 cadru-secventa • 35 camp-contracamp 57 (a) citi textul din afara cadrului : 49 colaj 42 compozitia cadrului 30 continuitate 8 contraplonjeu 36 cut cut 20 (a) da replica 49 decupaj pe cadre 56 decupaj regizoral 56 decupaj tehnic 56 decupaj decupajul scenariului din / in afara cadrului directie de privire extras de decupaj extras de scenariu (a) fi racord film comercial film de autor film de consum filmare cu incetinitorul filmare in amorsa filmare in j os filmare in sus filmare peste umar fondu de deschidere fondu de inchidere fondu inlantuit fundal negru gestica in decoruri naturale in locatie in ordine non-cronologica incadratura inchidere in intunecare inlantuire legatura de montaj legatura dintre cadre legatura in miscare (a) marca master miscarea actorilor in cadru mizanscena in profunzime montaj cu lipsa de racord montaj cu sarituri 33 montaj incadru 18 montaj invizibil 9 montaj transparent 9 narator 59 noapte americana 19 plan american 11 plan amorsa, amorsat 47 plan de legatura 17 plan de racord 17 plan de umplutura 17 plan descriptiv 25 plan lung 35 plan neutru 17 plan principal 39 plan-contraplan 57 plan-secventa 35 plonjeu 32 povestitor 59 primul asistent al regizorului 29 primul asistent de regie 29 prospectie 34 (a)pune semne 38 racord 8, 58 racord pe mi§care 2 racursi 32, 36 ralenti (ralanti) 52 regizor secund 29 (a) repeta replicile 51 repetitie 50 repetitie cu camera 5 repetitie finala 50 repetitie tehnica 5 (a) sari axul 12 167 (a) sari peste ax 12 (a) schimba cadrul (pe...) 15 (a) schimbaclaritateade la... la 48 schimbare de cadru 55 (a) schimba sarful 48 scripts 54 secretara de platou 54 secventa de montaj 42 stop cadru 31 (a) sufla replicile 13 (a) sufla textul 13 sunet separat 60 supervizor de scenariu 54 taietura (de montaj) 14 taietura directs 20 taietura la fotograma 20 taietura pe actiune 2 taietura pe mi§care 2 taietura pe racord 2 transparenta 9 travling inapoi (travling inapoi) 22 travling-inainte (travling inainte) 23 (a) trece (de la... la...) 15 trecere 58 (a)trisa 7 (a) tine racordul(-urile) de 40 unghi de filmare de jos / in sus 36 unghi de filmare de sus /injos 32 unghi oblic 24 unghi plonjat 32, 36 vocea din off 59 168