Copyright © 2009 by y. g-m. lulat. All rights reserved. This document, either in whole or in part, may NOT be copied, reproduced, republished, uploaded, posted, transmitted, or distributed in any way, except that you may download one copy of it on any single computer for your personal, non-commercial home use only, provided you keep intact this copyright notice. Glossary of Key Cinematic Terms Academy Awards: see Katz Best boy: The person who assists the gaffer. Acting (in cinema): see Katz Billing: see Katz Actual sound: Sound recording made on location to Blaxploitation films: see Katz add authenticity to the sound track. Usually the sound recordist will ask everybody to remain Blue screen process: see Katz absolutely quiet for a short time while the recording is made. Boom: see Katz Adaptation: The use of literary material (novels, short Boom shot: see Katz stories, etc) in the making of a film. The adaptation process involves obtaining the rights to the material B grade film: Films of a general poor quality made from its owners, and hiring someone to write the quickly and cheaply. In the past when double screenplay. features were common at film theatres these films were used as fillers for the second half of the Ambient light: Existing or natural light that surrounds a double bill. subject. Bridging shot: A shot used to bridge a sudden Anamorphic lens: see Katz transition in time, place, etc. Animation: see Katz Casting director: see Katz Answer print: see Katz Character actor: see “character role” in Katz Art director: see Katz Cineaste: see Katz Artifact music: Appropriate music that accompanies a Cinema: see Katz source seen or suggested in the film. (E.g. a radio in a scene may be accompanied on the sound-track by Cinematographer: see director of photography appropriate music to suggest that that is the music the subject in the scene is listening to.) Cinematography: film photography. Aspect ratio: see Katz Cinéma vérité: see Katz. Assistant cameraman: see Katz Clapper board: see “clapsticks” in Katz Assistant director: see Katz Close shot: see Katz Assistant producer: see Katz Close-up: see Katz Associative editing: The splicing together of shots of Composer: composes the original music that is to similar events. Also called relational editing. accompany the film; works closely with the Example: scenes of people being killed inter-cut director. with scenes of animals being slaughtered. Continuity: see Katz Auteur (theory of): see Katz Continuity clerk: see Katz Background noise: see Katz Continuity title: see Katz Back lighting: see Katz Costume house: A business company that specializes in Back projection: see Katz costumes for films. The usually practice is that a Page 1 of 6 filmmaker will rent, rather than buy, whatever costume • cinematographer is needed for the film from the large stock of costumes • composer kept by the costume house. • director • editor Credits: It is not uncommon to see audiences in film • producer theatres immediately get up and leave upon the • production designer conclusion of the image part of the film, instead of • writer (screenplay) staying a little longer in their seats and read the on- • writer (book—if relevant) screen film credits: that is, the listing of the personnel who were responsible for making the Crane shot: An areal shot taken from a crane. film (as well as names of all the members of the film cast). Why is it so important to stay and read Cross-cutting: Also called parallel editing where shots the credits? Because not doing so is like reading a are intermingled to suggest parallel action. book without wishing to know who the author is; or listening to music without being concerned Cue cards: see Katz about who made the music, or appreciating a painting without bothering to find out who the Cut: see Katz painter is. There is, here, the following assertion being made: that the viewer/listener has an ethical Cutaway: see Katz responsibility, in terms of decency and courtesy, to know the name of the artist behind the art (even if Dailies: see Katz only for a brief moment) that he/she is enjoying. (How would you feel if you were the artist and Deep focus: See Katz. everyone enjoyed your art: whatever it may be, music, films, paintings, etc.: but refused to Detail shot: A close-up shot, but even more magnified. acknowledge your existence.) It is absolute A closeup of the eyes alone, for example, would be arrogance, based on crass ignorance, to refuse to a detail shot. know the artist behind the art. Now, talking specifically about films, there is no Dialogue editor: The person responsible for ensuring, single person who wears the hat of the after film shooting is completed, that all speech in “filmmaker,” but rather there are many persons the films is fully audible and there are no unwanted who wear that hat. In other words: today, more noises on the sound track. If an actor's lines are than ever before, all feature films are truly the found to be inaudible then he/she will be called to product of a joint effort involving scores of people re-record the speech at a sound studio. (besides the actors); more than any other art medium the film is the physical incarnation of a Dialogue track: see Katz massive collaborative effort. (Even films produced by independent film-makers are rarely immune Direct cinema: The preferred style of making from this fact.) In light of the foregoing you must documentaries today in the U.S. where the film- know the film credits of films (not documentaries) maker avoids any participation in the ongoing screened in this class. However, in order to make action; even avoiding, if possible, narration. this requirement less onerous, you must know only the names of the people who traditionally receive, Director: see Katz what I call, principal credits (see below). I also want you to pay close attention to the placement of the Director of photography: See Katz principal credits in the film, because even that is an artistic decision. For example, some filmmakers will Discovery shot: Using a pan or a dolly shot to provide place the principal credits at the very beginning of new information in a scene to the viewer. the film before any image has been projected, while others will start rolling the principal credits Dissolve: The fading out of an image as a new one is simultaneously with the projection of the images. faded in. Some film makers will allow the story to unfold for a while (this initial part of the film is called a Docudrama: A dramatization of a true story. “teaser”) and then begin to slowly flash the credits one at a time. (Personally, I like this approach Documentary: see Katz (read only the first six because it reminds audiences in a dramatic way that paragraphs of this long entry) there are actual people who are responsible for making the film they are, presumably, enjoying.) Dolby Laboratories Inc.: see Katz Recently, some filmmakers have been rolling the principal credits at the end of the film. Dolly: see Katz For the purposes of this class, the following film personnel, listed alphabetically, make up the Dolly shot: see Katz. principal credits: • casting director Double: see Katz Page 2 of 6 a film and who are usually listed in the principal Double system: see Katz credits. Dramatization: An actual event reproduced fictionally Filmography: see Katz in film or theatre (or in novels). Film noir: see Katz Dubbing: see Katz Film theory: see Katz Editing: see Katz Film time: Length of time as portrayed by a events in a Editor: see Katz story rather than actual playing time of the film. Environmental sound: see wild sound. Film rating: see rating. Episode: see Katz Final cut: The film that is finally released for public viewing (from the filmmaker's point of view the Establishing shot: see Katz final version that the producer cannot temper with). Event films: these are films produced with the aim of First cut: The first edited version of a film (which may rendering their release into media and business also be called a rough cut. (See also Final cut.) events in themselves. Their releases will become part of the daily evening news broadcast on radio First run: see Katz and television, not to mention subjects of the talk- show circuit. In addition to the millions spent on Flashback: see Katz production and marketing of the actual films, event films are accompanied by the production and Flashforward: see Katz marketing of ancillary merchandise ranging from T- shirts and toys through to books and school Focus: see Katz supplies on to shoes and cereals; that is almost anything on which the film logo or title can be Focus puller: see Katz printed. Another important characteristic of event films is that they are produced for the widest Foley artist: see Katz segment of the population possible, more so than in the case of ordinary Hollywood releases, with the Follow shot: see Katz result that incredible amounts of resources and talent is expended in the making of a film that in Frame: see Katz terms of actual substance is, to the intelligent mind, nauseatingly bland. (James Bond films are an Freeze frame: see Katz example of event films.) Event movies are designed to exploit the gullibility of the ignorantsia to the Front projection: see Katz fullest. Full shot: A full length shot of a subject in which the Executive producer: see Katz subject dominates. Exploitation films: see Katz Gaffer: see Katz Expressionism: see Katz General release: see Katz Extra: see Katz Genre: A category of films that share similar styles, story types, character-types, etc.