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25 Cards in this Set
- Front
- Back
180 Degree Line |
Used to ensure that cuts maintain a continuous sense of space, which is an imaginary line drawn between the camera and action |
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Shot-Reverse Shot |
Back and forth movement between characters generally used during dialogues |
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Cross-Cutting |
Alternating of shots from two sequences, in different locals which suggest they are taking place at the same time |
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Master Shot |
Recording of an entire dramatized scene, from start to finish |
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Omniscient Point of View |
When the story is told from an all seeing god-like omnipotent viewpoint |
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Mise-en-Scene |
Arrangement of visual weights and movements within a given space. This encompasses both the staging of action. Everything that goes into a frame (physical setting, staging of action, composition of image and variable framing) |
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Depth of Field/Deep Focus |
A technique that permits all distance lans to remain in focus (Everything is in focus, with depth and distance) (Bazin's Theory, respects wholeness and richness of space and reality) |
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Long Take |
A single shot of lengthy duration, often used by realists(Bazin's Theory, respects wholeness and richness of space and reality) |
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Documentary |
A nonfiction film that represents actuality, depicting people and situations that exist or once existed |
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Open Form |
Mise en scene and design elements of the frame conspire to make the audience aware of the continuous space beyond the frame, suggesting reality exists outside of the frame |
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Montage |
A technique that stresses the dynamic relationship between shots, which often is an alternative to continuity ending |
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Montage Sequence |
Rapidly editing images which is used to suggest a passing of time and events |
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Thematic Montage |
A type of editing in which separate shots are linked together not by their literal continuity in reality by symbolic association. Juxtaposing shots of different objects to create metaphors |
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Dialectics |
An analytical methodology, that juxtaposes pair of opposites-a thesis and antithesis- to arrive at a synthesis of ideas |
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Jump Cut |
Abrupt transition between shots in which the second shot is taken from an angle slightly different from the first that makes the character or object seem to jump |
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Low Angle |
A shot in which the subject in photographed from below |
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High Angle |
A shot in which the subject is photographed from above |
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Intrinsic Interest |
An unobtrusive area of the film image that nonetheless compels our most immediate attention because of its dramatic or contextual importance |
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Long Shot |
A shot taken from a distance that includes the full view of the subject and some surroundings |
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Medium Shot |
A close shot, revealing the human figure from knees to waist up |
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Close Up |
A detailed view of a person or object (If actor, usually the head) |
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High Key Lighting |
A style of lighting emphasizes bright, even illumination with few conspicuous shadows. Used in comedies, musicals and light entertainment film |
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Low Key Lighting |
A style of lighting that emphasizes diffused shadows and atmospheric pools of light, used in mysteries and thrillers |
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Diegetic Sound |
Sound that has an establishing part in the film (natural sounds taking place in a film) |
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Non-diegetic Sound |
Sound or image that has no source in the film, background music and narration |