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Film Terminology
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Framing/Shots Long Shot: a shot taken from some distance; shows the full subject and perhaps the surrounding scene as well
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Framing/Shots 2. Establishing Shot: sets the scene or shows the space of a scene; often a long shot or series of shots
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Framing/Shots 3. Close-up: the image being shot takes up at least 80% of the frame. There is also the extreme close-up that would show one part of the body or a portion of an object.
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Framing/Shots 4. Medium shot: in between a long and short shot; people are seen from the waist up
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Focus 5. Soft focus: when a director intentionally puts his or her object slightly out of focus to make the image look softer or unclear; may appear fuzzy
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Focus 6. Rack focus: when a director shifts the focus form one object to another in the same shot in order to direct the audience’s attention
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Focus 7. Deep focus: when the foreground and background are equally in focus
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Camera Angles 8. Low Angle: camera shoots subject from below/ has the effect of making the subject look larger than normal—strong, powerful, threatening
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Camera Angles 9. High angle: camera is above the subject; usually has the effect of making the subject look smaller than normal—weak, powerless, trapped
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Camera Angles 10. Eye level: accounts for 90-95% of the shots seen because it is most natural; camera is even with the key character’s eyes
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Camera Angles 11. Dutch or Canted angle: shot that is tilted sideways on the horizontal line; used to add tension to a static frame; it creates a sinister or distorted view of a character
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Sound 12. Diegetic: sound that can be heard logically by the characters within the film; sound can also be internal diegetic, meaning that the sound can be heard only within the mind of one character Footsteps, conversations, rain on the roof, etc.
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Camera Movement 13. Nondiegetic: sound that could not be heard by characters; sound given directly to the audience by the director The soundtrack is a great example, assuming the characters are not also hearing the music (a musical would have diegetic sound)
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Lighting 14. Low-key: scene is flooded with shadows and darkness; creates suspense/suspicion
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Lighting 15. High-key: scene is flooded with light; creates bright and open-looking scene
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Lighting 16. Neutral: neither bright nor dark—even lighting throughout the shot
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Lighting 17. Bottom/side: direct lighting from below or from one side; often dangerous or evil-looking, may convey split personality or moral ambiguity
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Lighting 18. Front/rear: soft, direct lighting on the face or back of the subject—may suggest innocence, create a “halo” effect
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Camera Movement 19. Pan: stationary camera moves left or right
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Camera Movement 20. Tilt: stationary camera moves up or down
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Camera Movement 21. Zoom: the camera is stationary but the lens moves, making the objects appears to grow larger or smaller
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Camera Movement 22. Dolly: the camera itself is moving with the action—on a track, on wheels or held by hand
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Editing Techniques 23. Cut: The combining of two shots together; made by the film editor at the editing stage of a film; marks a rapid transition between one time and space and another, but depending on the nature of the cut it will have different meanings. Shots sequences film
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Editing Techniques 24. Fade: scene fades to black or white; often implies that time has passed
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Editing Techniques 25. Dissolve: an image fades into another; can create a connection between images
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Editing Techniques 26. Crosscutting: cut to action that is happening simultaneously; also called parallel editing
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Editing Techniques 27. Flashback: movement into action that has happened previously, often signified by a change in music, voice-over narration, or a dissolve; a “flash-forward” leads us ahead in time
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Editing Techniques 29. Eye-line match: a shot of a person looking, then a cut to what her or she saw, followed by a but back for a reaction
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Mise-en-scene what appears within the frame of the shot, including the costumes, props, acting, lighting and makeup; the scene as a whole
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