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Use this page as a study guide for the terms we're learning for Introduction to Film.
Appreciating a film vs. liking a film
Shot
Frames per second (FPS)
Classical Hollywood Cinema (CHC)
Film gauges
Pre-production, Production, Post-production
Hollywood (Studio) vs. Independent Production
Form
Form vs. content
Motif
Parallelism
5 Principles of film form:
Similarity & repetition
Difference & variation
Development
Unity & disunity
Ideology
4 Levels of meaning:
Referential
Explicit
Implicit
Symptomatic
Story
Plot
Diegetic
Non-diegetic
Offscreen space
Temporal Order
Flashback
Flashforward
Frequency
Real time
Duration
Ellipsis
Plot time
Story time
Screen time
Range
Depth
Exposition
Surrealism
Profilmic event
Style
Méliès
German Expressionism
4 aspects of mise-en-scene:
Setting & props
Costume & makeup
Acting & actor blocking
Lighting
Direct address
High-key lighting
Low-key lighting
Chiaroscuro
Three-point lighting
Color
Filters
Saturated
Frame
Shot
Scene
Sequence
Framing: Dimension & Shape
Aspect Ratio
Framing: Camera Placement, Level, & Angle
Canted Level
High angle
Low angle
Framing: Camera Distance
Long shot, medium shot, close-up
Establishing Shot
Two-shot
Mobile Framing
Static/stationary camera
Panning
Tilting
Tracking (or Dollying)
Craning
POV shot
Hand-held
Photographic Qualities: Film Stock
Film speed
Overexpose, underexpose
Filters
Tinting
Photographic Qualities: Speed of Motion
Slow-motion
Fast-motion
Time-lapse
Freeze-frame
Pixillation
Perspective Relations: Focal Length of Lens & Focus Depth
Normal
Wide-angle
Telephoto
Zoom (Optical Movement)
Shallow
focus
Selective focus
Deep
focus
Racking
focus
Duration
Long
take
Superimposition
Miniatures/models
Composite shot (or "Process shot"/"Process work")
Rear Projection
Matte shot (or "Matte work")
Stationary matte
Traveling matte
Digital composite shot
"Blue screen"
CGI (Computer Generated Imagery)
Edits
Cut
Dissolve
Fade
Wipe
Iris
Superimposition
Rhythmic & Graphic Relations among shots
Graphic Match/Graphic Contrast
Ellipsis
Kuleshov Effect
Cross-cutting
D.W. Griffith
Continuity Editing
180-degree rule
Master shot
Cut in
Match-on-action (or "cut on movement")
Cutaway
Empty Frame
Shot/reverse-shot
Eyeline Match
POV Editing
Cheat Cut
Montage Sequence
Continuity Error
Non-diegetic insert
Jump Cut
360-degree space
"Pillow Shot"
Types of sound:
Dialog/speech
Effects/noises
Music
Mood Music
Leitmotif
Silence
Acoustic Properties:
Loudness
Pitch
Timbre
Recorded Sound:
Direct sound
Reflected sound
Ambient sound
Room tone
Foley Technique
Post-dubbing
Sound Perspective
Natural Sound
Mickey Mousing
Fidelity
Diegetic/Nondiegetic sound
Voiceover
Soundover
Offscreen sound
Internal Diegetic Sound
External Diegetic Sound
Synchronous/Asynchronous sound
Sonic Flashback/Sonic Flashforward
Sound Bridge
Disjunctive Sound
Documentary Realism
"Objectivity"
Lumière Brothers
John Grierson
Intertitles
Narrative Documentary
Interviews
Narration
Cinema Vérité/Direct Cinema
4 Ways of Organizing "Nonfiction" Form:
Rhetorical
Categorical
Abstract
Associational
Leni Riefenstahl
Self-Reflexive
Documentary Reconstruction
Fictional Documentary Realism
4 Ways of Organizing "Nonfiction" Form:
Rhetorical
Categorical
Abstract
Associational
European Avant-garde
Abstraction
Marcel Duchamp
American Avant-garde
Maya Deren
Stan Brakhage
Yvonne Rainer
"Telefono bianco" films
"Tradition of Quality" films
Ambiguity
Self-reflexivity
Cinephilia
Intertextuality
Cahiers du Cinema
Auteur Theory/Authorship
Delayed Exposition
Episodic
Subjectivity
Objective Realism
Subjective Realism
Filmmaker's Narrational Commentary
Genre Mixing
Subgenres
Narrative Conventions
Iconography
Ideology
Symptomatic Meaning
Subtext
Production Code
American Ideologies of 1960s-1970s
Cawelti's 4 Modes:
Burlesque/parody
Nostalgia
Demythologization
Reaffirmation of Myths
Contemporary Genre Mixing
Symptomatic Meaning
American Ideologies
Gender/Race/Class/Sexuality/Post-coloniality . . .
Transvestitism
Patriarchy
Laura Mulvey
"Against the Grain"