Editing
(1) In filmmaking, the task of selecting and joining camera takes. (2) In the finished film, the set of techniques that governs the relations among shots.
Editing
A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in postproduction.
Cinematography
Coined by Tom Gunning, a tendency of early cinema focused around trick shots, showcasing of technology, simple narratives and exhibition of movement.
Cinema of attractions
Sound that the spectator understands as issuing from the world of the film
diegetic sound
also known as a title card, is a piece of filmed, printed text edited into the midst of (i.e., inter-) the photographed action at various points.
Intertitle
A system of cutting to maintain continuous and clear narrative action. Continuity editing relies upon matching action, screen direction, and figures’ positions from shot to shot.
Continuity editing
A camera movement in which the camera body swivels to the right or left. The onscreen effect is of scanning the space horizontally.
Pan
A national film movement characterized by use of exaggerated or unreal mise-en-scene, a sense of dread or terror, light and shadow, and a focus on the internal world of the characters.
German Expressionism
Sound, such as mood music or a narrator’s commentary, represented as coming from a source outside the world of the narrative
nondiegetic sound
A common arrangement using three directions of light on a scene: from behind the subjects (backlighting), from one bright source (key light), and from a less bright source (fill light).
Three-point lighting
The juxtaposition of a series of images to create an abstract idea not suggested by any one image. Pioneered by Soviet Montage directors, particularly Sergei Eisenstein, it returned to widespread use in experimental cinema and left-wing cinema of the 1960s.
Dialectical (or intellectual) montage
A camera movement in which the camera body swivels to the right or left. The onscreen effect is of scanning the space horizontally.
Tilt
a group of French films and filmmakers of the 1920s which focused on creating an external impression of the artist's inner world
French Impressionism
Sound whose source we do not know
Acousmatic sound
Japanese performers who provided live narration for silent films (both Japanese films and Western films)
Benshi
A cut obeying the axis of action principle, in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what he or she sees. If the person looks to the left, the following shot should imply that the looker is offscreen right.
Eyeline Match
A camera movement in which the camera body moves through space in a horizontal path. On the screen, it produces a mobile framing that travels through space forward, backward, or to one side.
Tracking Shot
A manner of filmmaking in which an enterprise creates motion pictures on a mass scale. Usually, labor is divided on the basis of extensive preparation, guided by the shooting script and other designs and plans.
Studio Production
Sound that is matched temporally with the movements occurring in the images, as when dialogue corresponds to lip movements.
Synchronous sound
a film editing (montage) effect demonstrated by Russian film-maker ____ in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.
Kuleshov Effect
In the continuity approach to editing, the dictate that the camera should stay on one side of the action to ensure consistent spatial relations between objects to the right and left of the frame.
180-degree rule
In filmmaking, the shot produced by one uninterrupted run of the camera. One shot in the final film may be chosen from among several ____s of the same action.
Take
a set of industry guidelines for the self-censorship of content that was applied to most motion pictures released by major studios in the United States from 1934 to 1968.
Hays Code or Motion Picture Production Code
Original music written specifically to accompany a film. This comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.
Name one of the words originated by Vladimir Propp and Viktor Shlovsky used in formal film studies to describe story or plot.
What is syuzhet or fabula?