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1 A Glossary of Some Cinematic Terms For more, see Reading in the Dark: Using Film as a Tool in the English Classroom by John Golden, 2001. ISBN 0-8141-3872-1. Camera Angles (the angle relation between the camera and the subject) Low: camera looks up at subject High: camera looks down on subject Eye: camera is eye level with subject Dutch: camera angle is in some way, askew or tilted Edits (transitions between or within shots) Shot/Scene: a shot is a single, uninterrupted sequence of film. A shot ends with a “cut” which is like a blink before another scene emerges. If the camera moves while you are watching, it is still the same shot. Only when there is a break or interruption or shift is there a new shot. Sometimes (though not always), a shot in the film corresponds to a scene in the play. Originally Shakespeare's plays were not divided in to act.scene.line -- that was the work of later editors. However, the general rule for determining when one scene ends and another begins is when there is a change in location. The entrance or exit of an actor does not necessarily mark the beginning or end of a scene. That's because the word scene comes from the Greek word “skene” which referred to a building that was used to store costumes and as a change room for the actors. The skene was positioned at the back of the stage and in the centre, and its walls were painted with a backdrop that could be used to help the audience visualize the location of where the actors were as they delivered their lines. Cut: The simplest edit. An instanteous switch between one shot and another. Fade: fades to solid black or solid white Dissolve: one image fades out as another one fades in. At a certain point in the dissolve, both images appear together Crosscut: the shot cuts back and forth between two or more scenes such as: woman pushing baby carriage across street [cut] truck speeding down the road [cut] back to mother and baby [cut] back to speeding truck. Eye-line Match: a kind of crosscut where one of the cuts is through the eyes of a character 2 Duration and Rhythm: how long a crosscut lasts, and the frequency with which the switch between the two alternating shots occurs. Sometimes a director can intensify the rhythm of a shot by shortening the duration, thereby increasing the frequency of the switches Two shot: A particular kind of crosscut that usually involves two characters in face-to-face dialogue. The crosscuts alternate between back of the head of person 1 and the face of person 2, to the face of person 1 and the back of the head of person 2. Framing (how objects are positioned within the shot) Long shot: the subject is very far away from the camera or the scope of the shot is panoramic Close-up: the subject is very close to the camera, usually so you can only see the face and perhaps a small part of the upper torso Medium shot: the subject is not too far away from the camera nor too close. Usually you would be able to see the whole body. Camera Movement (can be vertical (y-axis), horizontal (x-axis), or into the third dimension (z-axis)) Pan: a horizontal sweep from left to right or right to left. The subject generally remains the same distance away from the camera. Tilt: a vertical sweep up or down in order to create high and/or low angles of viewing the subject Zoom: z-axis sweep closing in on the subject making it appear closer (telephoto) or pulling away from the subject (wide), making it appear further away Tracking: the camera follows the subject, moving as the subject does. 3 Field of Vision (the entire area that can be seen, usually along the z-axis) Foreground: elements that are relatively closer to the camera (and hence closer to you, the viewer) Background: elements that are relatively further away from the camera (and hence further away from you, the viewer) Depth of Field: how many subjects and items in the background are in focus compared to how many or blurred or out of focus Focus: the sharpness or fuzziness of lines and borders on subjects in the frame Soft: everything is equally (but only slightly) out of focus Rack: any sudden shift between background-foreground. For example: a character paces in a hotel room. He is on focus but the telephone behind him is not. When the phone rings, it comes into focus and the arm of the man becomes blurry. Any shift of this kind is a rack focus. Deep: opposite of soft. Everything in the frame is equally in focus. Lighting (How the frame is (or is not) lit up) Low-key: More darkness and shadow than light. Light sources are focused but few and far between. Heavily used in a film genre called film noir. High-key: Very bright with few or no shadows (often used in comedies) Neutral (flat): Relative balance between light and darkness/shadow Front: Light source is from behind the camera. Shadows are cast away from the camera. Bottom: Light source is from below, casting shadows upward Side: Light source is from left or right (aka “side wash”) Back: Light source is pointing right into the “eyes” of the camera Mise-en-Scene The props and other elements of the shot that are not the subject. In commercial films many of these are paid for i.e.: coke products, certain brand name sunglasses. Sometimes the miseen-scene can contain much symbolic information as well. 4 Sound (Any auditory component of the film) Diegetic: Any sound logically heard by a character in the story Non-diegetic: A sound heard by the audience but not the character, such as musical sound track Internal diegetic: Voiceover Other things to watch for Actors must confront (at least) 4 texts" 1. scripted text (words on the page) 2. context (context in which characters find themselves: setting, other characters, emotional, spiritual, intellectual, psychological contexts) 3. subtext (what the scripted text implies) 4. intentional text (the reason the character must say those lines at that moment) Musical Expressiveness Sound Effects Counterpoint Between Audio and Visual Mirroring (imitating elements of the play exactly) 5 Plus the matrix of additions (adding lines, characters or other things not in the play), subtractions (removing things like lines, characters, scenes), enhancements and distortions. ENHANCEMENTS SUBTRACTIVE Reproduction (Ideal) DISTORTIONS ADDITIVE