1. Storyboard
    Is a shot by shot(somtimes scene by scene) breakdown that combines sketches or photographs of how each shot is to look with written descriptions of the other elements that are to accompany each shot, including dialogue, sound, and music
  2. Exposition
    Everything preceding and including the inciting moment-the event or situation that sets the rest of the narrative motion.
  3. Denouement
    The resolution or conclusion of the narrative.
  4. Diegetic Elements
    The total world of the story- the events, characters, objects, settings, and sounds that form the world in which the story occurs is called its diegesis, and the elements that make up the diegesis are called diegetic elements.
  5. Non diegetic elements
    the things that we see and hear on the screen but that come from the outside world of the story.(backround music, titles, credits, voice over comments)
  6. subplot
    is a subordinate sequence of action in a narrative, usually relevant to and enriching the plot.
  7. Cinematic time
    the imaginary time in which a movies images appear or its narrative occurs; time that has been manipulated through editing.
  8. Protagonist
    the major character who serves as the "hero" and who "wins" the conflict.
  9. Antagonist
    The major character whose values or behavior are in conflict with those of the protagonist.
  10. Cinematic conventions
    accepted systems, methods, or customs by which movies communicate. They are flexible; they are NOT rules.
  11. Omniscient
    providing a third-person view of all aspects of a movies action or characters.
  12. restricted
    providing a view from the perspective of a single character. for example, restricted narration reveals information to the audience only as a specific character learns of it.
  13. Direct-address narration
    occurs when a character breaks the "fourth wall"(the assumed barrier between the charcters on the screen and the audience) to address us directly.
  14. Mise-en-scene
    also known as staging. The overall look and feel of a movie- the sum of everything the audience sees, hears, and experiences while viewing it.
  15. design
    the process by which the look of the settings, props, lighting, and actors is determined.
  16. Composition
    The process of visualizing and putting visualization plans into practice; more precisely, the organization, distribution, balance, and general relationship of stationary objects and figures, as well as of light, shade, line, and color within the frame.
  17. chiarscuro
    the use of deep gradations and subtle variations of light and darks within an image.
  18. Framing
    the process by which the cinemetographer determines what will appear within the boarders of the moving image(the frame) during a shot.
  19. Kinesis
    the aspect of composition that takes into account everything that moves on the screen.
  20. Moving frame
    the result of the dynamic functions of the frame around a motion picture image, which can contain moving action but can also move and thus change its viewpoint.
  21. Point of View
    The position from which a film presents the actions of the story.
  22. Offscreen space
    cinematic space that exists outside the frame.
  23. onscreen space
    cinematic space that exists inside the frame.
  24. open frame
    a frame around a motion picture image that, theoretically, characters and objects can enter and leave.
  25. closed frame
    a frame of a motion picture image that theoretically, neither characters nor objects enter or leave.
  26. blocking
    actual physical relationships among figures and settings.
  27. Cinematography
    the process of capturing moving images on film or some other medium.
  28. shot
    One uninterrupted run of the camera. A shot can be as long or short as the director wants.
  29. Take
    an indication of the number of times a particular shot is taken.
  30. Gaffer
    Chief electrician on a movie production set.
  31. Best Boy
    First assistant electrician to the gaffer on a movie production set.
  32. Grips
    All around handyperson on a movie production set, most often working with the camera crews and electrical crews.
  33. Widescreen Aspect Ratio
    Any aspect ratio wider than 1.33:1.  The standard ratio until the early 1950's
  34. Key light
    Also known as main light or source light. It is the brightest light falling on a subject.
  35. fill light
    Lighting, positioned at the opposite side of the camera from the key light, that can fill in the shadows created by the brighter key light.
  36. Depth of Field
    The distance in front of a camera and its lens in which objects are in apparent sharp focus.
  37. establishing shot
    In the extreme longshot(XLS or ELS), typically photographed at a great distance from the subject, that subject is often too small to be recognized, except through the context we see, which usually includes a wide view of a location, as well as general backround information when used to provide such informative context, the ELS is also an Establishing shot.
  38. Deep space composition
    a total visual composition that occupies all three planes of the frame, thus creating an illusion of depth, and that is usually produced on the screen by deep focus cinematography.
  39. shooting angle
    the level and height of the camera in relation to the subject being photographed. The five basic camera angles produce eye level shots, high angle shots, low angle shots, dutch angle shots, and aerial-view shots.
  40. Pan Shot
    the horizontal movement of a camera mounted on teh gyroscope head of a stationary tripod. Like the tilt shot, the pan shot is a simple movement with dynamic possiblities for creating meaning.
  41. Tracking shot(also dolley shot)
    A shot taken by a camera fixed to a wheeled support called a dolly. When the dolly runs on tracks(or when the camera is mounted to a crane or aerial device such as an airplane, helicopter, balloon, the shot is called a tracking shot.
  42. Stanislavsky System
    A system of acting developed by russian theater director Konstantin Stanislavsky in the late 19th century. It encourages students to strive for realism, both social and psychological, and to bring their past experiences and emotions to their roles. this system influenced the development of method acting in the united states.
  43. Method acting
    A naturalistic acting style, loosely adapted from the ideas of russian director Stanislavsky by American directors Kazan and Strasberg.
  44. Type Cast
    The casting of actors because of their looks or "type" rather than for their acting talent or experience.
  45. screen tests
    A filming undertaken by an actor to audition for a particular role.
  46. Stand-ins
    An actor who looks reasonably like a particular movie star in height, weight, coloring and so on, and who substitues for that actor during the tedious process of preparing setups or taking light readings.
  47. Character roles
    an actors part that represents a distinctive character type(sometimes stereo type); judge doctor, etc.
  48. Bit Players
    An actor who holds a small speaking part.
  49. Cameo
    A small but significant role often played by a famous actor.
  50. Alienation effect(distancing effect)
    A psychological distance between audience and a stage for which, according to german playwright Bertat Brecht, every aspect of a theatrical production should strive by limiting the audiences identification with characters and events.
  51. Improvisation
    Delivering lines based only loosely on the written script. Making up lines to keep scenes going when actors forget their lines.
  52. Ensamble acting
    An approach to acting that emphasizes the interactions of actors, not the individual actor.
Card Set
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