1. Film Terminology The buzz words that make movie buffs true movie buffs.

2. Scene vs. Shot Shot: what is recorded by a single, uninterrupted operation of the camera when a camera starts to where it stops Scene: section of film of continuous action taking place in continuous time and space usually contains multiple shots

3. Cut: 1. action of stopping the film ( “ Cut! ” ) 2. a strip of film 3. joining separate shots together. 4. a version of a movie ( “ director ’ s cut ” ) Take: a version of a shot

4. Frame: (3 definitions) 1. a single picture from a strip of film 2. borders of the projected film on a screen 3. to position the camera in such a way that the subject is kept within the borders of the image Collin Farrel in Phone Booth (2002)

5. Widescreen/Letterbox: a VHS or DVD version that is shown with the same dimensions and ratios as the original (or close to it) theater version Return of the King (2004)

7. Intertitles/ title cards: printed material that appears periodically on the screen, most often used in silent films to give exposition, dialogue, thoughts, descriptions not shown. D.W. Griffith's The Birth of a Nation (1915)

8. : Mise-en-scène: French for “ staging ” ; the composition and arrangement of a shot The Graduate (1967)The Fellowship of the Ring (2001)

9. The Searchers (1956) Rain Man (1988)

10. Open Space Open space on screen that symbolizes isolation Vanilla Sky 2001

11. Montage: type of editing in which brief shots are used to present a condensation of time and events

12. Types of Shots… Close Up (CU): shot of the head shot of the head Close Shot (CS): shot of the head and shoulders shot of the head and shoulders Braveheart (1995) Pirates of the Caribbean (2003)

13. Establishing Shot (ES): a shot which defines and area or setting The Searchers (1956)

14. Long Shot (LS) Aka: the Full Shot (FS): a shot of the entire person and much of the background a shot of the entire person and much of the background The Matrix Reloaded (2003) Cabinet of Dr. Caligari (1920) Pirates of the Caribbean (2003)

15. Medium Shot (MS): a shot between a close shot and a long shot a shot between a close shot and a long shot Bourne Identity (2002) House of Flying Daggers (2004)

16. Extreme Close Up (ECU): close up of a specific body part: eye, mouth, etc Extreme Long Shot (ELS): broad, panoramic view broad, panoramic view Fellowship of the Rings (2001) War of the Worlds (2005)

17. Objective Shot: Represents what the camera sees Subjective Shot: Represents what a character sees Memento (2000) Point of View

18. Shot-reverse-shot : alternating shots of characters in a conversation so that the first person is seen, then the other Notice how the camera is over this fellow ’ s shoulder. When Harry Met Sally (1989)

19. Camera Angles

20. 1. The Bird's-Eye view This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. AKA- Angle of Destiny

21. 2. High Angle Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.

22. 3. Flat Angle A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground at eye level.

23. 4. Low Angle These increase height and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

24. 5. Oblique/Canted Angle Sometimes the camera is tilted, to suggest imbalance, transition and instability. This technique is used to suggest POINT-OF- View shots.

25. Camera Movement

26. Pan: The camera moves horizontally on a fixed base. Pan: The camera moves horizontally on a fixed base. Tilt: The camera points up or down from a fixed base Tilt: The camera points up or down from a fixed base Tracking: The camera moves through space on a wheeled truck (or dolly), but stays in the same plane Tracking: The camera moves through space on a wheeled truck (or dolly), but stays in the same plane

27. Camera Movement Boom: The camera moves up or down through space. Boom: The camera moves up or down through space. Zoom: Not a camera movement, but a shift in the focal length of the camera lens to give the impression that the camera is getting closer to or farther from an object Zoom: Not a camera movement, but a shift in the focal length of the camera lens to give the impression that the camera is getting closer to or farther from an object

28. Camera Transitions Cut: One scene ends and the other immediately begins. Fade: Fade-out (FO) when the light decreases to (usually) blackness. Fade-in (FI) when darkness gradually becomes lighter.

29. Camera Transitions Dissolve: outgoing and incoming images merge— one disappears to be replaced by another. Form dissolve is when similar frames fade (bodies in the same location)

30. Camera Transitions Wipe: One shot is pushed off the frame by another shot replacing it. Jump Cut: Is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly.

31. Sound in Film Diagetic Sound: Sound that has a source in the world of the story in the film, such as dialogue spoken by characters, sounds made by objects, or music coming from a source in the story. Non-Diagetic Sound: Sound coming from a source outside the world of the story in the film. Usually part of the score or soundtrack and voice-overs.

32. Duration of Shots Subliminal: a short but powerful shot of a character. Subliminal: a short but powerful shot of a character. Long take: a long take or oner is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. Long take: a long take or oner is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes.

33. Special Effects Blue Screen: When you take a picture with a green screen or a blue screen background, some photo editors have a feature called "chroma key" to allow you to replace the green or blue color with any background picture of your choice. Wayne’s World 1991

34. Matting: a masking/matting shot in which everything is blacked out except for one portion. Ex: Iris shot Sounds Effects: Sound from a source other than the tracks bearing synchronized dialogue, narration, or music. “James Bond” title montage

35. Special Effects Internal Framing: Where a character is framed by, for example, a doorway or window; this creates a frame within a frame and tends to emphasize the character, drawing our attention particularly to him or her. “The Shining” 1980