Aerial shot: A shot taken from a plane, helicopter or a person on top of a building. Not necessarily a moving shot. Backlighting: The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging shot: A shot used to cover a jump in time or place or other discontinuity. Examples are falling calendar pages, railroad wheels, newspaper headlines, and seasonal changes Camera angle: The angle at which the camera is pointed at the subject: Low High Tilt Cut: The splicing of 2 shots together. this cut is made by the film editor at the editing stage of a film. Between sequences the cut marks a rapid transition between one time and space and another, but depending on the nature of the cut it will have different meanings. Cross-cutting: Literally, cutting between different sets of action that can be occurring simultaneously or at different times, (this term is used synonymously but somewhat incorrectly with parallel editing.) Cross-cutting is used to build suspense, or to show the relationship between the different sets of action. Jump cut: Cut where there is no match between the 2 spliced shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing. The opposite of a match cut, the jump cut is an abrupt cut between 2 shots that calls attention to itself because it does not match the shots seamlessly. It marks a transition in time and space but is called a jump cut because it jars the sensibilities; it makes the spectator jump and wonder where the narrative has gone. Continuity cuts: These are cuts that take us seamlessly and logically from one sequence or scene to another. This is an unobtrusive cut that serves to move the narrative along. Deep focus: A technique in which objects very near the camera as well as those far away are in focus at the same time. Diegesis: The denotative material of film narrative, it includes, according to Christian Metz, not only the narration itself, but also the fictional space and time dimension implied by the narrative. Dissolve/lap-dissolve: These terms are used inter-changeably to refer to a transition between 2 sequences or scenes. generally associated with earlier cinema but still used on occasion. In a dissolve a first image gradually dissolves or fades out and is replaced by another which fades in over it. This type of transition, which is known also as a soft transition (as opposed to the cut), suggests a longer passage of time than a cut. Dolly: A set of wheels and a platform upon which the camera can be mounted to give it mobility. Dolly shot is a shot taken from a moving dolly. Almost synonymous in general usage with tracking shot or follow shot Editing: Editing refers literally to how shots are put together to make up a film. Traditionally a film is made up of sequences or in some cases, as with avant-garde or art cinema, or again, of successive shots that are assembled in what is known as collision editing, or montage. Ellipsis: A term that refers to periods of time that have been left out of the narrative. The ellipsis is marked by an editing transitions which, while it leaves out a section of the action, nonetheless signifies that something has been elided. Thus, the fade or dissolve could indicate a passage of time, a wipe, a change of scene and so on. A jump cut transports the spectator from one action and time to another, giving the impression of rapid action or of disorientation if it is not matched. Eye-line matching: A term used to point to the continuity editing practice ensuring the logic of the look or gaze. In other words, eyeline matching is based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at. Thus there will be a cut to show what is being looked at: object, view, another character, etc. Eyeline then refers to the trajectory of the looking eye. The eyeline match creates order and...
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