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Cinematic techniques:
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
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