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| briefly interrupts the visual presentation of a subject to show something else |
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| subject is seen in its entirety, and much of its surroundings are visible |
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| last version of an edited film |
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| fictional film that is at least sixty minutes long |
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| length of exposed motion-picture film; raw |
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| representation of its subjects viewers are intended to accept primarily as factual |
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| prints made from a day's filming |
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| maintains a sense of uninterrupted time and action and continuous setting within each scene of a narrative film |
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| a metal or plastic spool to hold film |
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| The Birth of a Nation (1915) |
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| by D.W. Griffith, >1300 shots, controversial yet wonderful edits |
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| classical Hollywood cinema |
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| show one or more distinct characters facing a succession of problems while trying to reach their goal; tend to hide the manner of their making by using continuity editing and other unobtrusive film making techniques |
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| an observation or general statement about a subject |
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| uninterrupted strip of exposed motion-picture film |
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| individual image on the strip of film |
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| rejects the conventions of mainstream movies and explores the possibilities of the film medium itself |
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| series of unified consecutive events situated in one or more settings. May be fictional/factual/both |
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| any aspect ratio greater than 1.33:1 |
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| maintains continuity of shape and/or movement |
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| discontinuous transition between shots |
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| short but meaningful pause between scenes |
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| cause the image of the subject to increase in size |
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| one shot fades as the other replaces it |
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| place where filmed action occurs |
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| push one shot off screen and replace it with another |
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| 1910s to 1950s, low-budget action film presented in chapters or installments |
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| widening opening reveals more and more of the next shot |
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| image is closed by constricting shape |
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| shots follow another unobtrusively |
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| subject looks at something, and next shot shows the viewed something |
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| area not within view of the camera |
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| two or more images photographed or printed on top of each other |
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| (French) new wave (cinema) |
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| fictional films made late 1950s-early 1960s as explorations of more current subjects sometimes rendered with nontraditional techniques |
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| characteristic of the film medium or appropriate to it |
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| view of emotional response to an action, shown either before or after the action |
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| presents mainly a factual narrative or story |
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| shifts back and forth between two or more subjects or lines of action |
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| narrative or series of related events usually involving only a few characters or people and capable of functioning on its own as a story |
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| viewer's sense of a film's material being represented fast or slow |
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| consecutive shots of brief duration |
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| consecutive shots of long duration |
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| brief compilation film made to advertise a movie |
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| many shots of different things to shorten actions over a long time |
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| Orson Welles master film; "Rosebud" |
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| card or thin sheet of clear plastic on which is written or printed information included in a film |
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| amount of time covered in a film's narrative |
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| selection and arrangement of the parts of a whole |
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