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| The process whereby a film cues spectators to compare two or more distinct elements by highlighing some similarity. |
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| Delay in fulfilling an established expectation. |
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| Ability of a spectator to frame hypotheses about prior events. |
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| Meaning dependent on spectator's ability to identify specific items; refers to things or places already invested with significance. |
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| Meaning that situates artwork within a trend of thought and bears traces of a particular set of social values. |
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| The overall system of relations that we can perceive among elements in the whole film. |
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| A standard which can be applied in the judgement of many works. |
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| An expectation that is revealed to be incorrect. |
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| Justification for an element's presence in a film. |
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| Any significant repeated element's presence in a film. |
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| Any set of elements that depend on and affect one another. |
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| Elements upon which narrative relies |
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| Space, time and causality |
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| In a narrative film, all the events that wee see and hear, plus all those taht we infer or assume to have occurred. |
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| In a narrative film, everything visibly and audibly present. |
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| The plot's way of distributing story information in order to acheive specific effects. |
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| A feature of films which implies that the movie contains mostly motivated events. |
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| The overall organization of a film. |
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| Purposeful patterns of a film. |
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| The filming of the entire sequence, including all action and dialogue. |
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| Catches teh scene from different angels for stylistic choice. |
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| Footage taken directly to the editor from production. |
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| Refers to an overall lighting design that uses fill and backlight to create low contrast between brighter and darker areas. |
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| Less intense illumination that softens or eliminates shadows. |
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| Sculpts a figure's features (also called a crosslight). |
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| Light fails to illuminate part of the set because an object blocks it out. |
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| Directional lighting that tends to eliminate shadows. |
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| A patch of relative brightness on a surface. |
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| Comes from behind the object filmed; used alone it tends to create silhouettes. |
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| The path of light from its source to the object lit. |
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| Refers to an overall lighting design that minimizes or eliminates fill light and creates strong contrast and sharp, dark shadows. |
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| Attached shadow (or shading) |
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| Light fails to illuminate part of an object because of the object's shape or surface features. |
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| An object in the setting which has a function within the ongoing action. |
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| The relative intensity of the illumination. |
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| Comes from below the object; tends to distort features. |
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| Primary source of light; provides dominant illumination and casts strongest shadows; usually corresponds to the motivating light source in the setting. |
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| Background or set lighting |
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| Illuminates background and extras. |
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| The key components of mise-en-scene |
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| Lighting, setting, costume and makeup, figure behavior (movement and acting) |
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| Changes our vision is attuned to in cinema |
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| Color, balance, size, and movement |
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| Characterized by the convergence of parallel lines at distant vanishing point. |
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| The condition of being solid and occupying three-dimensional space. |
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| Factors in teh image that help create a sense of space. |
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| Hazing of more distant planes. |
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| Layers of space occupied by persons or objects. |
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| Significant distance seems to seperate planes. |
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| Shallow-space composition |
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| Mise-en-scene suggests comparatively little depth; the closest and most distant planes seem only slightly separated. |
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| Aims to emplain some of the larger and more complex structures of the cinema and how we understand them; addressed to an audience possessing specialized knowledge. |
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| Aims at the broadest possible audience; functions to introduce unknown films and either to recommend or not recommend them. |
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| Aims to reveal subtleties or complexities that may have escaped viewers on the first or second viewing. |
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| Focusing on only one plane and letting the other planes blur. |
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| Can be created by combing a constant projection speed and shooting more frames per second. |
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| Refers to the degree of difference between teh darkest and the lgihtest areas of the frame. |
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| Are differentiated by the chemical qualities of the emulsion. |
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| Displays bright white highlights and stark black areas. |
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| Possesses a wide range of grays with no true black or white areas. |
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| Produces sharply distinct, heavily saturated hues. |
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| Is accomplished by dipping the already develope dfilm into a bath of dye. |
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| Is accomplished by adding dye during the developing of the positive print. |
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| The regulation of how much light passes through the camera lens. |
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| A technique in which filmmakers use blue filters in sunlight. |
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| Can be created by combing a constant projection speed and shooting fewer frams per second. |
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| Scale, depth, and spatial relations. |
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| The distance from the cetner of the lensto the point where lgith rays converge to a point of focus on the film. |
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| Less than 35mm focal length (in 35 mm-gauge cinematography); distorts stright lines lying near the edges of the frame and exaggerates depth; figures seem to cover ground mroe rapdily when moving towerade or away from camera. |
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| The range of distances before the lens within which objects can be photographed in sharp focus. |
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| Refers to the staging of action on several planes. |
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| Racking (or pulling) focus |
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| Refocusing on different planes during one continuous shot. |
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| Laying one image over another. |
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| Process (or composite) shots |
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| Complex techniques for combining strips of film to create a single shot. |
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| Generally 75-250mm or more focal length (in 35mm-gauge cinematography); flattens space along camera axis; depth and volume cues reduced; a figure moving toward the camera seemst o take more tiem to cover a small distance. |
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| The three cinematographic qualities of a shot |
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| Duration of the shot; photographic aspects of the shot; and framing of the shot. |
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| The affects of framing on an image |
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| Determining the size and shape, defining onscreen and offscreen space, imposing the distance, angle, and height of the viewer's vantage point, and moving in relation to the mise-en-scene |
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| The ratio of frame width to frame height. |
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| Blocks the passage of light through either teh camera's or the printer's lens. |
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| Multiple-frame or split screen-imagery |
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| Two or more images, each with its own frame dimensions and shape, appear within the larger frame. |
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| Positions the viewer's vantage at some angle onto the mise-en-scene. |
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| Postions the viewer as looking up at the framed mise-en-scene. |
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| Positions the viewer as looking down at the mise-en-scene. |
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| Used for framing landscapes, bird's eye views, and vistas. |
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| Figures are prominent but background dominates. |
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| Human figure is framed from knees up. |
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| Frames the human body from the waist up. |
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| Frames the human body fromt he chest up. |
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| Traditionally this shot show just the head, hands, feet, or a small object. |
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| Singles out a portionof a figure and isolates and magnifies it (i.e.,eyes or lips) |
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| Within the image, the framing of a shot changes. |
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| Gives the impression of a frame horizontally scanning space. |
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| Gives the impression of unrolling space from top to bottom or bottom to top. |
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| Camera travels in some direction abong the ground. |
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| Camera moves above ground level. |
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| Produces a bumpy, jigglign image. |
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| Creates a sense (for the viewer) the part of the framed space has been magnified or demagnified. |
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