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Cinema 201: Exam 1

Vocabulary from the textbook Movies and Meaning, chapters 1-4

QuestionAnswer
Structure The audiovisual design of a film and the particular tools and techniques used to create that design
Preproduction the planning and preparation stage of a movie
Production The work of filming the script (cinematography) and sound recording of the action
Postproduction the editing of sound and image, composition and recording of the music score, additional sound recording for effects (foley), and dialogue replacement (ADR), creation of digital visual effects, and color timing to achieve color balance
director coordinates and organizes the artistic inputs of other members of the production team
Running Time Designates the length of the film, the amount of time it takes a viewer to watch the film from beginning to end.
Story Time the amount of time covered by the narrative
Internal Structural time a third distinct aspect of cinematic time, arises from the structural manipulations of film form or technique. (ex: if a filmmaker edits a sequence so that the lengths of shots decrease progressively)
Feature Films mostly commercially released, typically run from 90 - 120 minutes
Shot the basic building block of a film
Story Time the amount of time covered by the narrative
camera position the distance between the camera and the subject it is photographing
Internal Structural time a third distinct aspect of cinematic time, arises from the structural manipulations of film form or technique. (ex: if a filmmaker edits a sequence so that the lengths of shots decrease progressively)
long shot filmmakers use a long shot to stress environment or setting and to show a character's position in relationship to a given environment
Shot the basic building block of a film
frame the dimension of the projected area on screen, or the individual still image on a strip of film
camera position the distance between the camera and the subject it is photographing
long shot filmmakers use a long shot to stress environment or setting and to show a character's position in relationship to a given environment
medium shots brings the viewer closer to the character, but still shows some of their environment
establishing shot when long shots are used to open a film or scene
close-up shots stresses characters or objects over the surrounding environment, usually for expressive, or dramatic purposes
medium shots brings the viewer closer to the character, but still shows some of their environment
canted angle tilted camera, leans to one side or the other, helps make the world look off-kilter, to express a character's anxieties or disorganized frame of mind
close-up shots stresses characters or objects over the surrounding environment, usually for expressive, or dramatic purposes
emulsion When the lens gathers light and brings it into the camera to a focused point on the film, thereby creating an image that is recorded on the light-sensitive surface of the film
canted angle tilted camera, leans to one side or the other, helps make the world look off-kilter, to express a character's anxieties or disorganized frame of mind
focal length the distance between the film inside the camera and the optical center of the lens. A focal length of 50mm is a normal lens for 35 mm film
emulsion When the lens gathers light and brings it into the camera to a focused point on the film, thereby creating an image that is recorded on the light-sensitive surface of the film
telephoto lens long focal-length lenses
focal length the distance between the film inside the camera and the optical center of the lens. A focal length of 50mm is a normal lens for 35 mm film
wide-angle lens focal-lengths less than normal
telephoto lens long focal-length lenses
angle of view how much a lens sees
wide-angle lens focal-lengths less than normal
depth of field the amount of area near to far that will remain in focus
angle of view how much a lens sees
zoom lens a lens with a variable focal length, can shift from wide-angle to telephoto within a single shot
depth of field the amount of area near to far that will remain in focus
motion parallax/motion perspective when the moving camera provides a series of changing spatial relationships produced by movement
zoom lens a lens with a variable focal length, can shift from wide-angle to telephoto within a single shot
pan and tilt lateral movement on screen
motion parallax/motion perspective when the moving camera provides a series of changing spatial relationships produced by movement
Dolly, track, and boom when the camera physically travels through space
pan and tilt lateral movement on screen
perceptual transformation the ability to show things in ways that differ from ordinary visual experience
Dolly, track, and boom when the camera physically travels through space
Perceptual correspondence the ability to show things in ways that reference and correspond with the viewer's visual and social experience
perceptual transformation the ability to show things in ways that differ from ordinary visual experience
flicker fusion if a light source is switched on and off rapidly enough, a threshold is reached, blending together of the individual pulses of light
Perceptual correspondence the ability to show things in ways that reference and correspond with the viewer's visual and social experience
beta movement if a series of closely spaced light bulbs
flicker fusion if a light source is switched on and off rapidly enough, a threshold is reached, blending together of the individual pulses of light
beta movement if a series of closely spaced light bulbs
Structure The audiovisual design of a film and the particular tools and techniques used to create that design
Preproduction the planning and preparation stage of a movie
Production The work of filming the script (cinematography) and sound recording of the action
Postproduction the editing of sound and image, composition and recording of the music score, additional sound recording for effects (foley), and dialogue replacement (ADR), creation of digital visual effects, and color timing to achieve color balance
director coordinates and organizes the artistic inputs of other members of the production team
Running Time Designates the length of the film, the amount of time it takes a viewer to watch the film from beginning to end.
Feature Films mostly commercially released, typically run from 90 - 120 minutes
Story Time the amount of time covered by the narrative
Internal Structural time a third distinct aspect of cinematic time, arises from the structural manipulations of film form or technique. (ex: if a filmmaker edits a sequence so that the lengths of shots decrease progressively)
Shot the basic building block of a film
frame the dimension of the projected area on screen, or the individual still image on a strip of film
camera position the distance between the camera and the subject it is photographing
long shot filmmakers use a long shot to stress environment or setting and to show a character's position in relationship to a given environment
establishing shot when long shots are used to open a film or scene
medium shots brings the viewer closer to the character, but still shows some of their environment
close-up shots stresses characters or objects over the surrounding environment, usually for expressive, or dramatic purposes
canted angle tilted camera, leans to one side or the other, helps make the world look off-kilter, to express a character's anxieties or disorganized frame of mind
emulsion When the lens gathers light and brings it into the camera to a focused point on the film, thereby creating an image that is recorded on the light-sensitive surface of the film
focal length the distance between the film inside the camera and the optical center of the lens. A focal length of 50mm is a normal lens for 35 mm film
telephoto lens long focal-length lenses
wide-angle lens focal-lengths less than normal
angle of view how much a lens sees
depth of field the amount of area near to far that will remain in focus
zoom lens a lens with a variable focal length, can shift from wide-angle to telephoto within a single shot
motion parallax/motion perspective when the moving camera provides a series of changing spatial relationships produced by movement
pan and tilt lateral movement on screen
Dolly, track, and boom when the camera physically travels through space
perceptual transformation the ability to show things in ways that differ from ordinary visual experience
Perceptual correspondence the ability to show things in ways that reference and correspond with the viewer's visual and social experience
flicker fusion if a light source is switched on and off rapidly enough, a threshold is reached, blending together of the individual pulses of light
beta movement if a series of closely spaced light bulbs are illuminated in rapid sequence in a darkened room, a spectator will see a single light source moving across the room rather than a series of lights illuminated one after the other
Rack focusing changing the lenses focal plane within a shot
Created by: 1683833305