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Cinema 201: Exam 1
Vocabulary from the textbook Movies and Meaning, chapters 1-4
| Question | Answer |
|---|---|
| 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 |
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