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The brief superimposition of one image over another where the first image fades out and the second image fades in is called:
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A primary purpose of a cutaway shot is to:
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Reading Film Ch. 5
| Question | Answer |
|---|---|
| The brief superimposition of one image over another where the first image fades out and the second image fades in is called: | a dissolve |
| A primary purpose of a cutaway shot is to: | condense time |
| An initial long shot that orients the viewer in space and introduces the setting is called: | an establishing shot |
| _____ refers to a style that emphasizes the breaks and contrasts between images joined by a cut. | Soviet montage |
| Part of the 180-degree rule, the imaginary line that bisects the space of the scene and indicates on which side of the actors the camera should be placed is called the: | axis of action |
| The term for the "quality of having the appearance of truth" is: | verisimilitude |
| Which of the following is an editing transition that gradually opens from a small, usually circular, portion of the frame to reveal the entire image? | iris in |
| What does an eye-line match do? | shows a shot of the actor pointing or looking off screen by a shot of what was being looked at |
| Th editing system that uses cuts and other transitions to establish a sense of verisimilitude and most efficiently tells a story is known as | continuity editing |
| What is editing that shifts back and forth between two or more lines of action called? | parallel editing |
| Advanced by playwright Bertold Brecht, formal techniques used to create a critical distance between a work of art and the social world it depicts are examples of: | distantiation |
| What term best describes a cut that maintains continuity between two shots by showing similarities of shape or movement in their subjects? | a match cut |
| A transition where a shot seems to be pushed off the screen as it is replaced by another shot is called: | a wipe |
| Which best describes a section of narrative film that consists of continuous action tacking place in a continuous time and in continuous space? | a scene |
| What is the best term for a transition between shots that causes jarring gaps in space or time? | a jump cut |
| A lap dissolve usually suggests what? | a change in setting AND the passage of time (both a and b) |
| The organization of editing according to different paces or tempos determined by how quickly cuts are made is called: | rhythmic editing |
| Practices that structure editing through oppositional relationships or formal constructions based on principles other than natural human vision are called: | disjunctive editing |
| Which of the following devices does NOT aid in establishing spatial continuity? | jump cut (establishing a shot, insert, and 180-degree rule DO) |
| analytical editing | continuity editing that establishes spatial and temporal clarity by breaking down a scene |
| What often uses progressively tighter framings that maintain consistent spatial relations? | analytical editing |
| axis of action | an imaginary line bisecting a scene corresponding to the 180-degree rule in continuity editing |
| chronology | the order according to which shots or scenes convey the temporal sequence of the story's events |
| continuity editing | the institutionalized system of Hollywood editing that uses cuts and other transitions to establish verisimilitude to construct a coherent time and space, and to tell stories clearly and efficiently |
| What is sometimes called invisible editing? | continuity editing |
| continuity style | the systematic approach to filmmaking associated with classical Hollywood cinema, utilizing a broad array of technical choices from continuity editing to scoring that support principle of effacing technique in order to emphasize human agency and narrative |
| crosscutting | an editing technique that cuts back and forth between actions in separate spaces, often implying simultaneity |
| What is also called parallel editing? | crosscutting |
| cut | in the editing process, the join or splice between two separate shots or scenes achieved without optical effects |
| cutaway | a shot that interrupts a continuous action, often to abridge time |
| establishing shot | long shot that establishes the location and setting |
| fade in | optical effect in which a black screen gradually brightens to a full picture |
| fade out | optical effect in which an image gradually darkens to black, often ending a scene |
| How may flashbacks be introduced? | with a dissolve or with a voiceover |
| graphic editing | a style of editing creating formal patterns of shapes, masses, colors, lines, and lighting patterns though links between shots |
| graphic match | an edit in which a dominant shape or line in one shot provides a visual transition to a similar shape or line in the nest shot |
| insert | a brief shot, often a close up, filmed separately from a scene and inserted during editing. points out details significant to the action |
| intercutting | interposing shots of two or more actions, locations, or content |
| modernism | artistic movement in painting, music, design, architecture, and literature of the 1920's that rendered a fragmented vision of human subjectivity through strategies such as the foregrounding of style, experiments with space and time, and open-ended narrati |
| montage | french word for editing |
| What indicates a style that emphasizes the breaks and contrast between images joined by a cut. Eisenstein does this. | montage |
| movement editing | an editing technique through which the direction and pace of actions, gestures, and other movements are linked with corresponding or contrasting movements in one or more other shots |
| nondiegetic insert | an insert that depicts an action, object, or title originating outside of the space and time of the narrative world |
| optical effect | dissolves, fade outs, wipes. use of matte shots |
| overlapping editing | an edited sequence that presents two shots of the same action; because this technique violates continuity it is rarely used |
| reestablishing shot | a shot during an edited sequence that returns to an establishing shot to restore a seemingly "objective" view to the spectator |
| segmentation | the process of dividing a film into large narrative units for the purposes of analysis |
| sequence | any number of shots or scenes that are unified as a coherent action in an identifiable motif, regardless of changes in space and time |
| shock cut | a cut that juxtaposes two images whose dramatic difference aims to create a jarring visual effect |
| shot/reverse shot | an editing pattern that begins with a shot of one character taken from an angle at one end of the axis of action, follows the shot of the second character from the "Reverse" angle at the other end of the line, and continues back and forth through the sequ |
| Structural film | an experimental film movement that emerged in North America in the 1960's with filmmakers like Hollis Frampton and Michael Snow in which films followed a predetermined structure |
| 30-degree rule | cinematography and editing rule that specifies that a shot should only be followed by another shot taken from a position greater than 30 degrees from that of the first |
| two shot | a shot depicted two characters |
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