Film Language

The Film negative positive print fast film stock: film that is more sensitive to light (grainier image) slow film stock: film that is less sensitive to light (needs more illumination) Lenses wide-angle (short-focus): takes in a wide field of view - objects seem far away telephoto (long-focus): takes in a narrow field of view - objects seem close zoom: lens moves from a wide to narrow field of view (and vice versa) Shutter Speed persistence of vision: creates the illusion of motion on the screen slow motion: produced by higher speed of film motion through camera (overcranking) fast motion: produced by slower speed of film motion through camera (undercranking) Shots and Angles shot: a single continuous running of the camera mise en scene: all elements within a shot montage: the splicing of shots together to make a scene close-up: shows moderate to extreme closeness to subjects head or hands medium shot: focuses on one or two individuals from the knees up long shot: focuses on moderate to extreme distance to show the environment low-angle: shot from below the subject high-angle: shot from above the subject eye-level Camera Movement pan: camera pivots right and left on the same level tilt: camera pivots vertically tracking shot: whole camera moves horizontally with, towards, or away from subject(note: do not confuse a zoom lens shot with a tracking shot) boom (crane) shot: camera moves vertically and horizontally through space on a crane hand-held shot steadi-cam shot tripod Lighting key light: the chief light illuminating the subject high key lighting: scene is flooded with brilliant illumination low key lighting: illumination is low and soaked with shadows spotlights: cast intense beams on the subject floodlights: wash the scene with less focused illumination than a spotlight fill light: used to fill in unwanted shadows eyelight: placed near the camera to add sparkle to subject's eyes backlighting: a strong light from behind the subject front lighting: softens a face, flattens features sidelight: adds solidity and depth, accentuates character features scrim: a translucent shade placed between the subject and the key light to soften the light Sound Track dialogue: words spoken by on-screen characters sound effects (sfx): natural sound representing the environment of the scene music voice-over: a narrative, off-screen voice sound cut: a sharp shift from one sound to another segue: a gradual transition between sounds clapstick: the tool used to synchronize sound and picture Special Effects stop-motion photography: shooting is interrupted while the set is rearranged animation: the drawing or clay object is changed slightly when the camera stops pixillation: animation using live people miniatures and model shots: a small-scale model is filmed to look full size glass shot: action is filmed through scenery painted on glass rear projection: action is filmed in front of a screen on which other action is projected from the rear matte shot: uses an opaque screen to cover portions of the frame - film is exposed twice   THE MOVIE PROCESS Development synopsis/story outline: a very brief (1 page) description of the proposed film treatment: a more extended development of the film idea scenario/screenplay: contains most of the action, dialogue and some camera directions shooting script: a shot-by-shot blueprint for the film Preproduction screen tests, casting, scouting locations, set design and construction, story boards, costume design, shooting schedule, production budget Production director: turns the screenplay into a film by directing actors, supervising technicians, and managing all action on the set producer: responsible for the totality of the final product, especially involved in financial decisions cinematographer: director of photography, responsible for all camera work gaffer: chief electrician, responsible for lighting according to cinematographer's plan takes: repetitions of the same shot in filming master shot: a continuous long shot covering the action blocking: setting the precise movements of each actor before the camera dailies/rushes: prints of the previous day's filming Post-Production editor: the one who composes the film from its parts (shots, sound-track, sfx) scene: a section of the film made of individual shots sequence: an extended section of related scenes splices: pieces of film are connected with tape or glue establishing shot: often a long shot chosen by the editor to orient the viewer inserts: special shots spliced into a scene cutaway: a shot that interrupts the main action, showing a simultaneous action reverse-angle shots: in dialogue each actor is shot from the other's viewpoint reaction shots: shows one character's reaction to an important event match cut: a second shot begins precisely when and where a first shot ends jump cut: creates deliberate discontinuity by omitting part of the action between shots cross cutting/parallel montage: two simultaneous actions are shown in alternating shots fade-out: each successive frame is darkened to a point of total blackness fade-in: the reverse of a fade-out dissolve: a superimposition of two shots, so one appears as the other disappears wipe: one image seems to wipe another off the screen blow-up: an image is enlarged freeze-frame: an image is repeated frame after frame, creating " frozen action" fast motion: images are skipped superimposition: images are combined one over the other music: music track, scoring session, conductor, click track, music editor dubbing (post-synchronization): actors' voices are re-recorded in the studio sound effects (sfx): studio-added sounds chosen from a sound library or created on the spot titles: printed text at start and finish of film credits: complete list of production staff at end of film Film Theory Terms Russian Formalist (Montage) theory: film is essentially the result of editing, new meanings grow from rearranged splicing of shots (associated with Sergei Eisenstein) Realist (Mise-en-Scene) theory: because film reproduces reality so well, it has an obligation to record it, reveal it, and "redeem " it; prefers deep-focus photography over the rapid cutting of montage (associated with Andre Bazin) genre theory: studies a film as belonging to a conventional type or style of film (science fiction, western, gangster, family melodrama, war, mystery, musical, screwball comedy, etc.) auteur theory: studies film based on the belief that the director or producer has an influence on the film similar to that of an author on a book (promoted by Andrew Sarris) feminist theory: studies film based on the belief that film represents a largely male point of view, that it is biased in favor of "the male gaze", that female characters are presented as men see them - not as they see themselves psychoanalytic theory: studies film by using Freudian and post-Freudian psychologyto understand the power of film to attract and hold its audience; links film spectatorship with voyeurism, exhibitionism, fetishism, castration anxiety, and mythological archetypes Marxist theory: studies film through Marx's view that art is an instrument for social change, that films are always ideological because they embody the value structures of the culture in which they are produced Primary Source: William V. Costanza, Reading the Movies , Urbana: NCTE, 1992. Addenda: production code: a self-regulatory code of ethics created in 1930 by the Motion Picture Producers and Distributors of America (M.P.P.D.A.), under Will H. Hays, and put into strict effect on July 1, 1934, with Joseph I. Breen as director of the Code Administration. The code set forth general standards of "good taste" and specific do's and don't's concerning what could and could not be shown in American movies. (Katz's Film Encyclopedia)