Introduction to Film

1. Introduction to Film Film Terminology September 2011 Mr. McFadden

2. Film Introduction • ____________, ____________, and __________________ combine to create a sequence of images, just as words, word order, and punctuation combine to make the meaning of a sentence.

3. Film Introduction • When describing different cinematic shots, different terms are used to indicate • the amount of subject matter contained within a frame • how far away the camera is from the subject • the perspective of the viewer. • Each shot has a different purpose and effect.

4. The Shot

5. The Extreme Long Shot • Often referred to as _______________________ • Can be taken from as much as a quarter of a mile away • Can establish a scene so viewer knows where a scene will take place • e.g. Manhattan skyline, full view of White House • Normally shows ______________________ • Often used to show scenes of thrilling action • Battle scenes • There is very little _____________ visible in the shot • Meant to give a general impression rather than specific information

6. The Extreme Long Shot

7. The Long Shot • Shows the image as approximately ________ size • Corresponds to the real distance between the audience and the screen • A man appears six feet tall • Shows entire human body

8. The Long Shot

9. The Medium Shot • Between a __________ and a _________ • Usually seen from _______________ • Most common and naturalistic of all shots since most common to our real lives • Also called _____________________ • Can show more setting and context than a close-up but lacks the detail • Brings the viewer closer to the subject than the long shot

10. The Medium Shot

11. The Close-up • Object of subject takes up nearly _________ of screen space • Used to direct the viewer to something ____________________ • Facial expression, tear, clue in a detective story • Can only see what the director intends • We are not allowed to see the entire scene • _____________ to cinema

12. The Close-up

13. Extreme close-up • Generally magnifies beyond what the human eye would experience in reality • ECU of a face would show only mouth or eyes

14. Common Shot Setup • 1. • 2. • 3. • Has the impression of getting closer to the subject • Director can of course break convention

15. Angles

16. Bird’s Eye View • Shows a scene from _________________ • Unnatural and strange angle • Puts the audience in a godlike position, looking down on the action • People can be made to look __________, ant-like, part of a wider scheme of things • Often referred to as the _____________ angle

17. Bird’s Eye View

18. High Angle • The camera is ___________ the subject • (can use a crane “crane shot”) • Subject appears ______________, ______________, __________________ • Can seem swallowed up by surroundings • Less in control

19. High Angle

20. Eye Level • No immediate significance • Another sort of _______________ • Most common shot • __________________________________

21. Eye Level

22. Low Angle • The camera is _____________ the subject • Subject appears _________, ________________, ________________, and _______________________ • Size and strength can appear exaggerated

23. Low Angle

24. Dutch Angle • Subject and camera are _______________ to the side • Image appears sideways, to an extent” in the frame • Used in horror and gangster to show _________ character or ________________ situation • Can create ______________ or imply ________ ___________________ • Lets us know all is not well and the situation will soon explode

25. Dutch Angle

26. Camera Movement

27. Pan • Camera moves __________ to _____________ • Camera does not move, only the head • Often left to right • natural for Western viewers) • Can become the ____________________ of the characters

28. Tilt • Camera moves _________ and _____________ • Camera does not move, only the head • Communicates distance, size, and strength • A character preparing to climb a mountain (starts at bottom and moves to top) • A male character focusing of leg of woman and slowly moving up to reveal the rest of her

29. Zoom • Focal length of the lens changes • Object appears ___________ or _______________________ • Directs our attention to a ______________

30. Tracking or Dolly Shots • _____________________ of the camera • Moves us through the space of the film • We go with the action • Camera may be on a truck, track, or helicopter or handheld

31. Hand-held Shots • Started being used during WWII; never truly caught on; can be shaky • 1970s – invention of the ______________ makes it possible to travel around using a portable camera • Rocky going up the steps, boy riding bike in The Shining • Both hand-held and Stedicam are used to give a _____________________ • Opening of Saving Private Ryan

32. Editing Putting all the various shots together Most common type is a ___________ - a change between two different shots

33. Fade • Image on screen _________________ • Screen is black or some other color • New image slowly fades onto screen • Can be used to show __________________

34. Dissolve • Image on screen slowly ________________ • Instead of fading all the way out, another image ____________________ • Makes a ___________________ between two objects or characters

35. Cross Cut • Shows events occurring in different spaces are happening __________________ • Also used to create ___________________ (i.e. Godfather)

36. Flashback • Conventions of a flashback in movie • Character begins narrating a story • Look up or through a window • Non-diegetic music may fade in • Shot dissolves into another scene, usually still with voice-over

37. Eye-Line Match/Reaction Shot • Also called ________________________ • Shot of person looking • Cut to what he or she saw • Cut back for a reaction • Can reveal what a character ___________ • __________________ by the director • His job is to make us feel for the characters

38. Eye Line Match

39. Match Cut • A _________________ relationship between the shots may make the change seem smooth

40. Shots • Average shot is ____________ seconds • _____________ by Hitchcock • Whole movie is _____ ten minute takes • Only _________ in the entire movie

41. Sound

42. Diegetic Sound • Any sound that ________________ by a character within the movie environment • A character speaks or coughs, a cat meows • Background noise, traffic, dialogue • __________________ and ________________ hear the same thing

43. Non-Diegetic Sound • Sound that __________________________ logically by the characters • Only intended for the _________________ • Often music (the film score) • Voice-over narration

44. Internal diegetic sound • Only the _______________________ can hear these things • Character is talking to himself • Character remembers things they heard before

45. Focus

46. Soft Focus • Subject slightly out of focus (blurry) • Romantic films – creates a lighter mood • Also used to communicate uncertainty

47. Sharp Focus • Brilliant clarity • High degree of realism

48. Rack Focus • Brings either the ____________________ or ___________________ into focus • Shows changing relationships within a __________, without having to cut from the shot • Director ____________ the viewer’s attention where the director wants them to look • A character (in focus) in the background is pacing around the room. The phone rings. The character goes out of focus and the phone is now in focus. We know the call is important

49. Rack Focus

50. Deep Focus • Orson Welles (pioneer) • All objects in ____________________ and _________________ remain in focus • Shows relationship between characters and objects in environment • Gives a greater sense of ______________ since in real life we choose what we want to look at