Theatre: Cinema

Topic: DesignConstruction Engineering
Sample donated:
Last updated: May 1, 2019
is aesthetic communication through the design of time and three-dimensional space compressed into a two-dimensional image

Persistence of vision
the continuance of a visual image on the retina for a brief time after the removal of the object

follows the rules of literary construction in that it usually begins with expository material, adds levels of complications, builds to a climax, and ends with a resolution of all the plot elements

a work that presents its subject factually, often with interviews and narration

film that may use a narrative structure, and some of the events may be ordered or compressed for dramatic reasons, but its presentation gives the illusion of reality

a film that exists for its own sake; for its record of movement or form

it does not tell a story, although documentary techniques can be used in some instances

the composition of a finished work from various shots and soundtracks

the joining of shots together during the editing process

Jump cut
the instantaneous cut from one scene to another or from one shot to another

Form cut
a cut that umps from one image to another, both of which have a similar shape or contour

the type of cut handled either as an indication of compression or elongation of time, or as a rapid succession of images to illustrate an association of ideas

the images recorded continuously from the time that camera starts to the time it stops – that is, an unedited piece of film

Master shot
a single shot of an entire piece of action

Establishing shot
a long shot at the beginning of a scene to establish the time, place, and so forth

Long shot
a shot that includes an area within the image that corresponds approximately to the audience’s view of the area within the proscenium arch in the live theatre

Medium shot
is taken nearer to the subject

is a shot taken with the camera quite near the subject

is a close-up of two persons with the camera as near as possible while keeping both subjects within the frame

Bridging shot
is a shot inserted in the editing of a scene to cover a brie break in the continuity of the scene

Objective viewpoint
reflects an omnipotent viewer, roughly analogous to the technique of third-person narrative in literature

Subjective viewpoint
they present the scene as if we were actually participating in it, and present the action from the filmmaker’s perspective

to follow a moving object with the camera

a transition from one shot to another by fading out and fading in

Lap dissolve
the simultaneous fade in and fade out of two scenes so that they briefly overlap

a line that passes across the screen eliminating one scene as it reveals the next

a masking device that blacks out portions of the screen, allowing only part of an image to be seen

Depth of focus
when both near and distance objects are clearly seen

Rack focus
(differential focus) when an object is clearly shown while the remainder of the scene is out of focus

a shot taken as the camera moves in the same direction, at the same speed, and in the same place as the object has been photographed

a shot taken while moving the camera vertically or diagonally

Dolly shot
moves the camera toward and away from the subject

Zoom shot
a change, in one continuous movement, from wide angle to telephoto, and vice versa

Cinema veritee
a style of presentation based on complete realism that uses aleatory methods, a minimum of equipment, and a documentary approach

the technique of alternating between two independent actions that are related thematically or by plot to give the impression of simultaneous occurance

Tension release
deliberately draws laughter from the audience, but at a place in the film where they wish the to laugh

a short, recurring theme, idea, melody, or other element

Direct address
when a character addresses the audience directly

the scope of universality of the theme

a generally accepted practice, technique, or device

Structure rhythm
reflects the manner in which the various shots join together and juxtapose with other cinematic images, both visual and aural

Symbolic images
range from the very obvious to the extremely subtle, but filmmakers use them all in directing our attention to the ideas inherent in the philosophical appraoch underlying the film

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