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Classical Cinema
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Avoids extremes of realism/formalism in favor of slightly stylized presentation that has at least a surface plausibility. Style rarely calls attention to itself. Images are determined by relevance to story and characters. Story oriented.
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Classical Cinema
Avoids extremes of realism/formalism in favor of slightly stylized presentation that has at least a surface plausibility. Style rarely calls attention to itself. Images are determined by relevance to story and characters. Story oriented.
Form
The way in which film/photo is shot/filmed.
Realism (as a style)/Realistic films
An unmanipulated style. Attempts to show the content in an undistorted way.
Shot
Unedited strip of film
Extreme long shot
Taken from great distance. Shows much of locale. Called establishing shots. Most oten found in epic films, where locale plays an important role.
Full shot
Barely includes human body in full wit head at top of frame, feet near bottom
Long shot
Ranges approx. to the distance between audience and stage in live theater
Medium shot
Contains a figure from the knees or waist up. Used for carrying movement dialogue, and exposition scenes.
Two-shot
Contains two figures from the waist up
Close up
Concentrates on realtively small object; eyes, face.
Deep-focus shot
Usually long shot consisting of # of focal distances and photographed in depth (Frankenstein). Captures objects at close/medium/long rages simultaneously. Objects arranged in a sucession of planes.
Birds-eye view
Allows viewer to hover above scene like a god, making humans seem like ants.
High-angle shots
Give viewer sense of general overview, but not necessarily implying fate or destiny. Movement slowed down. Suggests tediousness. Importance of setting or environment is increased. Reduce importance of subject.
Low-angle shots
Increase height and suggest verticality. Motion is sped up; in scenes of violence esp., capture sense of confusion. Environment usually minimized in low angles. Heighten importance of subject. Person filmed from low angle inspire fear/awe.
Oblique angle
Angle which suggests inbalance or other POV shots. Suggests tension, transition, impending movement. Can disorient viewer, inspire sense of visual anxiety.
Cinematographer/D.P
Responsible for arranging and controlling lighting of a film and quality of photography.
Take
Variation of a specific shot. Can be multiple takes for each shot.
Lighting key
Style of lighting geared to theme and mood of a film as well as its genre.
High key
Key in which comedies and musicals tend to be lit. Bright, even illumination with few conspicuous shadows.
High contrast
Style of lighting emphasizing harsh shafts and dramatic streaks of blackness. Usually used in tragedies and melodramas.
Low key
Style of lighting with diffused shadows and atmospheric pools of light. Mysteries, thrillers, and gangsters films usually shot in this key.
Available lighting
Lighting which exists on location of filming spot-either natural (sunlight) or aritifcial (house lights). Tends to produce grainy texture and a documentary look.
Formalist use of light
Light is used for its symbolic implications and will deliberately distort natural light patterns to achieve effect.
Backlighting
Placement of lights behind a set to produce a silhouetting or darkness. Soft/ethereal.
Spotlights
Through the use of this, image can be composed of violent contrasts of lights and darks
Overexposure
The permitting of too much light to enter aperture of camera, which produces glaring flood of light. Used in nightmare and fantasyu sequences most effective, and can suggest a sense of emotional exaggeration.
Painterly style
Soft-edged, sensuous, romantic. Line deemphasized, colors and textures shimmer in hazily defined radiantly illuminated environment.
Linear style
Emphasizes drawing, sharply-defined edges, and supremacy of line over colors and texture.
Dominant
Person or thing that impels the audence's attention and focus
Realist filmmakers
Use normal/standard lenses to produce minimum of distortion.
Formalist filmmakers
Often prefer lenses and filters that intensify given qualities and surppress others.
Telephoto lens
Lens used to get close-ups of objects from extreme distances, Allows cinematographers to work discreetly. Has long lens. Most long lenses are in sharp focus on one distance plane only- D.Ps use the lur created by the long lenses as an expressive technique.
Rack/selective focusing
technique of changing the focus of an image to another to guide the viewer's eye to various distances in a sequence
Wide-angel/short lenses
Have short focal lengths and wide angels of view. Used in deep-focus shots, for they preserve a sharpness of focus on virtually all distance planes.The wider the angle, the more lines and shapes tend to warp, esp. at edges of image.Distances between various depth planes are exaggerated.
Fast stock
Film stock which is highly sensitive to light and in some cases can register images with no illumination except what' savailable on location
Slow stock
Relatively insensitive to light and requires as much as 10x more illumination than fast stock. Traditionally, capable of capturing colors precisely without washing them out
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