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Film Vocab

Subjects : performing-arts, film
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Creating an image by combining several elements created separately using computer graphics rather than photographic means






2. A shot that contains two characters within the frame






3. An alternative to classical and realist styles - formalism is a self-consciously interventionist approach that explores ideas - abstraction - and aesthetics rather than focusing on storytelling (as in classical films) or everyday life (as in realist






4. A filter that simply reduces the amount of light entering the lens - without affecting the color characteristics






5. The details of a character's past that emerge as the film unfolds - and which often play a role in character motivation






6. Creating an image by combining several elements created separately using computer graphics rather than photographic means






7. A contemporary modification of the standard three-act structure that identifies a critical turning point at the halfway mark of most narrative films






8. A camera shot taken at a large distance from the subject. Using the human body as the subject - a long shot captures the entire human form






9. An effect created when more light is required to produce an image strakes the film stock - so that the resulting image exhibits high contrast - glaring light - and washed out shadows. This effect ma or may not be intentional on the filmmaker's part






10. Processes such as Cinemascope and Cinerama - developed during the 1950s to enhance film's size advantage over the smaller television image






11. (Automatic dialogue replacement) recording synchronized dialogue in post-production - cutting several identical lengths of developed film and having actors record the dialogue repeatedly






12. Creating images during post-production by joining together photographic or CGI material shot or created at different times and places






13. A shot taken by a camera that is held manually rather than supported by a tripod - crane or Steadicam. Generally - such shots are shaky - owing to the motion of the camera operator






14. The period after principal photography during which editing and looping take place - and special visual effects are added to the film






15. A model of industrial organization in the film industry from about 1915 to 1946 - characterized by the development of major and minor studios that produced - distributed - and exhibited films - and held film actors - directors - art directors - and o






16. A technique of intentionally adding scratches in a film's emulsion layer for aesthetic purposes - such as to simulate home movie footage






17. A shot transition that emphasizes the visual similarities between two consecutive shots






18. Lighting design where the key light is somewhat more intense than the fill light - so the fill does not eliminate every shadow. The effect is generally less cheerful than high-key lighting - but not as gloomy as low-key lighting






19. The artful use of light and dark areas in the composition in black and white filmmaking






20. A description of film stock that is highly sensitive to light






21. An agreement made between filmmakers and those who license the use of commercial products to feature those products in films - generally as props used by characters






22. Cinema verite; a documentary style in which the filmmaker attempts to remain as unobtrusive as possible - recording without obvious editorial comment






23. A single take that contains an entire scene






24. Sound design that blends the speech of several characters talking simultaneously - used to create spontaneity - although it may also confuse the audience






25. A visual effect created when the subject in the frame is restricted by the objects or the physical properties of the set






26. A production term denoting a single uninterrupted series of frames exposed by a motion picture or video camera between the time it is turned on and the time it is turned off. Filmmakers shoot several takes of any scene and the film editor selects the






27. The camera should move at least 30 degrees any time there is a cut within a scene






28. Dense accumulation of detail conveyed in the opening moments of a film






29. Prefogging; a cinematographic technique that exposes raw film stock to light before - during - or after shooting - resulting in an image with reduced contrast. This effect can also be created using digital post-production techniques






30. A shot taken by a camera that is held manually rather than supported by a tripod - crane or Steadicam. Generally - such shots are shaky - owing to the motion of the camera operator






31. A film composed entirely of footage from other films.






32. A shot combining two kinds of movement: the camera tracks in toward the subject wile the lens zooms out






33. A technique of filming at a speed faster than projection - the projecting the footage at normal speed of 24 frames per second. Because fewer frames were recorded per second - the action appears to be speeded up






34. A shot filmed from an airplane or helicopter






35. Lighting design in which the greater intensity of the key light makes it impossible for the fill to eliminate shadows - producing a high-contrast image (with many grades of light and dark) - a number of shadows - and a somber mood






36. A narrative - visual - or sound element that refers viewers to other films or works of art






37. A technique used to join live action with pre-recorded background images. A projector is aimed at a half-silvered mirror that reflects the background - which the camera records as being located behind the actors






38. A technique of shooting a scene at a very high speed (96 frames per second) - then adding and subtracting frames in post-production - 'fanning out' the action through the overlapping images






39. Assists the editor with various tasks - including taking footage to the lab - checking the condition of the negative - cataloguing footage - and supervising optical effects - often produced by an outside company






40. A technique of running the motion picture camera at a speed slower than projection speed (24 frames per second) - in order to produce at a fast motion sequence when projected at normal speed. The term derives from early film cameras - which were cran






41. A narrative - visual - or sound element that refers viewers to other films or works of art






42. A lens with a focal length greater than 50 mm (usually between 80mm and 20mm) - which provides a larger image of the subject than a normal or wide-angle lens but which narrows the angle of vision and flattens the depth of the image relative to normal






43. A film process that uses 35mm film stock but changes the orientation of the film so that the film moves through the camera horizontally instead of vertically. The larger image is of higher quality than standard 35mm processes






44. A cinematography technique that produces an image with many planes of depth in focus. It can be accomplished by using a small aperture - a large distance between camera and subject - and/or a lens of short focal length






45. A shot that depicts a human body from the feet up






46. Glass filters whose surface is etched with spots that refract light - so they create the appearance of water droplets in the air






47. Optical illusions created during post-production






48. A shot taken from a vantage point so close that only a part of the subject is visible. On an actor - it might show only an eye or a portion of the face






49. A narrative approach that limits the audience's view of events to that of the main character(s) in the film. Occasional moments of omniscient narration may give viewers more information than the character shave at specific points in the narrative






50. Because film stock is sensitive to the color of light - directors work with film labs in post-production to monitor the color scheme of each scene in a film - making adjustments for consistency and aesthetic effect