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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. A type of matte shot - created by positioning a pane of optically flawless glass with a painting on it between the camera and the scene to be photographed. This combines the painting on the glass with the set or location - seen through the glass - be






2. A specialist who monitors the processing of color on the se and in the film lab






3. A pan executed so quickly that it produces a blurred image - indicated rapid activity or - sometimes - the passage of time






4. 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






5. Secondary footage that is interspersed with master shots - sometimes in the form of footage shot for another production or archival footage






6. The film medium's technological apparatus is inherently ideological






7. Reels of film that are shipped to movie theaters for exhibition. Digital cinema - which can be distributed via satellite - broadband - or on media such as DVDs - may soon replace film prints because the latter are expensive to create - copy - and dis






8. A system of constructing and arranging buildings and objects on the set so that they diminish in size dramatically from foreground to background - which creates the illusion of depth






9. A shot depicting the human body from the waist up






10. Any lens with a focal length approximately equal to the diagonal of the frame. For 35mm filmmaking - a 35-50 mm lens does not distort the angle of vision or depth






11. A machine used to create optical effects such as fades - dissolves - and superimpositions. Most are now created digitally






12. A class or type of film - such as the Western or the horror movie. They share narrative - visual - and/or sound conventions






13. A glass element on a camera that focuses light rays so that the image of the object appears on the surface of the film






14. A technique in which the audience temporarily shares the visual perspective of a character or a group of characters. The camera points in the directions the character looks - simulating the character's field of vision






15. A musical in which some or all musical numbers are not motivated by the narrative; for example - characters sing and dance throughout the film but at least some performances are not staged for an onscreen audience. Examples include Oklahoma - The umb






16. The arrangement of images to depict a unified storyline






17. A property of older television monitors - where each frame was scanned as two fields: One consisting of all the odd numbered lines - the other all the even lines. If slowed down - the television image would appear to sweep down the screen one line at






18. Muted - washed out color that contains more white than a saturated color






19. A shot filmed from an airplane or helicopter






20. A shot that interrupts a scene's master shot and may include character reactions






21. Secondary footage that is interspersed with master shots - sometimes in the form of footage shot for another production or archival footage






22. 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






23. A shot taken when the camera is so close to a subject that it fills the frame. It is most commonly used for a shot that isolates and encompasses a single actor's face - to emphasize the expression of emotion






24. 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






25. Thin - flexible material comprised of base and emulsion layers - onto which light rays are focused and which is processed in chemicals to produce film images






26. 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






27. A technique of underdeveloping exposed film stock (leaving it in a chemical batch a shorter amount of time than usual) in order to achieve the visual effect of reducing contrast






28. A device used to manipulate the amount and/or color of light entering the lens






29. The practice or repeatedly casting actors in similar roles across different films






30. 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






31. Early films that documented everyday events - such as workers leaving a factory






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






33. Also called 'full screen -' the technique of re-shooting a widescreen film in order to convert it to the original television aspect ration of 1.33 to 1. Rather than reproduce the original aspect ratio - as a letterboxed version does - a panned and sc






34. A shot taken from a camera mounted on a crane that moves three-dimensionally in a space






35. A technique of moving from the telephoto position to the wide-angle position of a zoom lens - which results in the subject appearing to become smaller within the frame - while remaining in focus






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






37. A compositing method that allows cinematographers to combine live action and settings that are filmed or created separately. Actors are filmed against a green or blue background. During post-production - this background is filled in with an image thr






38. Louis Althusser's term for the way in which a society creates its subjects/citizens through ideological (as opposed to repressive) state apparatuses - which include education - media - religion - and the family






39. A shot that interrupts a scene's master shot and may include character reactions






40. Also called 'rushes.' Footage exposed and developed quickly so that the director can assess the day's work






41. A series of individual drawings that provides a blueprint for the shooting of a scene






42. The plotline that surrounds an embedded tale. The frame narration may or may not be as fully developed as the embedded tale






43. A flexible celluloid strip that - along with the emulsion layer - comprises 35mm film stock






44. Film productions shot outside the U.S. for economic reasons






45. A technique of exposing film frames - then rewinding the film and exposing it again - which results in an image that combines two shots in a single frame






46. An outlawed studio era practice - where studios forced exhibitors to book groups of films at once - thus ensuring a market for their failures along with their successes






47. A type of short film that blends elements of documentary and avant-garde film to document and often to celebrate the wonder of the modern city






48. A style of stage acting developed from the teachings of Constantin Stanislavsky - which trains actors to get into character through the use of emotional memory






49. A term describing a conclusion that does not answer all the questions raised regarding characters or storylines - nor tie up all loose ends






50. The classical model of narrative form. The first act introduces characters and conflicts; the second act offers complication leading to a climax; the third act contains the danouement and resolution