A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
| Cinematic Terms | Definition and Explanation | |
| call sheet | > | a type of schedule given out periodically during a film's production to let every department know when they are supposed to arrive and where they are to report |
| cameo | > | originally meaning "a small piece of artwork," refers to a bit part (usually a brief, non-speaking or walk-on role that is uncredited or unbilled) or special screen appearance by a famous actor, director, or prominent person who would ordinarily not take such a small part; contrast to a bit part; also refers to a type of camera shot in which the subject is filmed against a black or neutral background. See Directors' Cameos. |
| camera | > | the basic machine involved in film-making, from a hand-held version to portables, to heavy studio cameras; some of the parts of a camera include the aperture, lens, film magazine (for storage), viewfinder, etc; the positioning of the camera by the camera operator is known as the setup |
| camera angle | > | the point of view (POV) or perspective (including relative height or direction) chosen from which to photograph a subject. Various camera angles, compositions, or positions include: front, behind, side, top, high (looking down), low (looking up), straight-on or eye-level (standard or neutral angle), tilted (canted or oblique), or subjective, etc.; see also framing |
| camera movement | > | the use of the camera to obtain various camera angles and perspectives. (See motion picture camera shots below, including the pan, tilt, track, and zoom; also boom/crane shots, Steadicam, or hand-held) |
| camera operator | > | the individual who is responsible for operating the camera, under the direction of the film's director and director of photography (or cinematography) |
| camp (or campy) | > | a type of comedy parody wherein conventional (and especially overused or clichéd) situations and plot devices are intentionally exaggerated to the point of absurdity to produce humor |
| can ("in the can") | > | refers to the round metal/plastic container that holds or stores film (reels) for transport or for long-term storage; a film that has been completed is known colloquially as "in the can"; canned means pre-recorded; also see reel |
| candlelight (lighting) | > | refers to lighting that is provided by candlelight, to provide a warm hue or tone, and connote intimacy, romance, and harmony |
| capsule review | > | a short movie review |
| caption | > | the descriptive, printed line(s) of text that occasionally appears on the screen, usually at the bottom of the frame, to describe the time/place, or to translate a foreign word/phrase; different from closed-captioning (closed captions are all white uppercase (capital) letters encased in a black box that require a decoder or television with a decoder chip to be viewed) for deaf or hard-of-hearing viewers; see also subtitles |
| caricature | > | a character appearing ridiculously out of proportion because of one physical, psychological or moral trait that has been grossly or broadly exaggerated; a caricature often portrays a character in an unrealistic, stereotypical fashion |
| cartoon | > | an animated film that is usually not of feature length; also see animation |
| cash cow | > | in movie terms, a definitely guaranteed, 'can't-miss' blockbuster film that promises to generate disproportionately tremendous profits due to its lucrative franchise (sequels, merchandising, spin-offs, etc.). See Greatest Film Franchises of All-Time. |
| cast | > | a collective term for all of the actors/performers (or talent) appearing in a particular film: usually broken down into two parts: the leads with speaking roles, and the seconds or supporting characters, background players or extras, and bit players |
| cast against type | > | an actor playing a role distinctly different from roles previously played |
| casting | > | the process of selecting and hiring actors to play the roles and characters in a film production, and be brought under contract; the lead roles are typically cast or selected by the director or a producer, and the minor or supporting roles and bit parts by a casting director; type-casting refers to an actor playing only roles similar to those he/she has played before |
| casting couch | > | refers to the illegal practice (mostly during the heyday of the studio system) when unknown young actors or actresses (starlets) exchanged sex (literally on an office couch) with a casting director or producer in order to acquire/land a role in a film |
| cast of thousands | > | an advertising claim, often used in big-screen historical epics of the 1930s-60s, when literally 1,000s of extras were hired for crowd scenes, battle scenes, etc |
| catchphrase (film) | > | short phrases, expressions, or words that have become favored and/or popularized due to repeated use, often by film critics |
| catharsis | > | during a film's climax, the audience may experience a purging or cleansing of emotional tension, providing relief or therapeutic restoration |
| cautionary tale | > | A literary term, referring to a narrative with a moral message warning of the consequences of certain actions, ideologies, character flaws, technologies or institutions, often with a downbeat ending; many slasher horror films are semi-cautionary tales about one of the consequences of sex or experimenting with the occult --- death; see also satire, morality tale and nihilism |
| cel (or celluloid, animation cel) | > | refers to each of the thousands of hand-drawn sheets (of clear, transparent material, either celluloid or Mylar) representing a single animation frame to allow several layers of composition. Cels consist of character cels (containing only the foreground characters or objects - those things that move from frame to frame) and background cels, (static drawings of scenery that remain the same). The character cels are placed against the background cels and filmed or shot one frame (or picture) at a time to produce the effect of motion. Celluloid also refers to the thin strip of transparent plastic coating that forms the film's highly-flammable, light-sensitive base layer (such as nitrate base or acetate base); also used as an adjective related to some aspect of cinema (e.g., "the celluloid hero"); the light-sensitive substance coating on one side of the film base is termed emulsion; celluloid is also a slang word for a movie |
| censorship | > | the process of determining what can or can not be viewed by the public or depicted by the motion picture industry; also refers to changes required of a movie by some person or body (other than the studios or film-makers, such as a national or regional film classification board); see also rating systems and banned. See Sex in Cinema and Most Controversial Films of All-Time. |
| CGI | > | or Computer-Generated Imagery (or Images), a term referring to the use of 3D computer graphics and technology (digital computers and specialized software) in film-making to create filmed images, special effects and the illusion of motion; often used to cut down on the cost of hiring extras. See Visual/Special Effects. |
| change-over cue | > | the small dot, oval or mark on the top-right corner of a film frame that signaled to the projectionist to change over from one projector (or film reel) to another (about every 15-20 minutes); nowadays, most film theatres have only one projector - the reels are spliced together into one giant roll and fed into a single projector from a horizontal revolving turntable called a platter |
| character | > | the fictitious or real individual in a story, performed by an actor; also called players. |
| character actor | > | an actor who specializes in playing well-defined, stereotypical, archetypal, off-beat, humorous, or highly-recognizable, fictional roles of a particular physical, emotional, or behavioral type, in a supporting role; see also typecasting. |
| character color coding | > | refers to identifying a film's character or persona with a particular color; changes in color often represent transformations, shifts, merges, or changes in persona |
| character study | > | a film that uses strong characterizations, interactions and the personalities of its characters to tell a story, with plot and narrative almost secondary to them |
| cheater cut | > | the footage put into the beginning of a serial episode to show what happened at the end of the previous episode |
| chemistry (or screen chemistry) | > | referring to performances between actors who are uncommonly suited and perfectly complementary to each other; performances that lack screen chemistry can sometimes be disastrous for a film; see also buddy film |
| chiaroscuro | > | literally, the combination of the two Italian words for "clear/bright" and "dark"; refers to a notable, contrasting use of light and shade in scenes; often achieved by using a spotlight; this lighting technique had its roots in German Expressionistic cinematography; aka high-contrast lighting or Rembrandt lighting; flat lighting or TV lighting (bright and flat lighting with no shadows) is its opposite |
| 'chick flicks' | > | refers to films popular with women, but also used in a derogatory sense to marginalize films with heavy, sappy emotion and numerous female characters; aka tearjerkers |
| child actor | > | technically, any actor under the age of 18; aka moppet |
| chopsocky | > | slang for a martial arts film |
| choreographer (and choreography) | > | a person who plans, designs, organizes, sequences, and directs dancing, fighting, or other physical actions or movements in a film or stage production; a dancer is known as a hoofer. |
| cineaste | > | refers to a film/movie enthusiast or devotee; also used in the name of a leading film magazine |
| CinemaScope | > | the term commonly refers to widescreen processes or anamorphic techniques, that use different magnifications in the horizontal and the vertical to fill the screen; it is also the specific trademark name for 20th Century Fox's commercially-successful widescreen process which uses an aspect ratio of 2.35:1 (originally it could be as wide as 2:66:1 - to compete with Cinerama and 3-D processes in the 1950s. |
| cinematic | > | relating to or suggestive of motion pictures; having the qualities of a film. |
| cinematographer (also cinematography) | > | specifically refers to the art and technique of film photography, the capture of images, and lighting effects, or to the person expert in and responsible for capturing or recording-photographing images for a film, through the selection of visual recording devices, camera angles, film stock, lenses, framing, and arrangement of lighting; the chief cinematographer responsible for a movie is called the director of photography (or D.P.), or first cameraman; one of the earliest movie-picture machines, patented by the Lumiere brothers in 1895, was termed a Cinematographe. |
| cinema verité | > | a French word that literally means "true cinema" or "cinema truth"; a method or style of documentary movie-making with long takes, no narration and little or no directorial or editing control exerted over the finished product; usually made without actors, and often with a minimum of film equipment, a small film crew (camera and sound), impromptu interview techniques, and a hand-held camera and portable sound equipment; sometimes used to loosely refer to a documentary-style film or minimalist cinema; popularized in the 1950s French New Wave movement; now widely used (often inappropriately) to refer to the popular, artsy trend of using hand-held camera techniques; also termed free cinema (UK) or direct cinema (UK) |
| Cinerama | > | a wide-screen filming process that first used three cameras and three projectors to achieve an encompassing view of the subject matter, and was projected on a curved screen of about 160 degrees; it was the first commercially-successful multiple-camera/multiple-screen process. |
| clapboard (clapper (board) or slate) | > | a small black or white board or slate with a hinged stick on top that displays identifying information for each shot in a movie, and is filmed at the beginning of a take. The board typically contains the working title of the movie, the names of the director, the editor, and the director of photography, the scene and take numbers, the date, and the time. On the top of the clapboard is a hinged wooden stick (called a clapstick or clapper) which is often clapped to provide audio/visual synchronization of the sound with the picture during editing; electronic clappers and synchronization are currently in use instead of the old-fashioned clapboard. |
| claymation | > | refers to the animation of models constructed of clay, putty, plasticine, or other moldable materials, often through stop-motion. |
| click | > | slang denoting a 'hit' film |
| cliffhanger | > | a film characterized by scenes of great tension, danger, adventure, suspense, or high drama, often climaxing at the end of a film, or at the end of a multi-part serial episode, where the plot ending and the fate of the protagonist(s) are left unresolved; the name was derived from the movie serials of the 1930's where each week the hero (or heroine) was perilously left dangling from a cliff -- with a 'to-be-continued' ending -- to increase interest for the next episode (sequel). |
| climax | > | the highest point of anxiety or tension in a story or film in which the central character/protagonist faces, confronts, and deals with the consequence(s) of all his/her actions, or faces the antagonist in a climactic battle or final engagement; a crisis often leads to a climax; also called the film's high point, zenith, apex, or crescendo; a climax may be followed by an anti-climax or denouement |
| clip | > | see film clip |
| close-up | > | a shot taken from a close distance in which the scale of the object is magnified, appears relatively large and fills the entire frame to focus attention and emphasize its importance; i.e., a person's head from the shoulders or neck up is a commonly-filmed close-up; a tight shot makes the subject fill almost the entire frame; also extreme close-up (ECU or XCU) is a shot of a part of a character (e.g., face, head, hands) to emphasize detail; also known as detail shot or close on; contrast to long-shot (LS) |
| (the) Coast | > | slang meaning either Hollywood or Los Angeles, both entertainment centers |
| coda | > | literally, means "tail" in Italian, and usually refers to musical selections; in film, it refers to the epilogue, ending or last section of a film (often wordless), that provides closure, a conclusion, or a summary of the preceding storyline |
| coin | > | a slang term for money or financing |
| color (film) | > | a phenomenon of light or visual perception that enables one to differentiate otherwise identical objects caused by differing qualities of the light reflected or emitted; contrast to black and white. |
| colorization | > | the film-altering process whereby a black and white film is digitally changed to include color; popularized but controversial in the 1980s. |
| comedian | > | an actor who specializes in genre films that are designed to elicit laughter from audiences; also known as a comic |
| comedy (film) | > | a film with elicits laughter or humor by celebrating or showing the eternal ironies of human existence; types include screwball, dark/black, farce, slapstick, dead-pan, parody, romantic comedy, etc. |
| comic relief | > | a humorous or farcical interlude in a dramatic film, usually provided by a buffoonish character, intended to relieve the dramatic, built-up tension or heighten the emotional impact by means of contrast |
| coming-of-age (film) | > | a film associated with difficult teen rites of passage (from adolescence to adulthood), the onset of puberty, the loss of naive innocence and childhood dreams, the experience of growing up, achieving sexual identity, etc.; aka teen films |
| command performance | > | a great performance in a film by an actor, sometimes referring to the one before his or her death; it originally referred to a special performance that was requested by a sovereign, royal, head of state, or other important person |
| commentary | > | an objective opinion or description of characters or events occurring in the film, presented from an omniscient point of view by a commentator; the commentator's voice comes from off-camera, and is presented on the soundtrack as a voice-over; also refers to one of the added features on various DVDs in which a cast member, director, film critic, or film historian 'comments' on the film in some way |
| compilation film | > | a film made up of shots, scenes, or sequences from other films |
| complication | > | a plot event that complicates or tightens the tension of a film |
| composer | > | the musician who creates (writes or adapts) the film's musical score; contrast to a conductor (who directs the orchestra's performance of the score), or a lyricist (who writes a song's words) |
| composition | > | refers to the arrangement of different elements (i.e., colors, shapes, figures, lines, movement, and lighting) within a frame and in a scene |
| concert film (rock or comedy) | > | a film that records the live concert performance of musician(s), a band/group, or stand-up comic(s); concert films are often edited over the course of many performances and/or staged for the camera with multiple set-ups, and can be considered pseudo-documentaries; a rock concert is aka rockumentary |
| continuity (editing or cutting) | > | the system of editing that developed in the early 20th century to provide a continuous and clear movement of events/images in a film; refers to the final edited structure of a completed film, with the events or scenes/sequences arranged as if they had occurred continuously, when, in fact, they were shot out of sequence; continuity also refers to the degree to which a film is self-consistent without errors, jump cuts, or mis-matched shots and details; a continuity cut refers to a editing cut that takes the viewer seamlessly, unobtrusively, and logically from one sequence or scene to another, to propel the narrative along; a blooper or flub is a continuity error |
| contract player | > | an actor (both stars and bit players) who has a contractual commitment or agreement to a studio/producer/company |
| contrast | > | refers to the difference between light and shadow, or between maximum and minimum amounts of light, in a particular film image; can be either high contrast (with a sharp delineation between the bright and dark areas) or its opposite low contrast; color can also be contrasted; see also chiaroscuro |
| conventions | > | the expected elements in a type of film, without question, thought, or judgment |
| Coogan's Law | > | refers to landmark legislation in the late 30s designed to protect a child actor's earnings, by depositing some of the minor's earnings in court-administered trust funds that the child receives when he/she reaches the age of majority; named after child actor Jackie Coogan |
| costume (or wardrobe) and costume design | > | refers to the garments or clothing worn by actors/performers in a film; a costume (or wardrobe) designer researches, designs, and selects the costumes to be appropriate to the film's time period, the characters, their location, and their occupations, whereas the costumer (or stylist) is responsible for acquiring, selecting, manufacturing, and/or handling the clothing and accessories; a costume drama is a film set in a particular historical time period, often with elaborate costuming |
| courtroom drama | > | a drama and/or mystery story, in which the main protagonist is a lawyer, and a majority of the drama and dramatic action takes place in a courtroom setting; the plot revolves around the preparation of a trial and its result of guilt or innocence |
| coverage | > | refers to all the shots, including closeups and reverse angles, that a director takes in addition to the master shot, to make up the final product; to have proper coverage means having all the proper scenes, angles, lightings, close-ups, and directions |
| crane shot | > | a camera shot taken from a large camera dolly or electronic device (an apparatus, such as a crane), resembling a extendable mechanical arm (or boom), that can raise the camera up in the air above the ground 20 feet or more; the crane allows the camera to fluidly move in virtually any direction (with vertical and horizontal movement), providing shifts in levels and angles; crane shots usually provide some kind of overhead view of a scene |
| credits | > | in general, this term refers to the list of technical personnel, cast, and crew of a film; specifically, it refers to the list of names and functions of persons and corporations contributing and responsible for the artistic or intellectual content of a film, such as: "Story by...", "Screenplay by...", "Photography by...", etc.; sometimes distinguished from the cast (the performers in front of the camera); see also titles or post-credits sequence. |
| crew | > | refers to those involved in the technical production of a film who are not actual performers |
| crisis | > | the period of highest tension just before the climax of a film (there can be more than one); the point at which events reach their highest level of tension |
| critic (or film critic,film reviewer) | > | an individual who writes and/or publishes a review of a film from either an artistic or entertainment point of view. Film reviews often analyze and discuss a film's details, its content and characters, a critique of the performances, camera work, directing, editing, production, and script; film critics are usually more philosophical and theoretical than film reviewers or commentators; film criticism refers to the analysis of the narrative, historical and stylistic characteristics of film; 'critics' is sometimes abbreviated as crix. |
| Cinematic Terms | > | the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with another - usually in different locations or places, thus combining the two; this editing method suggests parallel action (that takes place simultaneously); often used to dramatically build tension and suspense in chase scenes, or to compare two different scenes; also known as inter-cutting or parallel editing. |
| cross-cutting | > | a film or production that is made for one audience, but may easily 'cross-over' to another unexpected audience; also refers to a film, actor, or production that appeals to different demographic groups or age groups and can move between two or more distinct franchises; see also hybrid |
| crowd shot | > | a shot or image of a large group of people (often extras) in a film; CGI is now often used to film large crowd shots, to avoid huge costs associated with hiring extras |
| cue | > | a signal or sign for an actor to begin performing, from either another performer, from the director, or from within the script; a cue is often the last word of one character's line(s) of dialogue, when another performer is expected to 'pick up their cue' to speak. |
| cue cards | > | a device (cards, scrolling screen, teleprompter, or other mechanism) printed with dialogue provided to help an actor recite his/her lines; an electronic cue card is called a (tele)-prompter; derogatively called idiot cards or idiot sheets. |
| cult film(s) | > | usually a non-mainstream film that attracts a small, but loyally-obsessed group of fans, and remains popular and worshipped over many years; cult films have limited but special appeal, and often have unusual or subversive elements or subject matter; they are often replayed for repeat viewings and audience participation (and group identification) as midnight movies; not to be confused with B-films (not all cult films are B-films) |
| cut (or cutting) | > | an abrupt or sudden change or jump in camera angle, location, placement, or time, from one shot to another; consists of a transition from one scene to another (a visual cut) or from one soundtrack to another (a sound cut); cutting refers to the selection, splicing and assembly by the film editor of the various shots or sequences for a reel of film, and the process of shortening a scene; also refers to the instructional word 'cut' said at the end of a take by the director to stop the action in front of the camera; cut to refers to the point at which one shot or scene is changed immediately to another; also refers to a complete edited version of a film (e.g., rough cut); also see director's cut; various types of cuts include invisible cut, smooth cut, jump cut (an abrupt cut from one scene or shot to the next), shock cut (the abrupt replacement of one image by another), etc. |
| cutaway shot | > | a brief shot that momentarily interrupts a continuously-filmed action, by briefly inserting another related action, object, or person (sometimes not part of the principal scene or main action), followed by a cutback to the original shot; often filmed from the POV of the character and used to break up a sequence and provide some visual relief, or to ease the transition from one shot to the next, or to provide additional information, or to hint at an impending change; reaction shots are usually cutaways; cross-cutting is a series of cutaways and cutbacks indicating concurrent action; a cutaway is different from an insert shot. |
| cyberpunk | > | a sub-genre of science fiction, derived from combining the terms cybernetics and punk, and related to the digital or information technology society (referring to the proliferation of computers, the online world, cyberspace, and 'hacking'); this sub-genre also incorporates classic film-noirish characteristics into its style - traits include alienation, dehumanization, the presence of counter-cultural anti-heroes, darkness, dystopia, and corruption; heavily influenced by the novels of Raymond Chandler; also associated with the work of writer William Gibson and his 1984 novel Neuromancer |
| cyclorama | > | the curved backdrop used to represent the sky when outdoor scenes are shot in the studio |
Sumber:FilmSite.org
0 comments:
Komentar Anda Mengenai Film Ini: