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| Film Terms Glossary | |
| Cinematic Terms | Definition and Explanation |
| 180 degree rule | a screen direction rule that camera operators must follow - an imaginary line on one side of the axis of action is made (e.g., between two principal actors in a scene), and the camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed |
| 24 frames per second | refers to the standard frame rate or film speed - the number of frames or images that are projected or displayed per second; in the silent era before a standard was set, many films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p |
| 3-D | a film that has a three-dimensional, stereoscopic form or appearance, giving the life-like illusion of depth; often achieved by viewers donning special red/blue (or green) or polarized lens glasses; when 3-D images are made interactive so that users feel involved with the scene, the experience is called virtual reality; 3-D experienced a heyday in the early 1950s; aka 3D, three-D, Stereoscopic 3D, Natural Vision 3D, or three-dimensional |
| above the line | usually refers to that part of a film's budget that covers the costs associated with major creative talent: the stars, the director, the producer(s) and the writer(s), although films with expensive special effects (and few stars) have more 'above the line' budget costs for technical aspects; the term's opposite is below the line |
| abstract (form) absurd (absurdism) | a type of film that rejects traditional narrative in favor of using poetic form (color, motion, sound, irrational images, etc.) to convey its meaning or feeling; aka non-linear; see also avant-garde a stage, philosophical and literary term originally, adopted by film-makers, in which ordinary settings become bizarre, illogical, irrational, unrealistic, meaningless, and incoherent |
| Academy Awards | the name given to the prestigious film awards presented each year by AMPAS (the Academy of Motion Picture Arts and Sciences, or simply 'The Academy'), a professional honorary organization within the industry, since 1927. The annual awards show, in slang, is sometimes referred to as a kudo-cast, see also Oscars |
| act | a main division within the plot of a film; a film is often divided by 'plot points' (places of dramatic change) rather than acts; long films are divided mid-way with an intermission |
| action | (1) any movement or series of events (usually rehearsed) that take place before the camera and propel the story forward toward its conclusion; (2) the word called out (by a megaphone) at the start of the current take during filming to alert actors to begin performing; (3) also refers to the main component of action films - that often contain significant amounts of violence |
| actor | refers either to a male performer, or to any male or female who plays a character role in an on-screen film; alternate gender-neutral terms: player, artist, or performer |
| actress | refers to any female who portrays a role in a film |
| adaptation | the presentation of one art form through another medium; a film based upon, derived from (or adapted from) a stage play (or from another medium such as a short story, book, article, history, novel, video game, comic strip/book, etc.) which basically preserves both the setting and dialogue of the original; can be in the form of a script (screenplay) or a proposal treatment |
| ad lib | a line of dialogue improvised by an actor during a performance; can be either unscripted or deliberate; improvisation consists of ad-libbed dialogue (and action) that is invented or created by the performer |
| aerial shot | a camera shot filmed in an exterior location from far overhead (from a bird's eye view), as from a helicopter (most common), blimp, balloon, plane, or kite; a variation on the crane shot; if the aerial shot is at the opening of a film, aka an establishing shot |
| Alan Smithee film | the pseudonym used by directors who refuse to put their name on a film and want to disassociate themselves, usually when they believe their control or vision has been co-opted by the studio (i.e., the film could have been recut, mutilated and altered against their wishes); aka Alan Smithee Jr., Allan Smithee, or Allen Smithee |
| A-Level (or A-List) | usually refers to top-tier actors/actresses who are paid upwards of $20 million per feature film; can also refer to producers, directors and writers who can be guaranteed to have a film made and released |
| allegory | mostly a literary term, but taken in film terms to mean a suggestive resemblance or correspondence between a visible event or character in a film with other more significant or abstract levels of meaning outside of the film; an extended metaphor |
| allusion | a direct or indirect reference - through an image or through dialogue - to the Bible, a classic, a person, a place, an external and/or real-life event, another film, or a well-known cultural idea |
| alternate ending | the shooting (or re-shooting) of a film's ending for its theatrical release, usually enforced by the studio for any number of reasons (because of test audience preview results, controversial or unpopular subject matter, to provide a 'happy' ending, etc.). See also director's cut |
| ambiance | the feeling or mood of a particular scene or setting |
| ambient light | the natural light (usually soft) or surrounding light around a subject in a scene; also see background lighting |
| ambiguity | a situation, story-line, scene, or character, etc. in which there are apparent contradictions; an event (and its outcome) is deliberately left unclear, and there may exist more than one meaning or interpretation; can be either intentional or unintentional, to deliberately provoke imaginative thinking or confusion |
| anachronism anamorphic | an element or artifact in a film that belongs to another time or place; often anachronistic elements are called film flubs related to different optical imaging effects; refers to a method of intentionally distorting and creating a wide screen image with standard film, using a conversion process or a special lens on the camera and projector to produce different magnifications in the vertical and horizontal dimensions of the picture; an anamorphic image usually appears "squished" horizontally, while retaining its full vertical resolution; see also aspect ratio and the trade name CinemaScope. Many studios produced anamorphic lenses, using other trade names such as Panavision, Technovision, and Technirama. On the right are examples of anamorphic imaging effects from the film Blade (1998) (with an aspect ratio of 2:35.1). |
| ancillary rights | contractual agreement in which a percentage of the profits are received and derived from the sale of action figures, posters, CDs, books, T-shirts, etc. |
| angle | refers to the perspective from which a camera depicts its subject; see camera angle, and other specific shots (high, low, oblique, etc.) |
| animation | a form or process of filmmaking in which inanimate, static objects or individual drawings (hand-drawn or CGI) are filmed "frame by frame" or one frame at a time (opposed to being shot "live"), each one differing slightly from the previous frame, to create the illusion of motion in a sequence, as opposed to filming naturally-occurring action or live objects at a regular frame rate. Often used as a synonym for cartoons (or toons for short), although animation includes other media such as claymation, computer animation; see also CGI, claymation, stop-motion, time lapse. |
| anime | a distinctive style of animated film that has its roots in Japanese comic books (known as manga), yet covers a wide range of genres, such as romance, action/adventure, drama, gothic, historical, horror, mystery, erotica (hentai), children's stories, although most notably sci-fi and fantasy themes; originally called 'Japanimation' but this term is not used anymore; anime is found in a wide variety of storylines and settings, but usually recognizable and often characterized by heavily-stylized backgrounds, colorful images and graphics, highly exaggerated facial expressions with limited facial movement, simulation of motion through varying the background behind a static character or other foreground element, and frequently, big-headed characters with child-like, large eyes |
| antagonist | the main character, person, group, society, nature, force, spirit world, bad guy, or villain of a film or script who is in adversarial conflict with the film's hero, lead character or protagonist; also sometimes termed the heavy. |
| anthology film | a multi-part or multi-segmented film with a collection or series of various tales or short stories sometimes linked together by some theme or by a 'wrap-around' tale; often the stories are directed by different directors or scripted by various screenwriters, and are in the horror film genre; also known as an episode film or omnibus film; this term may also refer to a full-length, compilation-documentary film of excerpted segments or clips from other films (i.e., That's Entertainment (1974)). |
| anthropomorphism | the tendency in animated films to give creatures or objects human qualities, abilities, and characteristics. |
| anti-climax | anything in a film, usually following the film's high point, zenith, apex, crescendo, or climax, in which there is an unsatisfying and disappointing let-down of emotion, or what is expected doesn't occur. |
| anti-hero | the principal protagonist of a film who lacks the attributes or characteristics of a typical hero archetype, but with whom the audience identifies. The character is often confused or conflicted with ambiguous morals, or character defects and eccentricities, and lacks courage, honesty, or grace. The anti-hero can be tough yet sympathetic, or display vulnerable and weak traits. Specifically, the anti-hero often functions outside the mainstream and challenges it. |
| aperture | refers to the measurement of the opening in a camera lens that regulates the amount of light passing through and contacting the film. |
| archetype | a character, place, or thing, that is repeatedly presented in films with a particular style or characterization; an archetype usually applies to a specific genre or type classification. |
| arc shot | a shot in which the subject(s) is photographed by an encircling or moving camera. |
| arret | French word meaning 'halt' or 'stop'; refers to the in-camera trick technique of stopping the camera, then removing or inserting an object, then restarting the camera to have an object magically disappear or appear; one of the earliest techniques of silent film |
| art director | refers to the individual responsible for the design, look, and feel of a film's set, including the number and type of props, furniture, windows, floors, ceilings dressings, and all other set materials; a member of the film's art department (responsible for set construction, interior design, and prop placement). |
| arthouse | a motion picture theater that shows foreign or non-mainstream independent films, often considered high-brow or 'art' films. |
| art-house film | films, often low budget or 'art' films, that are acknowledged as having artistic merit or aesthetic pretensions, and are shown in an arthouse theatre; films shown usually include foreign-language films, independent films, non-mainstream (sometimes anti-Hollywood) films, shorts, documentaries, explicitly-erotic films, and other under-appreciated cinema of low mass appeal; began to appear in the 1950s and provided a distinct contrast to commercial films. |
| aside | occurs when a character in a film breaks the 'fourth wall' and directly addresses the audience with a comment. |
| aspect ratio | in general, a term for how the image appears on the screen based on how it was shot; refers to the ratio of width (horizontal or top) to height (vertical or side) of a film frame, image or screen; the most common or standard aspect ratio in early films to the 1950s was called Academy Aperture (or ratio), at a ratio of 1.33:1 (the same as 4:3 on a TV screen); normal 35mm films are shot at a ratio of 1.85:1; new widescreen formats and aspect ratios were introduced in the 1950s, from 1.65:1 and higher; CinemaScope (a trade name for a widescreen movie format used in the US from 1953 to 1967) and other anamorphic systems (such as Panavision) have a 2.35:1 AR, while 70mm formats have an AR of 2.2:1; Cinerama had a 2.77:1 aspect ratio; letterboxed videos for widescreen TV's are frequently in 16:9 (or 1.77:1) AR. |
| assembly | the first stage of editing, in which all the shots are arranged in script order. |
| asynchronous (sound) | refers to audio-track sounds that are mismatched or out of conjunction or unison with the images in the visual frame (or screen); sometimes accidental, but sometimes intentional; aka non-synchronized |
| atmosphere | refers to any concrete or nebulous quality or feeling that contributes a dimensional tone to a film's action. |
| audience | refers to spectators, viewers, participants - those who serve as a measure of a film's success; although usually audiences are viewed in universal terms, they can also be segmented or categorized (e.g., 'art-film' audiences, 'chick film' audiences, etc.). |
| audio | refers to the sound portion of a film. |
| audio bridge | refers to an outgoing sound (either dialogue or sound effects) in one scene that continues over into a new image or shot - in this case, the soundtrack, not a visual image, connects the two shots or scenes; aka lightning mix |
| audition | the process whereby an actor-performer seeks a role by presenting to a director or casting director a prepared reading or by 'reading cold' from the film script, or performing a choreographed dance; after the initial audition, a performer may be called back for additional readings or run-throughs. |
| auteur (or auteur theory) | literally the French word for "author"; in film criticism, used in the terms auteurism or auteur theory, denoting a critical theory (originally known as la politique des auteurs or "the policy of authors") popular in France in the late 1940s and early 1950s that was introduced by Francois Truffaut and the editors (including legendary film critic and theorist Andre Bazin) of the celebrated French film journal Cahiers du Cinéma (literally 'cinema notebooks'), arguably the most influential film magazine in film history; their ideas were subsequently enlarged upon in the 1960s by American critic Andrew Sarris, among others; the theory ascribed overall responsibility for the creation of a film and its personal vision, identifiable style, thematic aspects and techniques to its film-maker or director, rather than to the collaborative efforts of all involved (actors, producer, production designer, special effects supervisor, etc); the theory posited that directors should be considered the 'true' authors of film (rather than the screenwriters) because they exercise a great deal of control over all facets of film making and impart a distinctive, personal style to their films; simply stated, an auteur can refer to a director with a recognizable or signature style. |
| available light | the naturally-existing light in an off-set location; a film's realism is enhanced by using available or natural light rather than having artificial light. |
| avant-garde | refers to an experimental, abstract, or highly independent, non-independent film that is often the forerunner of a new artistic genre or art form; avant-garde films self-consciously emphasize technique over substance; also loosely applies to a group of French and German filmmakers in the early 20th century and to some modern American experimental filmmakers (e.g., Andy Warhol), and their film movement that challenged conventional film-making; see also cinema verite, surrealism, and abstract form |
Sumber: Filmsite.org
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