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| Film Terms Glossary | ||
| Cinematic Terms | Definition and Explanation | |
| tag line | > | a clever phrase or short sentence to memorably characterize a film, and tease and attract potential viewers, or sell the movie; also creates a catchy 'soundbite' often repeated or presented in a trailer or on a film's poster, sometimes along with the film's leitmotif |
| take | > | a single continuously-recorded performance, shot or version of a scene with a particular camera setup; often, multiple takes are made of the same shot during filming, before the director approves the shot; in box-office terms, take also refers to the money a film's release has made |
| talent | > | a term applied to the actors, as a group, on a film set |
| talkies | > | the common term used for films with sound (beginning in 1927), although rarely used currently. The advent of talkies marked the dawning of the era of sound films, as opposed to silent films |
| talking head(s) | > | a medium shot of people conversing; used as a criticism - denoting an uninteresting image |
| tap | > | a slang term, meaning to "pick", "select", "name", or "appoint" |
| tearjerker(s) | > | an excessively-sentimental or emotional film, usually with suffering female protagonists, tragic circumstances, manipulative scenes, and dramatic musical scoring; aka melodramas or weepies; derogatively known as a 'woman's film' or 'chick flick'; contrast to feel-good film |
| Technicolor | > | the trade name for the best known color film process; 3-strip color is often used as a synonymous term; also used generically as a term for rich, bright, vibrant, sometimes garish colors; Technicolor films were described as highly saturated (with pure and vivid colors); Technicolor (a 3-color dye transfer system) was introduced in the Disney short cartoon, Flowers and Trees (1932) |
| tech-noir | > | modern day (or post-modern) expressionistic film noirs set in the future, with dark, decaying societies |
| telefilm | > | refers to a feature-length motion picture made for television; also known as telepic or telepix; see also made-for TV movie |
| telephoto (lens) | > | refers to a camera lens with a very long focal length and narrow angle of view - the effect is to compress or condense depth in space, thereby bringing distant objects closer to the viewer (without moving the camera), but it also flattens the depth of the image; it has the opposite of the effect of a wide-angle lens |
| tentpole | > | an industry slang or trendy buzzword term, meaning a film that is expected to serve as a primary support for a studio, i.e., to be a top-grossing blockbuster (usually during the summer season), to compensate for a studio's other flops; usually the film is the start of, or an installment in, a franchise |
| theatre - theater (film) | > | the place for screening, presenting, or viewing a film or motion picture; aka cinema |
| theatrical | > | a slang term referring to a feature-length motion picture |
| theme (film) | > | the central characteristic, idea, concern or motif in a film |
| theme music | > | the opening or closing music of a motion picture, often containing the film's 'signature' or leitmotif tune/phrase that is associated with a character or situation within the film |
| three-shot | > | refers to a medium shot that contains three people; compare to two-shot |
| tie-in | > | refers to any commercial venture connected to a film |
| tilt shot (or oblique angle) | > | a camera tilted up or down on a diagonal along a vertical axis; a vertical camera movement from a fixed position often used to suggest an imbalance, or strangeness, or to emphasize size, power or menace; also known as tilt pan, tilt up or tilt down (or reveal), or vertical pan, although not technically the same as "pan up" or "pan down", similar to a moving close-up; a dutch angle is filmed at an extreme diagonal tilt |
| time lapse | > | a method of filming where frames are shot much slower than their normal rate, allowing action to take place between frames, and giving the appearance of the action taking place much faster in the finished product; often done for nature filming (the blooming of a flower, the movement of clouds, etc.), allowing the viewer to witness the event compressed from real time (hours or days) into a few seconds; (one frame shot every 30 seconds over 24 hours of real time would equal two minutes of film time); opposite of slow-motion |
| tint | > | the use of color to physically tint film stock to achieve a desired mood, usually done selectively by hand; often used by silent black-and-white films before the widespread use of color film. See gel and sepia. |
| title role | > | the lead part in a movie or other production for an actor or actress, that is named after the title of the film |
| titles | > | the words that appear on the film screen and convey information; categories of titles include: credit titles, main titles, end titles, insert titles, and subtitles; a creeper title, also known as a roll-up title, refers to a film title that appears to move solwly across the screen - vertically or horizontally; in silent film, "titles" (called title cards or intertitles) included the written commentary and full screens of textual dialogue spliced within the action; title design refers to the artistic manner in which the title of a film is displayed on screen; the working title is the name by which a film is known while it is being made (e.g., during the filming of Psycho (1960), it was known as Production 9401); see also credits |
| tix | > | abbreviation for tickets |
| tone | > | the mood or atmosphere of a film scene, often revealed by the director in the way a film is directed, e.g., serious, humorous, satiric, amusing, etc. |
| toon | > | abbreviation for cartoon |
| topline | > | to star; or to be billed above the title of a film; the topliner is the star of a particular film |
| topper | > | refers to the head of a company or organization |
| tour de force | > | literally "forceful turn" (French); usually refers to a lead actor's performance that was incredibly skillful, brilliant, notable, masterful, reflecting a very high standard, and perfectly displaying the actor's ability; compare to 'stealing a scene' - the equivalent for a supporting actor role |
| tracking shot (or truck) | > | a smooth shot in which the camera moves alongside ('tracking within') the subject, usually mounted on a dolly, in a side-to-side motion (relative to the scene or the action); also known as following shot; sometimes used interchangeably with dolly shot, pull back (pull-out, push-out, widen-out or push-back) shot, track back (moving away) or track in (or push-in) (moving forward), or zoom shot; see also Steadicam |
| trademark | > | refers to a personal touch or embellishment of an actor, director, writer or producer within a film; aka signature, calling card. |
| trades | > | refers to the professional magazines and publications that report the daily or weekly entertainment news of the entertainment industry. |
| trailer | > | a short publicity film, preview, or advertisement composed of short excerpts and scenes from a forthcoming film or coming attraction, usually two-three minutes in length; often presented at the showing of another film. Historically, these advertisements were placed at the end of a newsreel or supporting feature and so "trailed" them, hence the name; also commonly known as preview(s); also, another name for the tail - a length of blank leader (strip of film) at the end of a reel; a teaser is basically a very short trailer (of 15-30 seconds in length) that only provides a few hints about the film (a Web address, a few bars of music, a quick sequence of images, specially-shot footage, etc.). |
| transition (or transitional technique or device) | > | one of several ways of moving from one shot or scene to the next, including such transitional effects or shots as a cut, fade, dissolve, and wipe; a transition focus between two scenes means the current scene goes out of focus and the next scene comes into focus |
| trash film | > | refers to second-run, low-budget films that are deliberately over-the-top, infantile, amateurish, sometimes excessively gory or raunchy which are intended to shock, disgust, and repel mainstream audiences, and appeal to non-traditional audiences. Sometimes described as a sub-category of exploitation and cult films, or called a 'turkey' film. Compare with sexploitation, B-films, and Z-films. |
| travelogue | > | a film made for the purpose of showing scenes from foreign, exotic places |
| treatment | > | a detailed literary summary or presentation of a film's story, with action and characters described in prose form, often used to market and/or sell a film project or script; a completed treatment is a late stage in the development of a screenplay after several story conferences have incorporated changes into the script; contrast to a synopsis (a brief summation of a film); |
| trilogy | > | a group of three films that together compose a larger narrative and are related in subject or theme |
| triple threat | > | refers to an actor or actress who can sing, dance and act skillfully and equally well on a consistent basis; usually applicable to performers in the musicals genre; it also could refer to a person who can act, direct, and screenwrite! |
| tubthump | > | a term that denotes to promote or draw attention to; usually conducted by publicists, advertisers, and agents; from the ancient show business custom of actors wandering the streets banging on tubs and drums to draw an audience together |
| turnaround | > | refers to a film or project that has been abandoned by a studio and is no longer active (and now available for being shopped to another studio) |
| twist ending | > | a film that is marketed as having a surprise ending that shouldn't be revealed (as a spoiler) to those who haven't seen the picture |
| two-fer | > | slang for coupons that discount an film's admission price to "two for" the price of one |
| two-hander | > | refers to a film with only two characters |
| two-reeler | > | in the silent era, this referred to a film lasting a little over 20 minutes |
| two-shot | > | a medium or close-up camera shot of two people (often in dialogue with each other), framed from the chest up; often used to provide a contrast between the two characters; compare to three-shot |
| typecasting | > | when an actor or actress is commonly (but unfairly) identified, associated with, or 'stereotyped' by a particular character role; casting against type is the reverse of typecasting; typage refers to director Eisenstein's theory of casting that shunned professional actors in favor of 'types' or representative characters |
Sumber:Filmsite.org
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