Necessary Film Terminology for Writing Analytically about Film
Key Point: Filmmakers use camera placement, lenses, angles, distances, etc., to establish physical and psychological relationships between object and viewer. This is how meaning and themes are communicated to the viewer.
Lenses & Effects
Wide-Angle Lens
places most or all focal planes on the screen in focus for the viewer--that is, more objects come into focus. This lens also exaggerates depth within the frame, and it may even distort images or boundaries within the frame when used for a medium or close-up shot. Also, the sense of movement within the frame increases.
Telephoto Lens
reduces the depth and volume of images within the frame. This lens usually isolates a single image in focus, leaving the rest of the focal planes within the frame in less focus (i.e., the opposite effect of the wide-angle lens).
Normal Lens
is the closest lens to approximate the perspective of the human eye. This lens avoids any kind of distortion (exaggerating depth as in the wide-angle lens, and flattening distance as with the telephoto lens).
Fish-Eye Lens
a super wide-angle lens that gives a sense of curvature to the image/frame.
Rack-to-Focus
a shift in focus from the foreground to the middle of the frame.
Deep Focus
is a means of framing in depth that relies upon a wide-angle lens (i.e., clarity is noticeable in several planes).
Deep Space
refers to composition of the frame; it deals with how focal planes are arranged in depth in a shot, not with the clarity of their appearance. In other words, deep space does not refer to clarity of focus of objects in frame.
Camera Distance: Shots & Creating the Scene
(Note: Camera shots are created in reference to the human body.)
Close-Up Shot
Usually a focused view of the character's head or face, cut off from the environment. Creates a strong sense of intimacy or empathy with a character. Provides a detailed study of a character's psychological reaction.
Extreme Close-Up Shot
usually singles out a portion of the face and isolates/magnifies it in detail.
Long Shot: shows full human figures, head to foot, in clear visible surroundings and spatial relationships. The background tends to dominate the frame, in contrast to the close up.
Medium Shot
shows the actor from the waist up. It often creates a comfortable or strained intimacy for the audience.
The "American Shot" (Plan Americain)
shows the actor from the knees to the top of the head, moving in defined space.
Medium Close-up Shot
frames the body from the chest to the top of the head.
Over-the-Shoulder Shot
often provides the aesthetic feel of a two shot (i.e., a frame containing two people) while focusing on one person's reaction.
Camera Angles
(Key Point: The angle at which we view an object affects how we react or feel towards the characters.)
High Angle
looks down, creates an aloof, superior, detached, or indifferent point of view.
Extreme High-Angle Shot
a straight-down angle, creates a dehumanizing effect because it's the least familiar way for us to look at another person.
Mid-Angle
looks across from object, creates effect that viewer is placed equally with character. Creates space for sympathy or understanding.
Low-Angle
looks up, creates feeling of helplessness or intimidation in face of something powerful or dominant.
Canted Angle, or the "Dutch Angle"
camera is offset, creating a topsy-turvy worldview, stressing the unfamiliar or the disorienting.
Subjective Angle
is a point of view angle; it represents the point of view of another character, as if the camera is the eyes of the character.
Framing
Masking
covering up part of the frame/image that the viewer sees. This act changes our sight of the frame, which in turn changes the meaning of what we see and how to interpret the characters' actions.
Iris
a special technique of masking that creates an eye-shaped (oval) focus to single out and place emphasis upon a particular part of the frame. The iris usually signals that the shot we see is a purely subjective point of view.
Camera Movement
Pan
a slow horizontal pivoting of a camera fixed in one place.
Tracking Shot
linear movement of camera alongside a moving object or scene-camera moves, not stationary.
Tilt Shot
shows slow vertical pivoting of camera; implies aspiration, thoughtfulness, or curiosity.
Crane
a vertical or diagonal movement up and down, enables viewer inspection of large objects.
Dolly
smooth rolling movement of camera either into or out of a field of vision; implies curiosity gratified, spatial intrusion, or lack of interest.
Camera Speed
Slow Motion
used to create dreamlike vision, lyrical, entrapping, confined or other emotional qualities or states.
Lighting
(Key Point: Lighting creates what we see and also defines what and how we see it.)
Natural Light
sunlight, moonlight, outside lights that are not arranged.
Artificial Light
light that we arrange and contrive/create or simulate.
Key Light
main source of light in a scene; comes from one side or another.
Filler
a balancing light used to eliminate shadows created by key light; often directed at a star's face to
provide a balanced lighted perspective.
Back Light
illuminates the back of a scene and the head and back of a subject; often creates a "halo effect" around the head and shoulders of the subject.
Hard Lighting
sharply contrasts illuminated and shadowed areas; suggests mystery, ominous situations, fear, used a lot in film noir.
Soft Lighting
creates an evenly lit world, where things are known or soon-to-be known. Usually militates against the generation of suspense or fear, and does not create strong moral distinctions between characters.