Shot/reverse shot (or shot/countershot) is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character (a reverse shot or countershot). Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. [1] [2]
Shot/reverse shot is a feature of the "classical" Hollywood style of continuity editing, which deemphasizes transitions between shots such that the spectator perceives one continuous action that develops linearly, chronologically, and logically. It is an example of an eyeline match. [1]
Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology.
A point of view shot is a short film scene that shows what a character is looking at. It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction. The technique of POV is one of the foundations of film editing.
In film and video production, split screen is the visible division of the screen, traditionally in half, but also in several simultaneous images, rupturing the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye. There may or may not be an explicit borderline. Until the arrival of digital technology, a split screen in films was accomplished by using an optical printer to combine two or more actions filmed separately by copying them onto the same negative, called the composite.
Mise-en-scène is the stage design and arrangement of actors in scenes for a theatre or film production, both in visual arts through storyboarding, visual theme, and cinematography, and in narrative storytelling through direction. The term is also commonly used to refer to single scenes that are representative of a film. Mise-en-scène has been called film criticism's "grand undefined term". It has been criticized for its focus on the theatrical or dramatic design aspects rather than the plot itself, as those who utilize Mise-en-scène tend to look at what is "put before the camera," rather than the story. The use of mise-en-scène is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the content of the scene.
A jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time. Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, which made extensive use of jump cuts and popularized the technique during the 1960s. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. Jump cuts tend to draw attention to the constructed nature of the film. More than one jump cut is sometimes used in a single sequence.
Diegesis is a style of fiction storytelling that presents an interior view of a world in which:
Traditional animation is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation in cinema until computer animation.
In filmmaking, a double is a person who substitutes another actor such that the person's face is not shown. There are various terms associated with a double based on the specific body part or ability they serve as a double for, such as stunt double, "dance double", "butt double" and "hand double".
Film look is a process in which video is altered in overall appearance to appear to have been shot on film stock. The process is usually electronic, although filmizing can sometimes occur as an unintentional by-product of some optical techniques, such as telerecording. The effect is the exact opposite of a process called VidFIRE.
In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.
Creative geography, or artificial landscape, is a film editing technique invented by the early Russian filmmaker Lev Kuleshov sometime around the 1920s. It is a subset of montage, in which multiple segments shot at various locations and/or times are edited together such that they appear to all occur in a continuous place at a continuous time. Creative geography is used constantly in film and television, for instance when a character walks through the front door of a house shown from the outside, to emerge into a sound stage of the house's interior.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
Memento is a 2000 American neo-noir mystery thriller film written and directed by Christopher Nolan, and produced by Suzanne and Jennifer Todd. The film's script was based on a pitch by Nolan's brother Jonathan Nolan, who wrote the 2001 story "Memento Mori" from the concept. Guy Pearce stars as Leonard Shelby, a man who suffers from anterograde amnesia, resulting in short-term memory loss and the inability to form new memories. He is searching for the people who attacked him and killed his wife, using an intricate system of Polaroid photographs and tattoos to track information he cannot remember. Carrie-Anne Moss and Joe Pantoliano co-star.
In film editing, video editing and post production, screen direction is the direction that actors or objects appear to be moving on the screen from the point of view of the camera or audience. A rule of film editing and film grammar is that movement from one edited shot to another must maintain the consistency of screen direction in order to avoid audience confusion.
An eyeline match is a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person: for example, a shot showing a man looking off-screen is followed by a shot of a television. Given the audience's initial interest in the man's gaze, it is generally inferred on the basis of the second shot that the man in the first was looking at the television, even though the man is never seen looking at the television within the same shot.
The over-the-shoulder shot (OTS) is a camera angle used in film and television, where the camera is placed above the back of the shoulder and head of a subject. This shot is most commonly used to present conversational back and forth between two subjects. With the camera placed behind one character, the shot then frames the sequence from the perspective of that character. The over-the-shoulder shot is then utilised in a shot-reverse-shot sequence where both subject's OTS perspectives are edited consecutively to create a back and forth interplay, capturing dialogue and reactions. This inclusion of the back of the shoulder allows audiences to understand the spatial relationships between two subjects, while still being able to capture a closer shot of each subject’s facial expression. In film and television, the filmmaker or cinematographer’s choice of an OTS shot’s camera height, the use of focus and lenses affect the way audiences interpret subjects and their relationships to others and space.
A film – also called a movie, motion picture, moving picture, picture or photoplay – is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound and, more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
Post-classical editing is a style of film editing characterized by shorter shot lengths, faster cuts between shots, and containing more jump shots and close-ups than classical editing characteristic of films prior to the 1960s.
This glossary of motion picture terms is a list of definitions of terms and concepts related to motion pictures, filmmaking, cinematography, and the film industry in general.
Bartholomew Henry "Barry" Allen, also known as The Flash, is a fictional character in the DC Extended Universe. Based on the DC Comics superhero of the same name, he is portrayed by American actor Ezra Miller. The Flash makes his first cinematic appearance in Batman v Superman: Dawn of Justice before having a more prominent role in Justice League, and its director's cut. Miller has also reprised the role in other DC Comics media such as the Arrowverse and a cameo in the HBO Max series Peacemaker and is currently slated to star in The Flash, an upcoming film based on the character. The DC Extended Universe marks the first time The Flash has been portrayed in live-action film.
Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York: McGraw-Hill. ISBN 0-07-331027-1.
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