Stalker vision or monster vision is a cinema technique used to convey a sense of being watched. Often used in horror movies to inspire dread of what one is watching, this shot-framing incorporates a few techniques for effect.
A point-of-view shot is used to convey a clear sense of distance between the viewpoint and the subject. The subject is shown from the perspective of the stalker, and cover (such as foliage) is often shown in the periphery to demonstrate that the viewer is hiding. Another aspect of stalker vision is that it usually shows an everyday action that is not usually public.
Also, one of the mainstays of stalker vision is that the victim is watched over a period of time. Often telescopes, binoculars, or other observation equipment are combined with a tree stand or some other place of watching.
Stalker vision often features a fairly helpless target, usually the female protagonist or a child in a horror movie. This tendency of the stalker or monster to prey upon the weak is used to create hatred and dislike for the viewer, and worry for the victim.
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.
In photography, filmmaking and video production, a wide shot is a shot that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. These are typically shot now using wide-angle lenses. However, due to sheer distance, establishing shots and extremely wide shots can use almost any camera type.
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.
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.
Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime, horror and detective fiction. Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense, excitement, surprise, anticipation and anxiety. This genre is well-suited to film and television.
A close-up or closeup in filmmaking, television production, still photography, and the comic strip medium is a type of shot that tightly frames a person or object. Close-ups are one of the standard shots used regularly with medium and long shots. Close-ups display the most detail, but they do not include the broader scene. Moving toward or away from a close-up is a common type of zooming. A close up is taken from head to neck, giving the viewer a detailed view of the subject's face.
A film transition is a technique used in the post-production process of film editing and video editing by which scenes or shots are combined. Most commonly this is through a normal cut to the next shot. Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story. These other transitions may include dissolves, L cuts, fades, match cuts, and wipes.
A trailer is a commercial advertisement, originally for a feature film that is going to be exhibited in the future at a movie theater/cinema. It is a product of creative and technical work.
Continuity editing is the process, in film and video creation, of combining more-or-less related shots, or different components cut from a single shot, into a sequence to direct the viewer's attention to a pre-existing consistency of story across both time and physical location. Often used in feature films, continuity editing, or "cutting to continuity", can be contrasted with approaches such as montage, with which the editor aims to generate, in the mind of the viewer, new associations among the various shots that can then be of entirely different subjects, or at least of subjects less closely related than would be required for the continuity approach. When discussed in reference to classical Hollywood cinema, it may also be referred to as classical continuity.
The Dutch angle, also known as Dutch tilt, canted angle, vortex angle, or oblique angle, is a type of camera shot which involves setting the camera at an angle on its roll axis so that the shot is composed with vertical lines at an angle to the side of the frame, or so that the horizon line of the shot is not parallel with the bottom of the camera frame. This produces a viewpoint akin to tilting one's head to the side. In cinematography, the Dutch angle is one of many cinematic techniques often used to portray psychological uneasiness or tension in the subject being filmed. The Dutch tilt is strongly associated with the German movie scene during the expressionist movement, which used the Dutch angle extensively.
The Beast of Yucca Flats is a 1961 B-movie horror film written and directed by Coleman Francis. It was produced by Anthony Cardoza, Roland Morin and Jim Oliphant.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
The over-the-shoulder shot 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 documentary film is a film story concerning factual topics. These films have a variety of aims: to record specific events and ideas; to inform viewers; to convey opinions and to create public interest. A number of common techniques or conventions are used in documentaries to achieve these aims.
Bodily mutilation in film describes the apparent mutilation for theatrical purposes of a character in a film. Bodily mutilation is most usually portrayed in the context of horror, but is also used in other genres, such as medical dramas or war films. It is used primarily either to shock or fascinate the audience of a film, or to add a sense of realism to a film. Improved special effects in recent decades have seen an increase in the prevalence of bodily mutilation in film.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
A jump scare is a technique often used in horror films and video games, intended to scare the audience by surprising them with an abrupt change in image or event, usually co-occurring with a loud, jarring sound. The jump scare has been described as "one of the most basic building blocks of horror movies". Jump scares can startle the viewer by appearing at a point in the film where the soundtrack is quiet and the viewer is not expecting anything alarming to happen, or can be the sudden payoff to a long period of suspense.
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.
A horror game is a video game genre centered on horror fiction and typically designed to scare the player. Unlike most other video game genres, which are classified by their gameplay, horror games are nearly always based on narrative or visual presentation, and use a variety of gameplay types.
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