FILM ART GLOSSARY

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Across
  1. 5. An alteration of story order in which the plot presentation moves forward to future events and then returns to the present.
  2. 6. In cinematography, the difference between the brightest and the darkest areas within the frame.
  3. 7. A type of filmic organization in which the parts create and support an argument.
  4. 8. The overall system of relationships among the parts of a film.
  5. 10. The degree to which a film’s parts relate systematically to one another and provide motivations for all the elements included.
  6. 12. The repeated and salient uses of film techniques characteristic of a single film or a group of films (e.g., a filmmaker’s work as a national movement).
  7. 13. The right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the character’s eyelines.
  8. 14. The presumed or actual author of a film, usually identified as the director; also sometimes used in an evaluative sense to distinguish good filmmakers (auteurs) from bad ones.
  9. 17. A type of filmic organization in which the parts related to one another through repetition and variation of such visual qualities as shape, color, rhythm, and direction of movement.
  10. 18. Storytelling that occurs across different media platforms, such as films, comic books, and novels, but that derives from a single intellectual property. Each platform is expected to add some unique narrative material.
  11. 20. In (traditional) filmmaking, the joining of two strips of film together with a splice. In the finished film, an instantaneous change from one framing to another.
  12. 21. In a narrative film, all the events that are directly presented to us, including their casual relations, chronological order, duration, frequency, and spatial locations; opposed to story, which is the viewer’s imaginary construction of all the events in the narrative.
  13. 22. A shot taken with the camera placed approximately where the character’s eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking.
  14. 23. In a narrative film, the aspect of temporal manipulation that involves the time span presented in the plot and assumed to operate in the story.
  15. 25. A return to a view of an entire space after a series of closer shots following the establishing shot.
  16. 26. A relatively coherent system of values, beliefs, or ideas shared by some social group and often taken for granted as natural or inherently true.
Down
  1. 1. A type of filmic organization in which the parts relate to one another through aseries of causally related events taking place in time and space.
  2. 2. The process through which the plot conveys or withholds story information. It can be more or less restricted to character knowledge and more or less deep in presenting characters’ perceptions and thoughts. Also refers to the technical way the “story is told.”
  3. 3. Color design that emphasizes a narrow set of shades of a single color.
  4. 4. A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase.
  5. 9. The degree to which a film adaptation remains faithful to either the narrative details or the spirit of its source material.
  6. 11. The viewer’s activity of analyzing the implicit and symptomatic meanings suggested in a film.
  7. 15. Storytelling techniques, devices, or formal elements that are shared across media.
  8. 16. In a narrative film, all the events that we see and hear, plus all those that we infer or assume to have occurred, arranged in their presumed causal relations, chronological order, duration, frequency, and spatial locations; opposed to plot, which is the film’s actual presentation of events in the story.
  9. 19. A type of organization in which the film’s parts are juxtaposed to suggest similarities, contrasts, concepts, emotions, and expressive qualities.
  10. 24. Referential: allusion to particular items of knowledge outside the film that the viewer is expected to recognize. Explicit: significance presented overtly, usually in language and often near the film’s beginning or end. Implicit: significance left tacit, for the viewer to discover upon analysis or reflection. Symptomatic: significance that the film divulges, often against its will, by virtue of its historical or social context.