the film corner
Słowniczek
RAMY
- Kadrowanie: część przestrzeni ujęta w kadrze obiektywu kamery bez przerw lub cięć.
- Profilmiczne: wszystko, co jest umieszczone przed obiektywem, sfilmowane przez kamerę.
- Dekupaż: końcowy wynik operacji, w której reżyser dzieli scenariusz na sekwencje i numeruje je, organizując pracę przed rozpoczęciem zdjęć. Jest to wewnętrzna struktura filmu, szkielet sekwencji, które następują jedna po drugiej.
- Poza ekranem: przestrzeń, która nie jest sfilmowana przez kamerę, ale rzekomo znajduje się wokół kadrowania.
- Sekwencja: seria kadrowań, które opowiadają/pokazują pojedynczy epizod narracyjny.
SOUND
- Soundtrack: ensemble of all sound tracks of a film: dialogues, sound effects, noises and music.
- Diegetic / non-diegetic sound: sounds can be diegetic if they belong to the narration of a film (e.g. the creak of a door or the dialogue between two characters) or non-diegetic if they do not belong to the events narrated in the film (e.g. the musical scores that accompany the sequences of the film).
- Onscreen / off-screen sound: sounds are onscreen if their source is within the framing, while they are off-screen when the source isn’t visible.
- Voice over: narrating off-screen voice that intervenes to explain or comment what is going on in the scene.
- Foley artist: professional figure specialized in recreating the sound effects of a film, from the sound of the falling rain during a thunderstorm to that of a woman’s high heels on the sidewalk.
EDITING
- Diegesis: the ensemble of all elements belonging to the story recounted in a film.
- Parallel editing: alternation of two or more sequences that have no space-time connection, which however generate particular expressive and symbolic effects.
- Alternate editing: alternation of two or more sequences that take place simultaneously but in different places. Often, the two actions are destined to converge in the same place.
- Montage: alternation of two or more sequences with the objective of creating sensorial pairs evoking a specific effect in the spectator’s mind. The concept of montage was perfected by Russian director Sergei Eizenstein at the beginning of the 1920s since he wanted to capture the audience’s attention and address it towards the workers’ struggle.
- Kuleshov effect: in 1918, Russian director Kuleshov was the first to demonstrate that editing is not only necessary to cut and piece together the sequences of a film, but it is also useful to create meaning: in fact, the spectator always gives specific meaning to the pairing of two very different framings.
- Shot reverse shot: editing technique commonly used during dialogues to show both speakers in alternation: each time one of the two speaks, the camera frames him/her.
- 180-degree rule: imagine the profilmic space cut in two by an imaginary line. The camera shall always move in the same half in order to guarantee continuity in meaning and avoid causing confusion in the audience.
- Match cut: technique used to connect two different shots so to make editing cuts the least visible possible.
-Axial cut: editing of two framings where the second is on the same axis as the first one, however closer or farther in space.
-Eyeline match: editing of two framings where the first shows a character looking at something, while the second one shows what the subject is looking at.
-Direction cut: editing of two framings that show a character moving in different spaces: the character shall enter the second framing following the same direction of when he exited the first one. - Jump cut: editing technique that breaks a sequence’s temporal continuity by cutting its central section and leaving the initial and final part next to each other.
