COMM 274 The Shot: Cinematography

Etablishing shot a shot usually involve a distant

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Etablishing Shot: a shot usually involve a distant froming that shows the spatial relatins amoung the important fgures, objects, and setting in a scene d. Shot/Reverse Shot: e. Eyeline Match: a cut obeyig the axis of action principle in which the first shot shows a person loking off in one direction and second shows a nerby
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space containing what he or she sees; if the person looks left the following shot should imply that the looking is offscreen right f. Restablishing Shot: a return to a view of an entire space after a series of closer shots following establishing shot g. Match on Action: a continuity cut that splice two different views of the same action together at the same moment in the movement, makit it seem to continue uninterrupted B. Continuity Editing: Some Fine Points a. Cheat Cut: in the continutity editing system, a cut that presents continuous time from shot to shot but that mismatches the positons of figures or objects C. More Refinements: Crossing the Axis of Action D. Crosscutting: editing that alternaties shots of two or more lines of action occurring in different places, ususally symotaneously E. Temporal Continuity: Order, Frequency, and Duration a. Montage Sequence: a segment of film that summaries a topic or compresses a passage of time into brief symbolic or typical images; frequently dissolves, fades, superimpostions, and wipes are used to link these images Alternative to Continuity Editing A. Graphic and Rhythmic Possibilities B. Spatial and Temporal Discontinuity a. Jump Cut: an elliptical cut that appears to be an interruption of a single shot; either the figures seem to change instanfly against a constant background, or the background changes instantly while the figures reamin constant b. Nondiegetic Insert: a short or series of shorts cut into a sequence, showing objects that are represented as being outside the world of the narrative Chapter 12 – “Film Art and Film History” Early Cinema (1893 - 1903) The Development of the Classical Hollywood Cinema (1908 – 1927) German Expressionism (1919 – 1926) French Impressionism and Surrealism (1918 – 1930) A. Impressionism B. Surrealism Soviet Montage (1924 – 1930)
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The Classical Hollywood Cinema After the Coming of Sound Italian Neorealism (1942 – 1951) The French New Wave (1959 – 1964) The New Hollywood and Independent Filmmaking Contemporary Hong Kong Cinema
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  • Fall '12
  • Coffman
  • Shot, Film editing, Long shot, crane shot, B. The shot, d.ii. Long Shot

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