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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. Contents: 0–9
Back-to-back film production; Bankable star; Beat (filmmaking) Beatscript; Behind-the-scenes; Below-the-line (filmmaking) Billing (performing arts) Black and white hat symbolism in film; Blackout gag; Blaxploitation; Blockbuster (entertainment) Blocking (stage) Blooper; Bottle episode; Bouncing ball (music) Box office; Box-office bomb ...
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Film studies as an academic discipline emerged in the 20th century, decades after the invention of motion pictures.Rather than focusing on the technical aspects of film production, film studies are concentrated on film theory, which approaches film critically as an art, and the writing of film historiography.
In film, film grammar is defined as follows: A frame is a single still image. It is analogous to a letter. A shot is a single continuous recording made by a camera. It is analogous to a word. A scene is a series of related shots. It is analogous to a sentence. The study of transitions between scenes is described in film punctuation. Film ...
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
The Martin Secker & Warburg Ltd-published first edition—the 600-page Biographical Dictionary of Cinema [1] —was followed by Biographical Dictionary of Film, published by William Morrow & Co in June, 1980; [12] the third, entitled A Biographical Dictionary of Film, was released on November 17, 1994, by Andre Deutsch Ltd; 328 pages longer than the first edition, it added 200 new entries ...
Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs. [1]