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Film stock made of nitrate, acetate, or polyester bases is the traditional medium for capturing the numerous frames of a motion picture, widely used until the emergence of digital film in the late 20th century. film theory film transition film treatment filmmaking. Sometimes used interchangeably with film production.
The most familiar type of affective shot is of the face. The close-up. Some films, such as Dreyer's The Passion of Joan of Arc (1928) are composed from a series of close-ups, and in this way create an affection-image film. The affection-image film is therefore a film which foregrounds emotions: desires, wants, needs.
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 ...
A scleroscope is a device used to measure rebound hardness. It consists of a steel ball dropped from a fixed height. The device was invented in 1907. As an improvement on this rough method, the Leeb Rebound Hardness Test, invented in the 1970s, uses the ratio of impact and rebound velocities (as measured by a magnetic inducer) to determine hardness
An iris shot is a technique used in silent film and television sometimes to emphasize a detail of a scene above all others, more commonly to end or open a scene. [1] [2] The film camera's iris is slowly closed or opened, so that what is visible on film appears in a decreasing or increasing circle, surrounded by black.
This glossary defines terms that are used in the document "Defining Video Quality Requirements: A Guide for Public Safety", developed by the Video Quality in Public Safety (VQIPS) Working Group. It contains terminology and explanations of concepts relevant to the video industry.
In contrast, film critic Jane Mills (2001) contends that money shot was "originally mainstream filmmakers' slang for the image that cost the most money to produce," [4] and only later transitioned to mean the image desired by the audience, the image that makes the money (and thus, finally, to its pornographic connotation).
Screen theory is a Marxist–psychoanalytic film theory associated with the British journal Screen in the early 1970s. [1] It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity. [2]