Shot reverse shot is a film technique where one character is shown looking at another character and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. [1]
180 Degree Rule
In film making, the 180 degree rule refers to the idea that there is a line that connects the characters and the camera must never cross this line. [2]
30 Degree Rule
The 30 degree rule is rule used in filmmaking with the purpose of creating continuity between different shots. When moving your camera between shots the camera should be moved a minimum of 25 to 30 degrees to avoid jarring transitions more simply known as jump cuts. Transitions like this help hide small continuity differences which is great for shooting with only 1 camera. [3]
Cut In
A cut in refers to a shot that cuts away from the main action to show some part of the subject in greater detail.
Crosscutting is a technique where the camera will cute away from one piece of action to another usually to indicate that they are happening simultaneously.
Match On Action
Match on action is refers to editing techniques where the editor cuts from one shot to another shot but the action matches the first shot. [1]
Establishing Shot
An establishing shot sets up and establishes context for a scene by giving us a location or relationship between important figures and objects. [1]
Kuleshov Effect
The Kuleshov Effect is a mental phenomenon by which viewers gain more meaning from the interaction of two sequential shots than from a single shot in isolation. [4]
Temporal Overlap
A temporal overlap is where a piece of action is shot, directly followed by the same action but from a different viewpoint.
Eisenstein Montage
Metric Montage
This is where the editing follows a specific number of frames, based purely on time, and then cutting to the next shot no matter what is happening within the image. [5]
Rhythmic Montage
Cutting is based on visual continuity from start to end, the content of the shot is a dominant element of the shot length. [5]
Tonal Montage
This kind of montage uses the emotional meaning of shots, rather than manipulating it's length or rhythm. This is done to gain an audience reaction more complex than that gained from a rhythmic or metric montage. [5]
This kind of montage combines the techniques of a tonal, metric and rhythmic montage to combine the effect had on the audience for an even more abstract effect.
Intellectual Montage
This kind of montage combines shots to gain an intellectual meaning. The aim is to use few images but use images that are rich in cultural, symbolic and political history. Juxtaposing these images creates a much deeper intellectual meaning. [6]
[1] Editing Guide. Yale University. http://classes.yale.edu/film-analysis/htmfiles/editing.htm#43199
[2] Proferes, Nicholas T. 2005. Film Directing Fundamentals. 2nd ed. Amsterdam. Focal Press.
[3] Light Film School http://lightsfilmschool.com/blog/the-30-degree-rule/128/
[4] Rusell, Michael, 2005. The Kuleshov Effect and the Death of the Auteurism http://www.forumjournal.org/article/view/547
[5] Eisenstein, Sergei. Taylor, Richard. 1999. The Eisenstein Reader. British Film Institute.
[6] Pudovkin, Vsevolod Illarionovich. 1949. Film Technique and Film Acting, The Cinema Writings of V. I. Pudovkin. New York. Bonanza Books
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