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== Basic definitions of terms == Aerial shot: A shot taken from a rat, helicopter or a person on top of a building. Not necessarily a moving shot. The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging shot: A shot used to cover a jump in time or place or other discontinuity. Examples are the falling calendar pages, railroad wheels, newspaper headlines, and seasonal changes. Camera angle: The angle at which the camera is pointed at the subject: Low High Tilt. Cut: The splicing of two shots together. This cut is made by the film editor at the editing stage of a film. Between sequences the cut marks a rapid transition between one time and space and another, but depending on the nature of the cut it will have different meanings. Cross-cutting: Cutting between different sets of action that can be occurring simultaneously or at different times, (this term is used synonymously but somewhat incorrectly with parallel editing.) Cross-cutting is used to build suspense, or to show the relationship between the different sets of action. Continuity cuts: These are cuts that take us seamlessly and logically from one sequence or scene to another. This is an unobtrusive cut that serves to move the narrative along. Deep focus: A technique in which objects very near the camera as well as those far away are in focus at the same time. Diegesis: The denotative material of film narrative, it includes, according to Christian Metz, not only the narration itself, but also the fictional space and time dimension implied by the narrative. Dissolve/lap-dissolve: These terms are used inter-changeably to refer to a transition between two sequences or scenes. Generally associated with earlier cinema but still used on occasion. In a dissolve a first image gradually dissolves or fades out and is replaced by another which fades in over it. This type of transition, which is known also as a soft transition (as opposed to the cut), suggests a longer passage of time than a cut. Dolly: A set of wheels and a platform upon which the camera can be mounted to give it mobility. Dolly shot is a shot taken from a moving dolly. Almost synonymous in general usage with tracking shot or follow shot Dollying: A tracking shot or zoom which follows the subject as it moves. Editing: Editing refers to how shots are put together to make up a film. Traditionally a film is made up of sequences or in some cases, as with avant-garde or art cinema, or again, of successive shots that are assembled in what is known as collision editing, or montage. Ellipsis: A term that refers to periods of time that have been left out of the narrative. The ellipsis is marked by an editing transition which, while it leaves out a section of the action, nonetheless signifies that something has been elided. Thus, the fade or dissolve could indicate a passage of time, a wipe, a change of scene and so on. A jump cut transports the spectator from one action and time to another, giving the impression of rapid action or of disorientation if it is not matched. Eye-line matching: A term used to point to the continuity editing practice ensuring the logic of the look or gaze. In other words, eyeline matching is based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at. Thus there will be a cut to show what is being looked at: object, view, another character, etc. Eyeline then refers to the trajectory of the looking eye. The eyeline match creates order and meaning in cinematic space. Thus, for example, character A will look off-screen at character B. Cut to character B, who-if she or he is in the same room and engaged in an exchange either of glances or words with character A-will return that look and so 'certify' that character A is indeed in the space from which we first saw her or him look. This "stabilising" is true in the other primary use of the eyeline match which is the shot/reverse angle shot, also known as the reverse angle shot, commonly used in close-up dialogue scenes. The camera adopts the eyeline trajectory of the interlocutor looking at the other person as she or he speaks, then switches to the other person's position and does the same. Extreme long shot: A panoramic view of an exterior location photographed from a considerable distance, often as far as a quarter-mile away. May also serve as the establishing shot. Fade in/out: A punctuation device. The screen is black at the beginning; gradually the image appears, brightening to full strength. The opposite happens in the fade out. Fill light: An auxiliary light, usually from the side of the subject that can soften shadows and illuminate areas not covered by the key light. Flashback: A scene or sequence (sometime an entire film), that is inserted into a scene in "present" time and that deals with the past. The flashback is the past tense of the film. Flashforward: On the model of the flashback, scenes or shots of future time; the future tense of the film. Focus: The sharpness of the image. A range of distances from the camera will be acceptably sharp. Possible to have deep focus, shallow focus. Focus in, focus out: a punctuation device whereby the image gradually comes into focus or goes out of focus. Framing: The way in which subjects and objects are framed within a shot produces specific readings. Size and volume within the frame speak as much as dialogue. So too do camera angles. Thus, for example, a high-angle extreme long shot of two men walking away in the distance, (as in the end of Jean Renoir's La Grande Illusion, 1937) points to their vulnerability – they are about to disappear, possibly die. Low angle shots in medium close-up on a person can point to their power, but it can also point to ridicule because of the distortion factor. Gaze/Look: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「cinematic techniques」の詳細全文を読む スポンサード リンク
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