E M I L Y C A P O N

FILM LANGUAGE

180 DEGREE RULE

In film making, the 180-degree rule is a basic guideline

regarding the on-screen spatial relationship between a

character and another character or object within a

scene. An imaginary line called the axis connects the

characters, and by keeping the camera on one side of

this axis for every shot in the scene, the first character is

always frame right of the second character, who is then

always frame left of the first. The camera passing over the

axis is called jumping the line or crossing the line.

The object that is being filmed must always remain in the

centre, while the camera must always face towards the

object.

180 DEGREE RULE

This schematic shows the axis between two characters and the 180° arc on which cameras may be positioned (green). When cutting from the green arc to the red arc, the characters switch places on the screen.

30 DEGREE RULE

The 30-degree rule is a basic film editing guideline that states the

camera should move at least 30 degrees between shots of the same

subject occurring in succession. If this rule isn't followed a jump cut

occurs and there is a risk that the audience starts focusing on the

filming technique instead of the story that is being narrated.

• The 30 degree change of perspective makes the shots different

enough to avoid a jump cut. Too much movement around the

subject may violate the 180-degree rule.

• Following this rule may soften the effect of changing shot distance,

such as changing from a medium shot to a close-up or extreme

close-up

• "The rule aims to emphasize the motivation for the cut by giving a

substantially different view of the action. The transition between two

shots less than 30 degrees apart might be perceived as unnecessary

or discontinuous--in short, visible."

30 DEGREE RULE

The relationship between 30

degrees and the binocular

human experience

SET DESIGN AND PRODUCTION VALUES

Set design is the creation of theatrical, as well as film or television scenery. Scenic designers come from a variety of artistic backgrounds, but in recent years, are mostly trained professionals, holding a B.F.A. or M.F.A. degrees in theatre arts. Scenic designers design sets and scenery that aim to fully immerse the viewer in the production

Production values

is the technical elements of a production, as the lighting, décor, or sound in a film, often, specif., such elements that are enhanced to increase audience appeal

VERISIMILITUDE

Verisimilitude is described as the quality of appearing

to be true or depicting reality. In storytelling, the

audience contributes to the experience by their

"willing suspension of disbelief". The more the story

resembles reality even in small details the easier it is

for the audience to engage. It is something that

seems to be true or real. Example: creation of reality

such as a story in a book or film/programme.

IDEOLOGY

These is the message that the media producers are trying to put across. Audiences can also interpret these messages differently, even though there may be an intended message for the audience Ideology is ideas, values and beliefs in a society. These are often taken for granted and seen as ‘common sense’. Ideologies are ideas that are normal, common sense and just the way things are. However, ideas, values and beliefs are not static; they evolve and develop over time.For example ideologies of women has changed as women have become more equal.

DIEGETIC AND NON DIEGETIC SOUND

DIEGETIC Sound whose source is visible on the screen or

whose source is implied to be present by the sounds within

their world : • Voices of characters • Sounds made by

objects in the story • Music represented as coming from

instruments in the story space Diegetic sound is any sound

presented as originated from source within the film's world

NON-DIEGETIC Sound whose source is neither visible on the

screen nor has been implied to be present in the action (in

their world) : • Narrator's commentary • Sound effects

which is added for the dramatic effect • Mood music

Non-diegetic sound is represented as coming from the a

source outside story space

SYNCHRONOUS/ASYNCHRONOUS SOUND

SYNCHRONOUS Sound that appears to be matched

to certain movements occurring in the scene, for

example when footsteps correspond to feet walking

in sync.

ASYNCHRONOUS Are not matched with a visible

source of the sound on screen. For example, the

background sound of an ambulance's siren while the

foreground sound and image portrays an arguing

couple.

SOUND MOTIF/ BRIDGE/EFFECTS

SOUND MOTIF A sound effect or combination of

sound effects that are associated with a particular

character, setting, situation or idea through the film.

SOUND BRIDGE When the scene begins with the

carry-over sound from the previous scene before the

new sound begins.

SOUND EFFECTS A sound other than speech or music

made artificially for use in a play, movie, or other

broadcast production.

AMBIENT / PERSPECTIVE SOUND

AMBIENT SOUND Ambient sound means the

background sounds which are present in a scene or

location. Common ambient sounds include wind,

water, birds, crowds, office noises, traffic, etc.

SOUND PERSPECTIVE A sound’s position in space as

perceived by the viewer given by volume, timbre,

and pitch.

THEMES AND STRINGS

THEMES AND STINGS Themes is music that always

accompanies the particular TV show or even a

particular character (eg James Bond) and suits its

mood or themes. Stings are short bursts of music,

originally used in TV and radio to bump together

different sections and chapters of a show.

CROSS CUTTING

Cross-cutting is an editing technique most often used

in films to establish action occurring at the same time

in two different locations. In a cross-cut, the camera

will cut away from one action to another action,

which can suggest the simultaneity of these two

actions but this is not always the case.