This document provides definitions for various filmmaking terminology related to camera techniques, editing, sound, mise-en-scene, and general terminology. It defines common shots and angles used with cameras like close-ups, establishing shots, and low angles. It also defines editing techniques such as continuity editing, cross-cutting, and jump cuts. Sound terminology like diegetic, non-diegetic, and sound effects are defined as well. Mise-en-scene elements such as lighting, costumes, and location are also defined. Finally, it provides definitions for general film terminology like protagonist, antagonist, and conventions.

1. TV DRAMA
TERMINOLOGY

2. CAMERA

3. CAMERA
Aerial Shot – overhead – used to emphasise spectacle
Canted Shot – tilted – usually to create a feeling of
disorientation
Close up – involves the viewer in what is happening,
focus on emotions, used to position the audience with
the protagonist/prevalence
Crab Shot – camera is placed in a confined space
Deep focus – allows both objects that are near and far
to be focused at the same time
Establishing Shot – to establish the relationship
between the location and the characters

4. CAMERA
Hand held shot – makes it seem more real and the viewer is
more involved
Head on shot – action comes directly at the camera
High angle – makes subject feel vulnerable, isolated and
powerless
Loose frame – used to show how much space is around the
subject in the room to make them seem isolated
Low angle – subject seems powerless
Master shot – allows audience to make sense of the action that
follows
Pan

5. CAMERA
Point of view – enhance a sense of realism and audience
involvement
Pull focus – focus changes from one subject to another – shows
that something has become important
Rule of thirds – subject is placed on the sides instead of the
middle of the frame – makes it look more interesting and is
often used to emphasised that they are talking to someone
Shallow focus – front/subject is the focus and everything else is
blurry – makes the subject seem more important
Soft focus – hazy light/filter – romantic/sentimental

6. CAMERA
Tight frame – shot is filled with person very little space around
them – make them seem important or trapped
Tilt – camera moves vertically up and down from a fixed
position
Tracking shot
Whip pan – camera whips from one subject to another –
surprises the viewer
Zoom
180 degree rule – allows audience to understand positioning of
characters
Breaking the 180 degree rule – makes the audience seem
disorientated/may reflect the feelings of characters

7. EDITING

8. EDITING
Action match – allows audience to see a smooth action despite cuts
Continuity editing – chronological order – creates a sense of realism –
narrative is moving through time
Cross cutting – editor cuts from two separate scenes happening in
different locations – creates a link or contrast between two subjects
Cutaway – a brief shot that is not necessary but it links with the main
shot – emphasises the emotions that the main shot is meant to evoke
Dissolve – often used to show time moving
Ellipsis – speeds up the narrative by using two shots that are similar
but in a different time period

9. EDITING
Eyeline match – cutting from the character to what the character sees
– makes viewer feel empathy for character
Graphic match – a cut from one shot to another that is visually the
same – shows a link between two scenes
Jump cut – when there is a missing piece of action in the narrative but
is in the same location/time period – used to disorientate viewer as
well as the feelings of characters
Linear narrative – beginning, middle and end – mainstream
Long take – slows pace down of scene – calmer and peaceful

10. EDITING
Montage – series of shots to show time passing
Short take – speeds up pace making it more exciting and tense
Shot reverse shot – sees the way characters respond to each othe
Slow motion – for emotional or comic effect
Split screen
Superimpose – appearance of text in a shot allowing the viewer to
have more information

11. SOUND

12. SOUND
Ambient – establishes location – allows idealisms to be created by
audience
Asynchronous sound – when the sound is out of sync with the
visuals/cannot be seen
Contrapuntal – sound that contrasts with the visuals - normally used
to show a contrast to emphasise the importance of what is happening
Dialogue – accents, emotions, power
Direct address/breaking the 4th wall – when the character talks
directly to the camera – enables viewer to sympathise with them
Diegetic – sound that the characters hear – sets the mood/explain
why the characters are acting the way they are
Non-diegetic – sound added at editing/characters cannot hear

13. SOUND
Pitch
Rhythm – beat of music
Voice over
Sound bridge – when a sound carries on from one shot to another –
used for smooth transitioning to make it more real
Soundtrack
Sound effects
Synchronous sound – in sync with the visuals and is related/filmed at
the same time

14. SOUND
Symphonic - music performed by a large orchestra
Melody - a distinctive tune
Atonal - no established key - horror films to add to the intensity of
the situation
Rhythmic - percussive sounds forming a beat
Dissonant - lacking conventional harmonies

15. MISE-EN-
SCENE

16. MISE EN SCENE
High key lighting – bright and well lit scene with very few shadows –
happy, safe environment
Low key lighting – dim and lots of shadows - makes the situation
seem shady
Body Shape and Language – informs the audience what type of person
the character is
Facial features and expressions – tells the audience their emotions
about the situation/create ideas of stereotypes
Props – there for a specific purpose to set the situation
Costumes and colours

17. MISE EN SCENE
Hair and makeup
Voice and tone
Location
Breaking the fourth wall

18. GENERAL
TERMINOL
OGY

19. AGENDA
ANTAGONIST
ARCHETYPE
BINARY
OPPOSITES
CONNOTATIONS
CONVENTIONAL
STEREOTYPE
HOMOPHOBIA
JUXTAPOSED
MALE GAZE
PATRIARCHY
POSITIONING
PROTAGONIST
REALISM
RACISM
SEXISM
VERISIMILITUD
E
XENOPHOBIA
COUNTERTYPE