Grant’s Glossary of Film Terms

Shots
Distances in which an actor is photographed.

Extreme Closeup (ECU). A shot of an actor’s eye, hand, etc.
Closeup (CU). The actor’s face is high lighted.
Medium Closeup (MCU). The actor framed from the middle of the chest to the face.
Medium Shot (MS). The actor framed from the waist up.
Medium Long Shot (MLS). The actor framed from the thighs up.
Long Shot (LS). The entire actor in the frame.
Extreme Long Shot (ELS). The actor dwarfed by the accompanying mise-en-scene (i.e. New York skyscrapers).

Continuity Editing System
Because editing and visual style are supposed to be subordinate to story, Hollywood films involve an editing system that keeps you situated in time and space. The system involves, match cutting, match-on-action cutting, reframing (through slight tilts and pans), shot/reverse shot patterns, alternating medium shots, establishing shots/re-establishing shots, eyeline matches, and observing the 180 degree line.

Match cutting. If a character has a right leg crossed over her left leg and is holding a right hand, two fingers extended, thoughtfully to her chin that pose has to remain consistent from cut to cut. When a director shoots the star in Medium Long Shot and then decides to move in for a medium close up, the position of the body (including hands and legs) has to be consistent from shot to shot. The match cut matches the position between shots to maintain continuity.

Match-on-Action cutting. The concept is the same as match cutting but involves maintaining a consistency of body movement from shot to shot. If a character stands up in shot one, and we go to a closer angle for shot two, the movment has to seem seamless between shots. This is match-on-action.

Reframing. Hollywood, borrowing from the traditions of Renaissance painting, likes to place the human body in a “T” formation. If an actor is sitting and then stands up, his head will disappear from the “T” and be out of the frame. To avoid this, the camera will slightly reframe, tilting upward as the actor stands. Similarly, if an actor moves laterally in a scene, the camera will slightly pan left or right to maintain the actor’s presence.

Shot/Reverse Shots. Usually done in Medium Shot or alternating Medium Close Ups, these shots are used during conversations and are also known as over-the-shoulder shots. The Shot/Reverse Shot almost always obeys the 180 degree rule (never filming on the other side of the line) and thus keeps the characters places in the scene straight in our minds.

Establishing Shots/Resestablishing Shots. Continuity editing requires giving us a sense of the bigger scene (place, setting) and then breaking it down by cutting in to the various characters in the scene (often achieved through shot/reverse shots or medium close ups). Once that happens the establishing shot is broken down but we are still aware of where we are because the 180 line is observed. As the characters move in a scene, a new establishing shot can be created. For example, a scene may begin with a detective welcoming a client to his office. The opening establishes his office and he and the client at the door. Shot/reverse shots between the two performers then break down the initial establishing shot. After a few words, the detective moves the client to a chair next to his desk. Now a new establishing shot (or a reestablishing shot) is used to set up the dynamics of space (it’s still the same scene but we’ve expanded our sense of place). Once we’ve oriented to the space, a breakdown occurs as the director again opts for more intimate close ups and shot/reverse shot patterns.

Eyeline Matches. These usually follow an ABA pattern. A character looks out a window (A). Cut to what the character sees (a rusty old Volvo) (B). Cut back to the character looking, a smile on his face (the Volvo reminds him of something pleasant). Here the eyeline match functions as a point of view shot, but it also helps us to remember where the actor is in relationship to the car outside. It keeps space consistent for us.

The 180 degree line. This is an axis-of-action and most scenes try not to violate the line. If we keep all of the camera positions to one side of thea axis then the setting and the performers throughout the scene will always be moving left to right. Think of a shoot out. Cowboy B (in black) walks west to east down a street. Cowgirl A (in white) walks east to west down a street. B is moving left to right. A is moving right to left. If we cross the axis of action then their directions witll conflict and we’ll be a little confused. Style will be ooverriding story. Thus, most of the time (although I can think of several exceptions), the 180 degree line is followed.

Some other Notes

The Long Take. This is also known as a sequence shot. It is continuous with no cuts. The camera moves, variably framing through space. The opening of Orson Welles’s Touch of Evil contains one of the longest, most stunning sequence shots ever photographed. The sequence shot can be used for visual ends, but it often has a performative undercurrent, giving actors a continuous moment to be theatrical.

Tracking shot. Also called a Dolly shot. The camera (on tracks or wheels) moves through space laterally or forward to highlight the action of a sequence.

Mise-en-scene. A word that means placed in the scene. It involves studying the entire composition of a particular filmic moment: lighting, actors, costumes and props, setting, makeup, and camera angles.

Framing and Duration. The essence of filmmaking. What do we see and for how long? When we look at a scene shot-by-shot we ask this question, breaking down the sequence looking for significances.

Crosscutting. Moving back and forth between two or more planes of action. The action occurs simultaneously and the cutting between locations can increase suspense and pace. When crosscutting occurs the viewer often knows more than the protagonist. Thus the range of knowledge grows and suspense ripens.