Film language
Film grammar
In film, film grammar is defined as follows:
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1. A shot is a single continuous recording made by a camera. It is analogous to a word.
2. A scene is a series of related shots. It is analogous to a sentence. The study of transitions between scenes is described in film punctuation.
3. A sequence is a series of scenes which together tell a major part of an entire story, such as that contained in a complete movie. It is analogous to a paragraph.
The 'grammar' of television and film
Television and film use certain common conventions often referred to as the 'grammar' of these audiovisual media. This list includes some of the most important conventions for conveying meaning through particular camera and editing techniques (as well as some of the specialised vocabulary of film production).Conventions aren't rules: expert practitioners break them for deliberate effect, which is one of the rare occasions that we become aware of what the convention is, Daniel Chandler, http://www.aber.ac.uk/media/Documents/short/gramtv.html
Film technique [...]
Articles in category "Film techniques"
1 180 degree rule A American shot C Close-up Creative geography Cross cutting Cutaway D Dissolve E Establishing shot F False protagonist H Hairy arm I Insert K Kuleshov experiment L L cut Long shot Long take M Master shot Medium shot M Montage P Point of view shot R Reframing S Shot reverse shot Slow motion Split screen Stock footage T Tracking shot W Wipe
--http://en.wikipedia.org/wiki/Category:Film_techniques [Oct 2004]
Grammar of the Film Language (1976) - Daniel Arijon
Grammar of the Film Language (1976) - Daniel Arijon [Amazon.com] [FR] [DE] [UK]
Description
This old standard is in print in five languages. It has been used as a textbook for film and television schools. The book describes how to use camera angles and motion to tell your story, without confusing your audience. It addresses issues such as continuity, action and reaction and parallel editing. It describes effective camera movement and the effects of different types of movement on the flow of the narrative and of action. Arijon also covers multiple cameras, and finally the choreographed movement of multiple cameras and subjects. Not solely based in the abstract, the book uses over 1500 illustrations to convey examples of practical value in everyday filmmaking, and even film watching. No film enthusiast or producer at any level will fail to be enriched by attention to this text.
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