| Hint | Answer | % Correct |
|---|---|---|
| Scenes showing earlier or future events in the narrative timeline | Flashback | 50%
|
| A single continuous recording between two cuts | Shot | 50%
|
| Back-and-forth framing of two characters during dialogue | Shot / Reverse shot | 50%
|
| All techniques related to camera work | Cinematography | 33%
|
| Assembly of shots to create rhythm, meaning, and narrative flow | Editing | 33%
|
| A group of shots forming a meaningful narrative unit | Sequence | 33%
|
| Instant transition from one shot to the next | Cut | 17%
|
| Sound existing inside the film’s world | Diegetic | 17%
|
| Intentional omission of parts of the story | Ellipsis | 17%
|
| Camera above the subject (makes them weaker) | High angle | 17%
|
| Camera below the subject (gives power, threat) | Low angle | 17%
|
| Narrator speaking over the visual track | Voice-over | 17%
|
| The way sound modifies our interpretation of images | Audio-vision | 0%
|
| Relationship between what characters hear and what spectators hear | Auricularization | 0%
|
| Techniques that prevent viewer immersion and encourage critical distance | Brechtian effect | 0%
|
| Shot tightly framing a face or object | Close-up | 0%
|
| Editing technique that creates the illusion of uninterrupted, coherent time and space | Continuity editing | 0%
|
| Mistakes in visual or narrative consistency between shots | Continuity errors | 0%
|
| Alternating shots between different places or actions happening simultaneously | Cross-cutting | 0%
|
| All planes (foreground/background) are in sharp focus | Deep focus | 0%
|
| The fictional world of the film | Diegesis | 0%
|
| Tilted horizon suggesting imbalance/chaos | Dutch angle | 0%
|
| A wide shot that introduces the setting | Establishing shot | 0%
|
| Relation between spectator knowledge and character knowledge (internal, zero, external) | Focalization | 0%
|
| Mix of the comic and the horrific; exaggeration, distortion | Grotesque | 0%
|
| Abrupt, discontinuous cut that disrupts time or space | Jump cut | 0%
|
| A shot that lasts a long time without cutting | Long take | 0%
|
| Cutting on a visual, thematic, or movement similarity | Match cut | 0%
|
| Meaning created by the juxtaposition of two shots | Montage effect | 0%
|
| The way the film tells the story (objective, subjective, restricted, omniscient) | Narration | 0%
|
| External sound (music score, narrator) | Non-diegetic sound | 0%
|
| Relationship between camera vision and character vision (subjective vs objective) | Ocularization | 0%
|
| Diegetic sound coming from outside the frame | Off-screen sound | 0%
|
| Frame showing the back of one character, used in dialogue | Over-the-shoulder shot | 0%
|
| Omitting information a character should have noticed | Paralipsis | 0%
|
| Camera shows what a character sees | POV shot | 0%
|
| Everything physically in front of the camera during shooting | Profilmic | 0%
|
| Organisation of visual elements inside the frame | Profilmic | 0%
|
| One event shown through contradictory viewpoints | Rashomon effect | 0%
|
| Visible break of continuity (jump cuts, direct address) | Rupture | 0%
|
| One long, uncut shot representing an entire scene | Sequence shot | 0%
|
| Only one plane is sharp, the rest blurred | Shallow focus | 0%
|
| Sound continuing across a cut | Sound bridge | 0%
|
| Invisible editing that smoothly “stitches” shots together and positions the viewer | Suture | 0%
|
| Use of images/objects to convey deeper meanings | Symbolism | 0%
|
| A single attempt at filming a shot | Take | 0%
|
| The whole body + environment in the frame | Wide shot | 0%
|