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FPA 135 Study Guide - Final Guide: Konstantin Stanislavski, Medium Shot, Tracking Shot

Contemporary Arts
Course Code
FPA 135
Anil Narine
Study Guide

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Two-shot: A shot in which two characters appear; ordinarily a medium shot or
medium long shot.
Long shot (LS): Also known as full-body shot. A shot that shows the full human
body, usually filling the frame, and some of its surroundings.
Medium close-up (MCU): A shot that shows a character from the middle of the
chest to the top of the head. A medium close- up provides a view of the face that
catches minor changes in expression, as well as some detail about the character’s
Medium long shot (MLS): Also known as plan amricain or American shot. A shot
that shows a character from the knees up and includes most of a person’s body.
Medium shot (MS): A shot showing the human body, usually from the waist up.
Close-up (CU): A shot that often shows a part of the body filling the frame
traditionally a face, but possibly a hand, eye, or mouth.
Freeze-frame: Also known as stop-frame or hold-frame. A still image within a
movie, created by repetitive printing in the laboratory of the same frame so that it
can be seen without movement for whatever length of time the filmmaker desires.
Hold-frame: See freeze-frame.
Long take: Also known as sequence shot. A shot that can last anywhere from one
minute to ten minutes. (Between 1930 and 1960, the average length of a shot was
8–11 seconds; today it’s 6–7 seconds, signifying that directors are telling their
stories with a tighter pace.)
Aerial-view shot: Also known as bird’s-eye-view shot. An omniscient-point-of-view
shot that is taken from an aircraft or extremely high crane and implies that the
observer can see all.
Bird’s-eye-view shot: See aerial-view shot.
High-angle shot: Also known as high shot or down shot. A shot that is made with
the camera above the action and that typically implies the observer’s sense of
superiority to the subject being photographed. Compare low-angle shot.
High shot: See high-angle shot.
Eye-level shot: A shot that is made from the observer’s eye level and usually
implies that the observer’s attitude is neutral toward the subject being
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