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J. Arzt, Silver Screen
Film Terms
Silver Screen Comes to the Local Scene
J. Arzt, Silver Screen
Terms Related to
Filming Shot composition Editing Special Effects
J. Arzt, Silver Screen
Settings
Set: “a constructed place used for filming”
Location: “a real place that is not built expressly for filmmakers”
Phillips, pp. 9 and 11
J. Arzt, Silver Screen
Sets in Mystic Pizza
A set was built to look like the inside of Mystic Pizza
Shots inside of Daisy’s and Kat’s house Dinner dining room scene at Charlie’s house Shots inside of JoJo’s house
J. Arzt, Silver Screen
Location Settings in Mystic Pizza
Shots outside of the pizzeria Shot of Mystic Drawbridge Shot of church Shot at lobster yard Shots at the docks
J. Arzt, Silver Screen
Sets in GWH
Therapists’ offices Skylar’s dorm room Dining room of Chuckie’s house
J. Arzt, Silver Screen
Location Sets in GWH
L Street Tavern Shots of Southie (South Boston) Shots of exterior of MIT, Harvard, and
Bunker Hill CC Shots at the coffee café in Harvard
Square
J. Arzt, Silver Screen
Establishing Shot
“When a film begins or when it shifts to a new setting, filmmakers often use an extreme long shot to present an establishing shot, a view of the surroundings. Once viewers are oriented, the camera normally moves in closer to the subject.”
p. 76 Phillips
J. Arzt, Silver Screen
Establishing Shots in Mystic Pizza
Opening shot of church looking up West Main Street
Long shots that open the dock scenes Opening shot of Kat at the lobster dock
J. Arzt, Silver Screen
Establishing Shots in GWH
Shot of MIT Shots of Southie streets Shot of Bunker Hill Community College Shot of red brick buildings at Harvardy Shots of river between Boston and
Cambridge
J. Arzt, Silver Screen
Extreme Long Shot
“Image in which the subject appears to be far from the camera.”
“If a person is a subject, the entire body will be visible (if not obstructed by some intervening object) but very small in the frame, and much of the surroundings will be visible. The camera is often used to show the layout and expanse of a setting.”
“Usually used only outdoors, often to establish the setting of the following action.”
Phillips, pp. 77 and 545
J. Arzt, Silver Screen
Extreme Long Shots in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Extreme Long Shots in GWH
1 2 3
J. Arzt, Silver Screen
Long Shot
“Usually the subject is seen in its entirety, and much of its surroundings is visible. This camera distance has many possible uses—for example, to stress how small a human subject is in relationship to its environment.”
Phillips, p. 77
J. Arzt, Silver Screen
Long Shots in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Long Shots in GWH
1 2 3
J. Arzt, Silver Screen
Medium Shot
“This camera distance …
“Shot in which …
Phillips, pp. 77 and 550
J. Arzt, Silver Screen
Medium Shots in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Medium Shots in GWH
1 2 3
J. Arzt, Silver Screen
Medium Close-up
Phillips, pp. 78 and 550
J. Arzt, Silver Screen
Medium Close-ups in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Medium Close-ups in GWH
1 2 3
J. Arzt, Silver Screen
Close-up
Phillips, pp. 78 and and 541
J. Arzt, Silver Screen
Close-ups in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Close-ups in GWH
1 2 3
J. Arzt, Silver Screen
Extreme Close-up
Phillips, pp.
J. Arzt, Silver Screen
Extreme Close-ups in Mystic Pizza
1 2
J. Arzt, Silver Screen
Extreme Close-ups in GWH
1 2
J. Arzt, Silver Screen
Two Shot
Phillips, p. 7
J. Arzt, Silver Screen
Two Shots in Mystic Pizza
J. Arzt, Silver Screen
Two Shots in GWH
J. Arzt, Silver Screen
Shot/Reverse Shots
“An editing pattern that cuts between individuals according to the logic of the conversation”
p. 176 in Corrigan, A Short Guide to Writing about Film
J. Arzt, Silver Screen
SRS in Mystic Pizza
J. Arzt, Silver Screen
SRS in GWH
J. Arzt, Silver Screen
Dollying
Phillips, p. 81
J. Arzt, Silver Screen
Dollying in Mystic Pizza
1 2
J. Arzt, Silver Screen
Dollying in GWH
J. Arzt, Silver Screen
Zoom
J. Arzt, Silver Screen
Zooming in Mystic Pizza
1 2
J. Arzt, Silver Screen
Zooming GWH
1 2
J. Arzt, Silver Screen
Track
Phillips, pp. 82 and 558
J. Arzt, Silver Screen
Tracking in Mystic Pizza
1 2
J. Arzt, Silver Screen
Tracking in GWH
1 2
J. Arzt, Silver Screen
High Angle
Phillips, p. 83
J. Arzt, Silver Screen
High Angle Shots in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
High Angle Shots in GWH
1 2 3
J. Arzt, Silver Screen
Low Angle
Phillips, p. 84
J. Arzt, Silver Screen
Low Angle Shots in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
Low Angle Shots in GWH
1 2 3
J. Arzt, Silver Screen
Dutch Angle
Phillips, p. 83
J. Arzt, Silver Screen
Dutch Angle Shot in GWH
J. Arzt, Silver Screen
Bird’s Eye View
Phillips, p. 83
J. Arzt, Silver Screen
Bird’s-eye View in GWH
1 2
J. Arzt, Silver Screen
Eye-Level Shots
Phillips, p. 84
J. Arzt, Silver Screen
Eye-level shots in Mystic Pizza
J. Arzt, Silver Screen
Eye-level shots in GWH
J. Arzt, Silver Screen
Panning
Phillips, pp. 86 and 552
J. Arzt, Silver Screen
Panning in Mystic Pizza
J. Arzt, Silver Screen
Panning in GWH
J. Arzt, Silver Screen
Swish Pan
Phillips, p. 87
J. Arzt, Silver Screen
Swish Pan in GWH
J. Arzt, Silver Screen
Montage
Phillips, pp. 128-133, p. 139 Glossary
J. Arzt, Silver Screen
Montage in Mystic Pizza
1 2
J. Arzt, Silver Screen
Montage in GWH
1 2
J. Arzt, Silver Screen
Parallel Editing/Crossutting
Phillips, pp. 139, 542, 552
J. Arzt, Silver Screen
Parallel Editing in Mystic Pizza
J. Arzt, Silver Screen
Parallel Editing in GWH
J. Arzt, Silver Screen
Point of View (Subjective Camera)
J. Arzt, Silver Screen
POV in Mystic Pizza
1 2 3
J. Arzt, Silver Screen
POV in GWH
1 2 3
J. Arzt, Silver Screen
Dissolve or Lap Dissolve
J. Arzt, Silver Screen
Lap Dissolve in GWH
J. Arzt, Silver Screen
Match Cut
J. Arzt, Silver Screen
Example of Match Cut in GWH
J. Arzt, Silver Screen
Slow Motion
J. Arzt, Silver Screen
Slow Motion in GWH
J. Arzt, Silver Screen
Superimposition
J. Arzt, Silver Screen
Superimposition in GWH
