Theatre Ch. 8

A shot of a character looking offscreen and then a shot of another character looking back at him.

he cutting together of two or more lines of action that occur simultaneously at different locations.

Because editing establishes relationships between shots that can fool audiences into accepting the believability of spaces actually shot in fractions of implied space.

In an action scene featuring one car chasing another, two separate shots capture first car A and then car B from different sides of an imaginary line between them.

It ensures consistent screen direction when shots are edited together.

A dissolve's transition occurs simultaneously on the screen, whereas a black screen separates the two parts of a fade.

An imaginary horizontal line between the main characters being photographed that determines where the camera should be placed to preserve screen direction.

The resulting shots orient the viewer as to what is happening in the scene.

It provides coverage to the director by avoiding the need to reshoot.

A shot of a character and then a shot of another character who is facing the first.

Point-of-view shots include shots that show us what a character is looking at from his approximate position, whereas eye-line matches join two comparatively objective shots.

Confusion.

By linking together shots onscreen that could have been recorded at completely different moments.

A cut that shows us the continuation of a character's or object's motion through space.

Master shots and the 180-degree system.

That two shots need not have any actual relationship to one another to affect the viewer.

To communicate the story as clearly, efficiently, and coherently as possible.

Because they orient the viewer in preparation for the shots that follow.

A cut creating a disorienting ellipsis between two shots caused by the absence of a portion of film that would have provided continuity.

On one side and one side only of the axis of action.