A Glossary of 70+ Film Theory Terms Filmmakers Must Know

What I love about film theory is that it's got so many interesting topics and terms that have inspired people over the decades to make and create unique movies and TV shows.

Film theory is a fascinating field that delves into the various elements, techniques, and concepts that make up the world of cinema. From the language of cinematography to the intricacies of narrative structure, this glossary aims to provide a comprehensive overview of the terminology commonly used in the study and analysis of films.

This glossary will serve as your guide to navigating the landscape of film theory. The terms included here cover a wide range of topics, from the technical aspects of filmmaking to the theories that underpin cinematic storytelling.

Let's get started.

1. Aesthetic: The visual and sensory qualities that contribute to the overall look and feel of a film, often reflecting the director's artistic choices.
2. Aspect Ratio: The proportional relationship between the width and height of the film frame. Different aspect ratios, such as widescreen and standard, impact the visual composition and storytelling.
3. Auteur Theory: A film theory that emphasizes the director as the primary creative force behind a film, suggesting that a director's distinct style and thematic concerns can be seen across their body of work.
4. Avant-Garde: Innovative and experimental filmmaking that often pushes the boundaries of conventional narrative and visual styles. Avant-garde films can be abstract, non-linear, and unconventional.
5. Backstory: The previous events and history of characters that are not explicitly shown in the film but influence their actions and motivations.
6. Blocking: The choreography of actors' movements within a scene, planned by the director to enhance the visual composition and storytelling.
7. Cinéma Vérité: A style of documentary filmmaking that aims to capture real-life situations and events as they happen, often using handheld cameras and minimal intervention to create a sense of authenticity.
8. Cinematography: The art and technique of capturing images on film or digital media. It includes decisions about camera placement, movement, lens choice, lighting, and shot composition.
9. Cliché: An overused theme, narrative element, or visual motif in films that can result in predictability or lack of originality.
10. Continuity Editing: A style of editing that emphasizes smooth transitions between shots to maintain a sense of temporal and spatial coherence. The 180-degree rule and shot-reverse-shot are common continuity editing techniques.
11. Diegesis: The fictional world within a film, including the characters, events, and setting. Diegetic elements are those that exist within this world, such as characters' dialogue and actions.
12. Diegetic Sound: Sound that originates within the fictional world of the film, such as voices, footsteps, and objects making noise.
13. Dolly Shot: A camera movement achieved by placing the camera on a wheeled platform, allowing it to smoothly track along with the action. Dolly shots create a sense of movement and perspective.
14. Editing: The process of selecting, arranging, and combining shots to create a coherent narrative. Editing techniques include cutting, fading, cross-cutting, and match cuts.
15. Expressionism: An artistic style that distorts reality to convey emotional or psychological states, often characterized by exaggerated visuals and heightened emotions.
16. Flash Forward: A narrative technique where a scene or sequence shows events that are expected to occur in the future, disrupting the chronological order of the story.
17. Frame Narrative: A narrative structure where a story is enclosed within another narrative, often as a means of providing context or a framing device. This can create layers of storytelling and thematic depth.
18. Framing: The composition of the visual elements within a shot. Different types of framing, such as close-ups, medium shots, and long shots, convey varying degrees of intimacy and information.
19. Genre: A category or classification of films based on shared themes, narrative structures, and conventions. Examples include horror, comedy, drama, science fiction, and romance.
20. Graphic Match Cut: A type of cut where a visual element in one shot is matched with a similar or visually related element in the next shot, creating a seamless transition.
21. High Angle Shot: A shot taken from above the subject, often used to show vulnerability, weakness, or to diminish the subject's power.
22. Homage: A reference or tribute in a film to another film, filmmaker, or cultural element. Homages are often used to pay respect or add layers of meaning.
23. Iconography: The study of symbols, motifs, and visual elements recurring in films and their cultural significance. Iconography contributes to the interpretation and analysis of a film's themes.
24. In Medias Res: A narrative technique where a story begins in the middle of the action, without providing extensive background information.
25. Invisible Editing: A style of editing that aims to create a seamless flow of shots, minimizing the viewer's awareness of the editing process.
26. Juxtaposition: Placing two or more contrasting elements, shots, or ideas next to each other to create a meaningful relationship or emphasize differences.
27. Jump Cut: An abrupt transition between shots that disrupts the continuity of time or space. Jump cuts can create a jarring effect, often used for stylistic or thematic purposes.
28. Kuleshov Effect: A film editing technique where a shot's meaning is influenced by the shot that precedes or follows it, demonstrating the power of contextual editing.
29. Landscape Shot: A wide-angle shot that captures a large expanse of the environment, often emphasizing the natural beauty or scale of a location.
30. Long Take: A shot that lasts for an extended period without any cuts, often used to emphasize continuity, and realism, or to create tension.
31. MacGuffin: A plot device, often an object or goal, that serves as a catalyst for the character's actions and motivations but may not hold significant importance to the audience.
32. Mise-en-scène: Refers to everything that appears on screen, including set design, costumes, lighting, and the arrangement of actors and objects within the frame. It encompasses the visual aspects that contribute to the storytelling.
33. Mockumentary: A fictional film that imitates the style and conventions of a documentary, often for comedic or satirical purposes.
34. Montage: A technique where shots are edited together to create a specific meaning or emotional response. It can involve the juxtaposition of images, the manipulation of time, and the use of various transitions.
35. Motif: A recurring theme, visual element, or narrative device that carries symbolic significance and contributes to the film's overall meaning.
36. Motivated Lighting: Lighting that appears to originate from a natural or visible source within the scene, enhancing realism and immersion.
37. Narrative Structure: The way in which a story is organized and presented. Common narrative structures include linear, non-linear, flashback, and parallel narrative.
38. Narrator: A character or voice that provides commentary, exposition, or insights into the film's story, often serving as a guide for the audience.
39. Noir (Film Noir): A genre of dark and cynical films, often characterized by a bleak urban setting, morally ambiguous characters, and a sense of fatalism.
40. Non-Diegetic: Elements that exist outside the fictional world of the film, such as musical scores, voiceovers, and titles. These elements are typically added by the filmmakers to enhance the viewer's experience.
41. Parallel Editing: A technique where two or more actions occurring simultaneously in different locations are intercut to create suspense, tension, or thematic connections.
42. Pacing: The rhythm and speed at which a film's narrative unfolds, influencing the audience's engagement and emotional experience.
43. Pastiche: An artistic work that imitates the style of another artist, period, or genre, often as a homage or for humorous effect.
44. Point of View Shot: A shot that represents what a character is seeing from their perspective, allowing the audience to experience the scene through the character's eyes.
45. Queer Cinema: A movement that explores LGBTQ+ themes and identities in film, often challenging heteronormative narratives and representations.
46. Rack Focus: A technique where the focus shifts between foreground and background within a single shot, often used to draw the audience's attention or reveal new information.
47. Reaction Shot: A shot that captures a character's response or expression in reaction to a preceding event or dialogue.
48. Rotoscoping: A technique where live-action footage is traced frame by frame to create animated sequences, combining realism with animation.
49. Scope: A term referring to the use of widescreen aspect ratios, often associated with epics and genres that prioritize expansive visuals.
50. Screenplay: The written script of a film, outlining dialogue, actions, and descriptions of scenes. It serves as a blueprint for the production process.
51. Screentime: The total duration that a character or element appears on screen within a film.
52. Semiotics: The study of signs and symbols and their meanings. In film, semiotics involves analyzing how visual and auditory elements convey meaning and contribute to the overall narrative.
53. Silent Film: A type of film produced before the advent of synchronized sound, characterized by visual storytelling, intertitles, and musical accompaniment.
54. Sound Design: The creation and arrangement of all auditory elements in a film, including dialogue, music, sound effects, and ambient noise. Sound design contributes to the mood, atmosphere, and storytelling.
55. Surrealism: An artistic movement that seeks to express the unconscious mind and challenge conventional reality. In film, surrealism often involves dreamlike or irrational imagery and narratives.
56. Swish Pan: A rapid panning movement of the camera that blurs the image, often used as a transition between shots or scenes.
57. Symbolism: The use of visual, auditory, or narrative elements to represent deeper meanings, ideas, or concepts within a film.
58. Tableau: A composition or arrangement of characters and objects within the frame, often creating a visually striking and symbolic image.
59. Tracking Shot: A shot in which the camera moves smoothly along a predetermined path, often following a character or object. Also known as a "dolly shot."
60. Transitions: Techniques used to move between shots or scenes, including cuts, dissolves, wipes, and fades. Transitions affect pacing and visual continuity.
61. Two-Shot: A shot that includes two characters in the frame, often used to emphasize the dynamic or relationship between them.
62. Undercranking/Overcranking: Techniques involving the manipulation of film speed during shooting. Undercranking creates a fast-motion effect, while overcranking results in slow-motion footage.
63. Unreliable Narrator: A narrator whose credibility or perspective is questionable, often leading to different interpretations of the film's events.
64. Vérité Style: A documentary filmmaking approach that emphasizes authenticity and candid observation of subjects. It aims to capture reality without interference, often using minimal equipment.
65. Vignette: A technique where the corners of the frame are darkened to draw the audience's attention to the center of the image.
66. Vignette Film: A film made up of loosely connected short stories or segments, often centered around a common theme or location.
67. Voiceover: A non-diegetic narration or commentary spoken by a character or narrator that is not physically present in the scene. Voiceovers provide insights into characters' thoughts or offer additional information.
68. Wide Shot: A shot that captures a wide view of a location or scene, often used to establish context or show the relationship between characters and their environment.
69. Whip Pan: A rapid camera movement that creates a blurred transition between shots, often used for dramatic effect or as a stylistic choice.
70. Xenophobia: A theme or narrative element in films that deals with fear or hatred of foreigners or the unknown, often reflecting social anxieties.
71. Yarn: A colloquial term for a story, narrative, or plot used in filmmaking and screenwriting.
72. Zoom Shot: A shot achieved by changing the focal length of the camera lens to make the subject appear closer or farther away, without physically moving the camera.

Hopefully, this extensive glossary provides you with a comprehensive resource for understanding terms in film theory.

Let me know what terms I should add in the comments.